Portfolio Prints Information
All images will have their corresponding number written on the back of their print.
Print 1 - 10x8, Digital C Type Print - Hasselblad H5D-40, Post Production Editing
This image was printed on the digital enlarger we have in the university, following the set out instructions on how to use it. I edited several parts of different images to make one image in photoshop, which can be seen on my blog under 'Editing my still life images' for in depth details.
It has become clear to me that the image isn't in complete focus, and I suspect that this is because the knobs on the enlarger moved slightly before I tightened them and locked the height in place. This slight movement could have moved my focus to an imperfect place such as this.
The colours on this print seem to have less saturation than those on the prints that used the inkjet printers, especially when looking at the greens on the label where it appears much more yellow on tone.
The background also doesn't seem to appear as white, despite using the exact same files with the exact same editing on the image. I could have gone back and tried to fix this in photoshop however I didn't have anymore light sensitive paper or money to buy more, and if the focus was perfect then I wouldn't want to because I feel it's important to compare the same files between inkjet / digital enlarger.
Print 2 - A4 Portrait Cropped, Matte Inkjet Print, Hasselblad H5D-40, Post Production Editing
This image is the same exact file as Print 1, just printed on the matte inkjet printer. During our still life session, Tom Brannigan told us our images would need to be able to be cropped comfortably to A4 and A3, so any company we'd be shooting for could use the same image for multiple purposes. For A4 this is most likely to be magazines.
This image in comparison to the C-Type print has more saturation, particularly in the greens. The focus is also as it is on the screen because I don't have to focus the printer, which potentially means less paper wasted.
I chose to print on matte paper because the C-Type print was on glossy paper and I wanted to see the difference, however because of the different tones it's hard to discuss the effect that the paper has on the print. I do appreciate how with the matte print of this image the colours remain the same from every angle and don't reflect light from the environment they're in. I think this makes the image seem more bold in tones.
This is the same composited file, however if I were to shoot this again i'd do some focus stacking throughout the whole image because certain parts of the print (such as the side of the box) aren't in focus when parts of both the foreground and background are in focus.
On the front of the bottle, the green label isn't lit completely evenly with it being a bit more dark at the top of the label. This is because of uneven lighting; the light directly facing the box would have been a little too low. If I were to reshoot this i'd have it more centered.
Print 3 - A3 Landscape Cropped, Matte Inkjet Print, Hasselblad H5D-40, Post Production Editing
This print is the more or less the exact same as the one above, just with an A3 crop. However, because of this crop we're able to see a mistake in my post production editing. In the top right hand corner you can see a darker area. This is because I painted over some of the background with a white paintbrush, but clearly didn't realise I hadn't gone to the edge of that corner. It's not overly distracting because I used a rather low opacity, however it is visible. This would be really easy to fix in photoshop but I didn't have the funds to make another print.
Other than that, I think this is successful. The colours have printed well and the tones are correct to what I was expecting.
An A3 print like this could be used as a double page spread in a magazine, a billboard or a website. There's space on the left side for text to accompany the image, which is common in advertising.
Print 4 - Tray Print (1 minute hard developer, 1 minute soft developer), Large Format Camera, Black and White, Camera Movements, Bellows Extension
This print was done using an equal amount of time in the hard and soft developers while I was doing my tray archival printing. Because of the lack of post production, you can see all the scratches that occurred during my film development.
The whites on the statue are a little blown out and the image could do with more contrast, hence why I decided to experiment with different timings in the developers.
There's really good detail in the trees and the pavement, however it's a shame that the main subject of the image hasn't retained as much detail as I would have liked.
This may also have something to do with my shooting too, because I took the light meter reading from the pavement which is much darker than the white statue, and so the film itself may have been exposed incorrectly. However, the different development times can still help with bringing out the details in my statue.
During the shooting stage, I used slight movements by tilting the front standard by 4 degrees.
Print 5 - Tray Print (30 seconds hard developer, 1 minute 30 seconds soft developer), Large Format Camera, Black and White, Camera Movements, Bellows Extension
This print was printed using tray printing, but this time I used less time in the hard developer and more time in the soft developer. The total time is still 2 minutes of development but less time in the hard developer meant that there would be less contrast and darkness.
The result is that the dark background has gained a lot more detail than the image with the equal timings. It it much lighter and has a kind of washed out look even despite having more detail.
The statue itself is even lighter which was to be expected. This isn't how i'd present the final image because the main subject isn't well exposed.
Print 6 - Tray Print (1 minute 30 seconds hard developer,30 seconds soft developer), Large Format Camera, Black and White, Camera Movements, Bellows Extension
This print had more time in the hard developer and less in the soft developer, resulting in the image having more contrast. The most noticeable difference to me is the detail in the statue. We can see much more shadows and textures than the previous two versions of this image.
The background is also much darker and has more contrast, meaning there's less detail shown in the dark areas of the trees, however I think this benefits the image because there isn't complete loss of detail and the contrast between the background and the statue allows for the statue to have the most attention and gives the image more 'pop'. However, if i wanted the background to be lighter like the previous image I would have used dodging and burning to achieve this.
