HEINZ RICHTER
Plaubel Peko Universal, 300mm f/4.5 Voigtländer Apo Lanthar
Kodak Ektachrome
Copied with Leica Digilux 2
Harry Soletsky
Leica M
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Leica Digilux 2
R. A. DISKOWSKI
Leica M, 135mm Tele Elmar f/4
Ilford HP4
BOB NANDELL
Staff Photographer 'Des Moines Register'
Leica R3 Mot, 250mm Telyt-R f/4
Kodak Tri-X
BLAINE SCHULTZ
Leica 1 'Standard', 35mm Summaron f/3.5
Ilford HP 5
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http://gmpphoto.blogspot.com/2012/03/leica-barnack-berek-blog-gallery.html
I am intrigued by the color picture with the raspberries. I cannot figure out how that was done. It looks like it was done on a morror, with blue light for the background. But how come the blue light isn't reflected off the gears and the raspberries?
ReplyDeleteYou are on the right track. I did not use a regular mirror because it reflects too much light, which would prevent the dark reflections of the gears and the raspberries. A conventional mirror also shows a double image, one reflecting off the mirrored surface on back of the glass and a fainter, second one, reflecting of the surface off the glass. Instead I used a polished, black piece of plexiglass. That assured the dark reflections of the shaded sides of the gears and raspberries while maintaining the intense colors of the light sides. The blue background is actually a reflection off a dark gray panel, lit with a blue gel over the light source. That also allowed to have the blue reflection to be positioned such that it fades to black at the bottom. A white surface with a blue light would have made that more difficult because of the greater reflectivity. Finally, all individual light sources were carefully adjusted in intensity with the help of a hand held lightmeter.
ReplyDeleteYou obviously took that picture the "old fashion" way, with film and no digital tricks. Would it be possible to create this image by taking it digitally, with normal lighting and then use Photoshop to make it look like the one you published?
DeleteYes, it would be possible, but only with considerable Photoshop skills and a huge investment of time. This is a classic case where basic photographic knowledge, knowledge of design, composition, lighting, lightreading techniques etc. do trump Photoshop by a huge margin. In general, too many photographers look upon Photoshop as a miracle cure for everything that can go wrong during a shoot. Photoshop is not a valid substitute for lack of photographic knowledge.
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