This is an interior, available-light image from the National Museum of the U.S. Air Force in Dayton. All those aluminum surfaces were just begging to be captured in stereo. The farthest tail looks to me like a B29, but I didn’t take notes about the fighters in the foreground. Can anyone identify them for us?
Available light, tripod mounted Canon 7D. Digital to film transfer done by Gamma Tech in New Mexico. Yes, I know I mounted it backwards š
Well, this one is a bit different. It’s a hyper of a formation about 1/8 mile away taken using the Sony SLT 55 with a 100 mm prime macro lens. The images were acquired as part of a rapid burst from a moving car (I’d had foot surgery and my wife was driving me about). The spacing of the shots is around 100 feet. The white formations are about 30′ tall. This is a little known site near Los Alamos.
This was transferred to TL 120 using a ā4Kā screen. See āCamel Rock North Faceā for the details of that process.
There is a very famous grouping of tent rocks, larger and more numerous, south of Santa Fe, which some of you may know of. They occur only in a few places, including outside of Istanbul, Turkey.
I’ll be heading out to Tent Rocks proper in the summer once things have solidified.
This image was taken using cha cha and a single Sony SLT 55 with 35 mm Sony prime F1.8 lens. The focus of the infinity point was a bit soft so I used a bLindĀ deconvolution filter (Lucy Richardson) to refocus. Then the images were transferred to TL 120 by photographing a quad UHD screen with custom color table.
This is one of my favorite sites, with many opportunities for interesting views depending on the time of day. This wa 2pm to a bit hard lighting. The figured rock in foreground was interesting. I was pleased that the raw format and transfer process kept the detail and color of the highlight on the rock. In the left distance is Black Mesa. I lived near there for 5 years in a former candle factory where I had a lot of my woodworking equipment. I’ve since sold that equipment.
When I take this site again, I’ll be using the tl120 directly with its 85 mm lenses
Sony slt 55a 35 mm prime. Cha-cha. October 10, 2013 10:35 am.
Used to be you could climb up on this until about 1970. There were actually two formations, one about 100 yards south. Some kids attached a rope and pulled it down with a pickup. So they put a fence around it.
This was transferred to TL 120 using a “4K” screen. See “Camel Rock North Face” for the details of that process.
I only recently discovered the MF stereo world thanks to Nik! the first I’d seen was at the 2012 NSA. Immediately after that I’ve had 7 foot surgeries and unable to use my TL 120 the way it was intended. Ā Determined to participate though, and once things are healed I’ll be getting out and composing directly to film. I realize oneĀ goal of this folio is to preserve the art of direct analog film photography, so my new entries are a bit of sacrilege.Ā Since I’m a scientist I like to experiment. I have a bunch of 35 mm stereo and digital stereo photos. One question I wanted to answer empirically was: what would it look like to transfer images from my archive to medium format. Continue reading
This is a digital ādupeā made by Gammatech from a file I sent them. The file for each of these images was about 2500 x 2000 pixels, about 1200 pixels per inch. I had them āprintā eight stereo pairs like this onto an 8×10 inch transparency. They offered two resolutions for this, ā8kā and ā16k.ā I asked them to print my file at ā16kā because my file had a resolution around 12k. I might try doing it onto 70mm film next time – the cost is about the same either way. This imagery was obtained and processed digitally. Cameras: twin rig Canon D60 (6MP DSLR) with 28mm lenses, stereobase for this view about 9 inches.
Using a multiple exposure technique, buildings are rendered magically translucent, revealing the structure beneath the facade, and the foundation beneath the structure. Images were obtained over a period spanning 12 to 18 months, each time from a platform carefully repositioned, so that the camera(s) would be in exactly the same spot, matching position, direction and orientation in six axes. From about 2007 to 2010, I recorded the construction of a half-dozen buildings like this in and around Charlottesville. With its requirement for extreme accuracy, digital post-processing was almost as much work as the photography itself!