Alan Cole Photography | A Camera looks like a brush to those of us who can't paint.
Alan Cole Photography | A Camera looks like a brush to those of us who can't paint.
AUGUST 2015 UPDATE – I went through the negatives, photographed each with a bellows and micro lens on a digital camera body, pulled the best ones and created a NEW AUGUST JAM GALLERY for your reminiscing pleasure or anthropological research.
The photos below are scans of actual paper prints I made in the darkroom in 1974; the new gallery uses those same 1974-vintage 35mm negatives converted to digital and enhanced a little in Lightroom and occasionally Photoshop. The new phrase is “hybrid workflow”, which usually starts with a film negative and ends with a digital image ready for printing or online display. Aspiring and seasoned film photographers may want to explore hybrid because it can speed the process of getting work online if that’s its f
A manual LumoPro LP160 flash fires through its wide-angle diffuser, a sheet of frosted lexan to get the most even light I can, the slide copier’s diffuser, negative, bellows-mounted micro lens and onto the camera’s sensor. The photo below was shot on Eastman 2238 separation film at ASA 12 and processed in Xtol stock for 9 minutes at 68 degrees. The dried negative was photographed at ISO 100 with the flash at 1/16th power and lens at f/16, though I probably need to reshoot this and the concert at a wider ape
Alan Cole Photography | A Camera looks like a brush to those of us who can't paint.
Alan Cole Photography | A Camera looks like a brush to those of us who can't paint.