Tuesday, May 17, 2011
Monday, May 9, 2011
Wednesday, April 20, 2011
!!!!!!!!!
Tuesday, April 19, 2011
NG Scans
Wednesday, March 16, 2011
Tuesday, March 15, 2011
still one of my favorites
Thursday, March 10, 2011
cross processing notes
By: Jim Causey
film notes (unrelated to photo)
Fuji Sensia 100 – Red
Fuji Sensia 200 – Green
Fuji Sensia 400 – Green
Fuji Provia 100 – Green
Fuji Provia 400 – Green
Fuji Velvia 50 – Green/Blue
Fuji Velvia 100 – Red
Agfa CT Precisa 100 – Green/Blue
Kodak Ektachrome 100 – No colour shift, increased contrast & saturation
Kodak Ektachrome EPT 160T – No colour shift, increased contrast & saturation
Pushing & Pulling Film:
you can read the full thread, or keep reading for my condensed version.
Pushing film involves deliberately underexposing your image, then asking your lab to push (over-develop) the film 1 or 2 stops to compensate. This results in higher contrast than you would get shooting and developing a film at its rated speed.
Pulling film involves deliberately overexposing your image, then asking your lab to pull (under-develop) the film 1 or 2 stops to compensate. This results in lower contrast than you would get shooting and developing a film at its rated speed.
Bear in mind that cross processing already increases contrast, so you may have to consider pulling the film to compensate. Here are a couple of real world examples:
- Its sunny outside, and what you are shooting is very high contrast. You shoot 200 ISO film as if it were 100 ISO. You then drop your film off and ask the lab to cross process it, and to pull 1 stop. This results in your pictures having more normal contrast while still leaving room for colour casts.
- You are shooting something indoors, and there is low contrast in your scene. You shoot your 400 ISO film as if it were 800 ISO. You subsequently drop your film off at the lab and ask them to cross process it, and to push 1 stop. This results in your pictures have higher contrast than they would have done normally.
Types of cross processing
- E6-C41: taking slide (colour reversal) film, and processing it in colour negative chemicals. This is the most common type of cross processing. It usually results in increased contrast with strong colour casts.
- C41-E6: taking colour negative film and developing in slide chemicals. This usually results in muted pastel colours with very little contrast. As a result you may want to ask your lab to push 2 or 3 stops to increase the contrast.
- E6/C41-B&W: taking colour reversal or negative film and processing as black and white. This results in a black and white negative. As colour film is usually more expensive than B&W, you may want to only use this technique if you are out shooting colour and decide you'd rather have B&W.
some cross processed images:
- The film used was Fujifilm Sensia 400/cross processed.
*First of all, cross processing may overexpose your image by about one stop. Therefore, you need to account for this when shooting. If you’re shooting 100 ISO film, just set your camera setting to 200 ISO. This will allow less light in, taking care of the overexposure. It’s best if you run a roll normally, with no adjustments, to determine if you even need to worry about this.
The first roll I did was processed pretty much on target, without any ISO adjustments.
via, photogformula.some more enjoyable links:
Ten Reasons to Love Cross Processed Film
Tuesday, March 8, 2011
LOUISE GRAY — Spring 2010 RTW
Sunday, March 6, 2011
Do Whatever You Want All The Time
Thursday, March 3, 2011
Sunday, February 27, 2011
thankoon hair
Thursday, February 17, 2011
Heaven Sent
Wednesday, February 2, 2011
Monday, December 27, 2010
d.i.y. gift bows
Tuesday, December 21, 2010
d.i.y. ornaments!
check out the instructions here --d.i.y. terrarium ornaments
also more fun d.i.y. projects can be found here! at the free people blog. good stuff i say!
Tuesday, November 30, 2010
Create Seed-Starting Pots From Newspapers
Instead of buying expensive peat pots to plant your seeds in, make these spiffy planting pots by rolling recycled newspaper around a glass or jar. The finished pots are sturdy and will break down quickly once they've been planted in the soil.
Tuesday, November 23, 2010
felted inspiration
Monday, November 15, 2010
Beautiful books by Freya Diamond
Emily Carr, A Body of Work
By Freya Diamond
Sante Fe, New Mexico: Freya Diamond, 2010. Open edition, signed and numbered.
4.375 x 8.5"; six leaves. Opens to 20". Flag structure. Illustrated paper-covered boards with ribbon closure.
Georgia O'Keeffe
A Body of Work
By Freya Diamond
Sante Fe, New Mexico: Freya Diamond, 2009. Open edition, signed and numbered.
4.375 x 8.5"; six leaves. Opens to 20". Flag structure. Marbled paper exterior with ribbon closure.
Freya Diamond: "I've dressed Georgia in her own artwork."
Frida Kahlo
A Body of Work
By Freya Diamond
Sante Fe, New Mexico: Freya Diamond, 2003. Open edition, signed and numbered.
4.375 x 8.5"; six leaves. Opens to 20". Flag structure. Illustrated paper-covered boards with ribbon closure. Paper title label.
Matisse Odalisques
By Freya Diamond
Sante Fe, New Mexico: Freya Diamond, 2007. Open edition.
4 x 5.75"; five leaves. Carousel structure with five openings, each three-layered. Illustrated paper-covered boards with ribbon closure. Diamond uses works like Odalisque with Magnolias and Odalisque sur fond rouge to form a theater in the round.
On the subject of odalisques Matisse with characteristic honesty said: "I do odalisques in order to do nudes."


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