Home · Register · Join Upload & Sell

Moderated by: Fred Miranda
Username  

  New fredmiranda.com Mobile Site
  New Feature: SMS Notification alert
  New Feature: Buy & Sell Watchlist
  

FM Forums | Photo Critique | Join Upload & Sell

  

Archive 2013 · Tintype(s)

  
 
Kaden K.
Offline
• • • •
Upload & Sell: Off
p.1 #1 · p.1 #1 · Tintype(s)


Still uploading tintypes crafted and images taken at the Excursion into
the Erie Canal in Rochester & at the Scully & Osterman Skylight Studio.

http://kadenca.tumblr.com/



Jun 09, 2013 at 12:00 PM
khwaja
Offline
• • •
Upload & Sell: Off
p.1 #2 · p.1 #2 · Tintype(s)


i think it would be better to post images for crit directly here...


Jun 09, 2013 at 01:29 PM
Kaden K.
Offline
• • • •
Upload & Sell: Off
p.1 #3 · p.1 #3 · Tintype(s)


Thanks for your opinion khwaja. Feel free to criticize.



Jun 09, 2013 at 03:13 PM
AuntiPode
Offline
• • • • •
Upload & Sell: On
p.1 #4 · p.1 #4 · Tintype(s)


The full plate tintype is appealing. I liked the Albert Kahn video, especially the autochromes. There color rendering is quite unique.


Jun 09, 2013 at 05:03 PM
Kaden K.
Offline
• • • •
Upload & Sell: Off
p.1 #5 · p.1 #5 · Tintype(s)


Thanks AuntiPode.

I made 10 plates, which I will be be uploading shortly along with
other images of this excursion into the Erie Canal in NY.



Jun 09, 2013 at 11:09 PM
AuntiPode
Offline
• • • • •
Upload & Sell: On
p.1 #6 · p.1 #6 · Tintype(s)


Sound like you've been productive and having grand fun!


Jun 10, 2013 at 12:52 AM
Kaden K.
Offline
• • • •
Upload & Sell: Off
p.1 #7 · p.1 #7 · Tintype(s)


For sure. Uploading...uploading...


Jun 11, 2013 at 01:34 AM
AuntiPode
Offline
• • • • •
Upload & Sell: On
p.1 #8 · p.1 #8 · Tintype(s)


Oh great, now the lyrics are going to be running through my mind for heaven knows how long....

"Low bridge every body down,
Low bridge for we're comin to a town,
And you always know your neighbor,
You'll always know your pal,
If you've ever navigated on the Erie canal"



Jun 11, 2013 at 01:45 AM
Kaden K.
Offline
• • • •
Upload & Sell: Off
p.1 #9 · p.1 #9 · Tintype(s)


Clearly I am not from NY, but the folks from there were singing it...lol,
with the explanation that when they were kids this was a common song
every morning at school.



Jun 11, 2013 at 02:22 AM
AuntiPode
Offline
• • • • •
Upload & Sell: On
p.1 #10 · p.1 #10 · Tintype(s)


I learned it in grade school, half a country away from New York.


Jun 11, 2013 at 04:42 AM
Kaden K.
Offline
• • • •
Upload & Sell: Off
p.1 #11 · p.1 #11 · Tintype(s)


Pretty funny; 6 degrees of separation for sure.


Jun 11, 2013 at 09:52 AM
AuntiPode
Offline
• • • • •
Upload & Sell: On
p.1 #12 · p.1 #12 · Tintype(s)


Oh, and I envy the studio with skylights. Such great traditional light for portraits.


Jun 11, 2013 at 04:35 PM
Kaden K.
Offline
• • • •
Upload & Sell: Off
p.1 #13 · p.1 #13 · Tintype(s)


North Skylights make for very stable light. The Osterman's Studio is as fine lit as they come.

They are very aware of what impacts collodion plates (color/time of day/color of objects/light
upon objects/color of light depending on time of the day/changes in chemistry that impact the
final color of the plate taking into account many of other factors).

I even got a good understanding of how to make an image look like 3D by observing carefully
plates done in the 1800's.



