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Bunkers II
- Thread starter Cem_Usakligil
- Start date
Jerome Marot
Well-known member
What can I say? This is simply nice. I can't imagine a better way to arrange the various rectangles and squares in that frame.
Mark Hampton
New member
Cem,
its in the wrong part of the forum.
Photography as Art is where it should be posted - I like the stone surface render - as Jerome says the arrangement would be difficult to surpass.
there are more - can you get some others up.
cheers
Cem_Usakligil
Well-known member
Thanks Jerome, appreciated. I have been busy with this particular scene for a couple years now and it starts to speak to you after a while.
Cem_Usakligil
Well-known member
Hi Mark,
I have kind of expected that the surface structure would interest you. Here is one you might enjoy.
Thanks for your kind comments. I currently try to stay away from the photography as art forum as its value has been kind of deprecated imo. Hopefully, it will recover and be put to good use by many talented OPFers going forward.
I have kind of expected that the surface structure would interest you. Here is one you might enjoy.
Cem_Usakligil
Well-known member
Asher Kelman
OPF Owner/Editor-in-Chief
Hi Mark,
Thanks for your kind comments. I currently try to stay away from the photography as art forum as its value has been kind of deprecated imo. Hopefully, it will recover and be put to good use by many talented OPFers going forward.
I have kind of expected that the surface structure would interest you. Here is one you might enjoy.
Of course it belongs either in "Photography as Art" or "Still Picture". More so it belongs as a huge print. This is where your skills in image preparation will pay off. Have you thought about what size you might print it and on what?
Asher
Cem_Usakligil
Well-known member
I may print it large, i.e. 40x60 cm or larger. To really impress, it would have to be some 80x120 cm I reckon. I would either use the Epson Velvet Fine Art or Ilford Gold Fiber Silk Baryta for this. In case I have it done elsewhere, I would go for a Alu-dibond back and a acrylic glass front.
Tom Robbins
Member
Cem, these are fascinating images, as usual. These structures have their place in history, but as they slowly disintegrate, hints of what they are transitioning into begin to appear as the years continue to roll by. It's a sort of frame-by-frame history viewable by anyone with the sensitivity and awareness to pay attention.
Concrete has a way of bleeding out a light-colored element of its amalgam along surface cracks that can resemble petroglyphs when viewed sideways while squinting. If the Rosetta stone for these could be found, I'm sure the bunker walls would have a tale or two to tell.
Concrete has a way of bleeding out a light-colored element of its amalgam along surface cracks that can resemble petroglyphs when viewed sideways while squinting. If the Rosetta stone for these could be found, I'm sure the bunker walls would have a tale or two to tell.
Cem_Usakligil
Well-known member
Hi Tom,
On a different note, I have done some harbour/barge shooting this weekend and I hope I will be able to share some with you shortly.
It is always very good to see you around these parts, thanks for the kind comments. Love that analogy to the Rosetta stone, indeed if these walls could speak what stories would they tell us?
On a different note, I have done some harbour/barge shooting this weekend and I hope I will be able to share some with you shortly.
Asher Kelman
OPF Owner/Editor-in-Chief
For Cem "4 what?"
Cem,
I didn't realize how much green there is to be found in the stone. It's 5:29 a.m. and I was woken by thoughts of poetry that wouldn't let me rest. This stone of yours absorbed a lot of that rhythm.
4 What?
Tombstone terracotta touched by time
Ghost long gone
Dreams undone
Generations lost 4 what?
Clock hands spun the void
Where green boys stood
Now wet with tears.
Empty bastions 4 what?
Stars above muse on this
Sacrifices, campfires, sacred or not
Tiny flashes to the the sky
Life reforms 2 what?
Asher
Cem,
I didn't realize how much green there is to be found in the stone. It's 5:29 a.m. and I was woken by thoughts of poetry that wouldn't let me rest. This stone of yours absorbed a lot of that rhythm.
4 What?
Tombstone terracotta touched by time
Ghost long gone
Dreams undone
Generations lost 4 what?
Clock hands spun the void
Where green boys stood
Now wet with tears.
Empty bastions 4 what?
Stars above muse on this
Sacrifices, campfires, sacred or not
Tiny flashes to the the sky
Life reforms 2 what?
Asher
Cem_Usakligil
Well-known member
Hi Asher,
This is a very good and appropriate poem, I am impressed. Thanks so much for sharing!Cem,
I didn't realize how much green there is to be found in the stone. It's 5:29 a.m. and I was woken by thoughts of poetry that wouldn't let me rest. This stone of yours absorbed a lot of that rhythm.
4 What?
Tombstone terracotta touched by time
Ghost long gone
Dreams undone
Generations lost 4 what?
Clock hands spun the void
Where green boys stood
Now wet with tears.
Empty bastions 4 what?
Stars above muse on this
Sacrifices, campfires, sacred or not
Tiny flashes to the the sky
Life reforms 2 what?