Jun 11, 2013 at 08:03 PM
RustyBug
Offline
• • • • • • •
Upload & Sell: On
p.1 #14 · p.1 #14 · Tintype(s)


Kaden,

Interesting to note the time of day/color relationship. I've been studying/observing how "white light" is separated into essentially direct/specular warm and indirect/diffuse cool colors that are then rejoined/blocked iaw orientation @ sun/sky in natural ambient.

Kinda "out there" for most folks, but I pretty much see natural light as two independent sources @ one bare bulb warm, and one softbox cool that continuously reposition orientation/relationship with each other throughout the day. When they are positioned at a certain relationship, they culminate again in the "white light" that they originated from before being separated by our atmosphere. Otherwise, they culminate in degree's of variance from that depending upon time of day/orientation/position, and of course atmospheric conditions or obstructions (i.e. shade).

That being said, I'd like to hear more about the subject from those who deem it of notable impact to their processes (most people think it's overkill in today's realm). +1 @ north light being very stable ... i.e. greater cyan component, lesser amount of red component (northern hemisphere) ... so the movement of the sun has less variance impact into color temperature when the red component is largely blocked from view. Most people value North light for its "diffuse" quality, never realizing it's greater stability @ color (albeit cooler temperature).

The other thing I've been noting (crudely, so far) is the energy variance between red light and cyanic/blue light. More studies at understanding/utilizing this variance to be sure, but I'd like to better understand the calculations @ warm vs. cool dissemination ... thinking it'll be ISL or Pi based in natural ambient application @ dissemination/collection. Still working on that one, but I'm inclined to consider the energy levels of each relative to the contrast variance they produce. Not sure if that is due to the amount of energy contained in each spectrum/channel, or the breadth of dissemination/collection @ cyanic (broad) vs. red (narrow) via our atmosphere and angles of incidence derived from specular vs. diffuse ... or combinations of each.

The other thing @ 3D ... definite interest of mine, would love to hear how the effect was realized so long ago. I'm mostly a "dry guy" in the digital realm these days, but the understanding of light/perception transcends wet vs. dry methods. I'm thinking back to the one portrait you showed before that was very life-like/3D-ish, wondering if this is what you're referring to ... or is there even more to be garnered.
https://www.fredmiranda.com/forum/topic/1089073/0?keyword=x#10381730

You struck a VERY STRONG chord here on two counts with me in your last post ... hope to learn more.



Jun 11, 2013 at 11:49 PM
Kaden K.
Offline
• • • •
Upload & Sell: Off
p.1 #15 · p.1 #15 · Tintype(s)


Hey RustyBug,

Indeed, this is a fascinating subject matter.

The image you pointed as an example for the 3D like effect was a daguerreotype,
which in general does have a 3D like effect to start with, usually described as the
image coming at the viewer. In that case just as any other of 3D effect each side
of the image (around) needs to have a certain precise dosage of dark and light.

The set-up to achieve it sometimes is complex even in a studio with phenomenal
light. One may even obscure partially the source of the light. More disturbing in
general is to watch photographers place so much emphasis on a composition and
very little on the issue of lighting an image. Excellent light will do wonders for just
anything.

Interestingly in regards to daguerreotypes the fuming of the plates is observed in
terms of color itself - for becquerel one seeks a plate with magenta and for mercurial
daguerreotypy one seeks an incipient rose color.

The color of objects being photographed is obviously of great importance. Take for
instance collodion where the sensitivity is to blue light, certain colors like blue will
register as white and certain others like yellow and orange and reds will register as
different shades of black. This to say that one needs to shoot a scene with a series
of different colors and not the same if one seeks best results. It is surprising how
many a seasoned photographer remain unaware of this.

Add to that the fact that early morning light is blue and late afternoon light color
is yellow (hence the terms golden light) and one immediately perceives that the
sensitivity to morning light is greater than afternoon light for collodion even if the
afternoon light is more intense. This would have to be compensated by longer
exposures in the afternoon and adding additional nitric acid to the developer to
compensate and have the wet plates come out brighter and less yellow looking.
What may be impossible to do is compensate for the soft light of early morning.
Even leaving a plate fixing longer in potassium cyanide will generate some higher
contrast but at some point the cyanide will eat the silver nitrate and definition will
be lost in the image. Choices, choices...