Asher
Asher Kelman
OPF Owner/Editor-in-Chief
Cem Usakligil: Bunkers II
Thanks,
But you brought the poem to us and I just found paper to put it on!
Asher
Tom Robbins
Member
On a different note, I have done some harbour/barge shooting this weekend and I hope I will be able to share some with you shortly.
Hi Cem, Fantastic! I am looking forward to seeing them. I noticed your photos have light of a quality unlike that seen in the middle of the North American continent. There's little doubt the North Sea plays a role in this, but more photos from your area could help to understand the difference between the two.
I too have been doing some photography of river traffic and commerce. My haunts include the Illinois and Mississippi Rivers in the US. Do you suppose a sort of back and forth sharing of photos here at OPF would work for this topic, or would you prefer presenting single posts per image/image sets/image themes?
Cem_Usakligil
Well-known member
I would say, let's try the first option. We can create a generic theme for maritime industry and swap harbours, ships, tugs, barges, bridges, sluices, what have you.
Looking forward to seeing your pictures and hopefully also others'.
PS: I have gone and created a theme here.
Mark Hampton
New member
Hi Mark,
Thanks for your kind comments. I currently try to stay away from the photography as art forum as its value has been kind of deprecated imo. Hopefully, it will recover and be put to good use by many talented OPFers going forward.
I have kind of expected that the surface structure would interest you. Here is one you might enjoy.
Cem,
its beautiful ... can you pop a bit of the work up the size you would print it please.
the silver / grey / green makes me grind my teeth . i almost feel the surface.
nice slow work for thinking to.
thanks for posting it.
Cem_Usakligil
Well-known member
Hi Mark,
Firstly, the print size: 60x90 cm @360 dpi. The image dimesions are then 8500x12750 pixels. I have uprezzed the original image in QImage Studio using the Hybrid SE algorithm and exported to a tif file. From there, I have done deconvolution sharpening with Focus Magic. The crops presented are at @120 dpi, meaning that your hi-rez monitor should resemble the print hanging on the wall. I reckon then what you see on your screen (make sure that it is displayed at 100% and not resized by your browser) is quite close to seeing the print hanging on the wall at an arm's distance. Without further ado, here they are:
Crop 1
Crop 2
Glad you liked it. Of course I want to show you some crops.
Firstly, the print size: 60x90 cm @360 dpi. The image dimesions are then 8500x12750 pixels. I have uprezzed the original image in QImage Studio using the Hybrid SE algorithm and exported to a tif file. From there, I have done deconvolution sharpening with Focus Magic. The crops presented are at @120 dpi, meaning that your hi-rez monitor should resemble the print hanging on the wall. I reckon then what you see on your screen (make sure that it is displayed at 100% and not resized by your browser) is quite close to seeing the print hanging on the wall at an arm's distance. Without further ado, here they are:
Crop 1
Crop 2
Asher Kelman
OPF Owner/Editor-in-Chief
Crop 2
Cem,
I'm impressed by your method of showing the image at 100% although I don't understand how 120 dpi is in fact represented on my monitor! Interesting stuff you are revealing here, both in how to enlarge and maintain a clear image and then the details of the wall that are revealed. It's enjoyable to be able to see such detail in these interesting surfaces where a lot is in fact happening. It's not just bland texture! Stone is actually being digested and weathered and lichens are growing.
I happen to be now taking pictures of paintings and realized the challenges in getting fine details and of evaluating what the print might look like in advance. So I appreciate your efforts here even more.
Asher
Mark Hampton
New member
Hi Mark,
Glad you liked it. Of course I want to show you some crops.
Firstly, the print size: 60x90 cm @360 dpi. The image dimesions are then 8500x12750 pixels. I have uprezzed the original image in QImage Studio using the Hybrid SE algorithm and exported to a tif file. From there, I have done deconvolution sharpening with Focus Magic. The crops presented are at @120 dpi, meaning that your hi-rez monitor should resemble the print hanging on the wall. I reckon then what you see on your screen (make sure that it is displayed at 100% and not resized by your browser) is quite close to seeing the print hanging on the wall at an arm's distance. Without further ado, here they are:
Crop 1
Crop 2
Cem,
thanks for getting them up !
when enlarging work I keep finding I have to adjust the curves etc - Like in the dark room I would increase dev strength and heat to achieve what I wanted from the negative. Does your process included that.
do you work from print size down or up to print size?
the texture in these images comes alive when I see them this close - it becomes a different proposition a cross between these works with cem in it - scale is a game changer.
thanks for answering man.
Auerbach - Head of E.O.W.IV
Jackson Pollock - Number 1, 1950 (Lavender Mist)
Cem_Usakligil
Well-known member
Hi Mark,
Under ideal circumstances I would upsize to print size and process appropriately after that. In this example I've processed first and then upsized. I haven't adjusted the curves afterwards simply because I've processed these for sharing here, not yet for printing.