In daguerreotypy similarly certain colors register better than others.

The same applies to digital - just try shooting purple and getting that color right
instead of blue-ish or try shooting in early morning and late afternoon instead of
middle of the day and observe how light and its color and intensity impacts the
image.

Understanding the basics of light and how to use it is absolutely crucial to photography
no matter what process one is using.



Jun 15, 2013 at 09:40 AM
RustyBug
Offline
• • • • • • •
Upload & Sell: On
p.1 #16 · p.1 #16 · Tintype(s)


Kaden K.
Hey RustyBug,

Indeed, this is a fascinating subject matter.

The image you pointed as an example for the 3D like effect was a daguerreotype,
which in general does have a 3D like effect to start with, usually described as the
image coming at the viewer. In that case just as any other of 3D effect each side
of the image (around) needs to have a certain precise dosage of dark and light.

The set-up to achieve it sometimes is complex even in a studio with phenomenal
light. One may even obscure partially the source of the light. More disturbing in
general is to watch photographers
...Show more

This "precise dosage" is of much interest. I'm of the opinion that there is a "push/pull" attribute to all elements ... i.e. sharp/blur, warm/cool, light/dark, small/large, waxing/waning, sat/desat, etc. that influences our visual cues @ perception. Harnessing each of them in ways that harmonizes our perception (vs. contradictory) is paramount to generating optimal/maximum perception response. I need to still find more of the "push/pull" attributes, and then learn their individual nuance of utilization ... i.e. precise dosage, etc.

Interestingly in regards to daguerreotypes the fuming of the plates is observed in
terms of color itself - for becquerel one seeks a plate with magenta and for mercurial
daguerreotypy one seeks an incipient rose color.

The color of objects being photographed is obviously of great importance. Take for
instance collodion where the sensitivity is to blue light, certain colors like blue will
register as white and certain others like yellow and orange and reds will register as
different shades of black. This to say that one needs to shoot a scene with a series
of different colors and not the same if one seeks
...Show more

If you look at my recent post of "From White to Black ... ", it is actually a first "concept" image of what will likely become a study of "Time of Day/Color of Light". This particular time was around 3 PM. I figure I'll need to shoot "clear sky" for consistency, and also N,E,S,W for each as well as 0-45-90-135-180 transition for the various times of day once I get more dedicated to the study.
https://www.fredmiranda.com/forum/topic/1220066

Understanding the basics of light and how to use it is absolutely crucial to photography
no matter what process one is using.


+1 ... how often is it forgotten that we are "drawing with light" ... and all its properties that are inherent to it. Imo, much of popular photography is advocated through "do this, do that" in a practical realm, moreover than "understand this, understand that". Merging the physics of light, the aesthetics of art and the physiology of our perceptions is a bit more than using an exposure meter, a gray/wb card and pushing a button. Granted, the comp is integral, but +1 @ the vitality of the light's role in "drawing the eye".

Pushing the button is fun to be sure, but I want to take my photographic endeavors to a place that somewhat emulates those who mastered light before photography existed (not talking about applying a "painterly effect" in photoshop). This may sound sacrilege (on the surface) ... but I want to take my work beyond AA, rather than to AA (et al). First we aspire to emulate, then we aspire to create.

Lofty goals (attainable ) as there is so much more to be learned ... appreciating the apprentice/master relationship of yore ... with greater awareness as the more I learn, the more I realize there's more to learn. Some days I think "indentured servitude" under a true master makes much more sense than a "Google" of "do this, do that" proliferation's ... thus, I march on with "trial & error" @ exploration and observation alongside cognitive deconstruction hypothesis ... sans a master to apprentice under.



Jun 15, 2013 at 10:40 AM





FM Forums | Photo Critique | Join Upload & Sell

    
 

You are not logged in. Login or Register

Username       Or Reset password



This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.