This is my favourite of the three tray development images because it has much more detail and it much nicer to look at because of the more even exposure.
Print 7 - Glossy Inkjet Print from Imacon Scan, Large Format Camera, Black and White, Camera Movements, Bellows Extension, Post Production
This print is from the same negative as the one three tray printing images, however I scanned the negative in the imacon scanners at university instead of using an enlarger. The imacon scanner picks up a lot of detail, and allows you to edit the preview before the scan which I utilised. The way I edited it increased the contrast greatly because that's simply the look I prefer as it creates an image that stands out and has a dramatic feeling. The textures that are important to me (the pavement, statue, grass and leaves) are still all there and the focus is good throughout.
The contrast does remove some of the detail in the shadows of the image such as in the darkest parts of the trees, but as said before I don't think this is detrimental to the overall image.
In post production I also removed the scratches from the negative using the spot healing tool and the patch tool. I don't think you can really tell the areas that have been fixed which means that there's less distraction from the image as the prints from tray printing.
The image was sharpened by 50% before printing.
Print 8 - Glossy Inkjet Print from Flatbed Epson Scan, Large Format Camera, Black and White, Camera Movements, Bellows Extension, Post Production
This print is very similar to the one above however it was scanned on the flatbed scanner rather than the imacon. The imacon is supposed to have better quality scans, which you'd expect from the price difference of the two.
The epson scan does seem to have less detail and sharpness, despite having the same 50% sharpness from the unsharp mask in post production. This is visible in the writing of the statue, where it's far less readable than that of the imacon scan. You can also see this in the edges of the statue.
Some of this may be down to slight differences in editing within the scanner although I tried to get them to be similar.
Despite being the same size, I did accidentally crop this image tighter in, which makes the statue appear closer to you. To compare better I would have liked for them to have the exact same crop.
I think the biggest difference between the imacon and flatbaed scan is definitely the detail and sharpness.
I prefer the image scanned with the imacon because of this, however without the imacon to compare it to i'd be very happy with the outcome of this print.
I printed the image on the same paper for the best comparison between this and the imacon scanned print, and the other tray printings of this image are also on glossy paper.
In comparison to the tray printing images, i prefer the images that have been scanned because I have a lot more control over how they look with more ease, and of course the scratches are erased before the printing process.
Print 9 - Glossy Inkjet Print, Canon 5D Mrk II DSLR, Post Production
This print is an image taken on the Nikon 5D Mrk II, a full frame DSLR camera. The point of this was to compare with the image below from the Mamiya with the Phase One back.
This image has been edited to try and match that of the Mamiya, to eliminate any colour differences. As seen in my blog previously, the colour differences were rather dramatic.
Because this image is cropped down quite a bit due to lens differences, the image isn't as sharp as I would have liked. Both images have equal sharpening before printing and are on the same paper.
I didn't crop this image the exact same as the image appears in the image taken by the Mamiya, however this was because when I saw the preview the image was just too blurred do to the cropping; the pixels were getting too stretched.
This print has the background being far more in focus despite being on the same settings (f11) This is due to the type of lens on the camera; in this instance the Canon used a 28-135mm f3.6-5.6 lens.
Print 10 - Glossy Inkjet Print, Mamiya 645AF with Phase One Back, Post Production
This print is the image taken on the mamiya in the same setup and setting as the image above. It clearly has a much more out of focus background than the DSLR, however major details can be seen, such as the branches on the trees. This allows the bench to appear more sharp because it offers a contrast, however the bench is very sharp. It definitely helps that this image hasn't been cropped and so no pixels have to be stretched.
This print was given 50% sharpening and the result is a very sharp and crisp image.
To edit I had to fix the purple tones of the foliage behind the bench, which I did using the hue/saturation tools.
Print 1 - 10x8, Digital C Type Print - Hasselblad H5D-40, Post Production Editing
This image was printed on the digital enlarger we have in the university, following the set out instructions on how to use it. I edited several parts of different images to make one image in photoshop, which can be seen on my blog under 'Editing my still life images' for in depth details.
It has become clear to me that the image isn't in complete focus, and I suspect that this is because the knobs on the enlarger moved slightly before I tightened them and locked the height in place. This slight movement could have moved my focus to an imperfect place such as this.
The colours on this print seem to have less saturation than those on the prints that used the inkjet printers, especially when looking at the greens on the label where it appears much more yellow on tone.
The background also doesn't seem to appear as white, despite using the exact same files with the exact same editing on the image. I could have gone back and tried to fix this in photoshop however I didn't have anymore light sensitive paper or money to buy more, and if the focus was perfect then I wouldn't want to because I feel it's important to compare the same files between inkjet / digital enlarger.
Print 2 - A4 Portrait Cropped, Matte Inkjet Print, Hasselblad H5D-40, Post Production Editing
This image is the same exact file as Print 1, just printed on the matte inkjet printer. During our still life session, Tom Brannigan told us our images would need to be able to be cropped comfortably to A4 and A3, so any company we'd be shooting for could use the same image for multiple purposes. For A4 this is most likely to be magazines.
This image in comparison to the C-Type print has more saturation, particularly in the greens. The focus is also as it is on the screen because I don't have to focus the printer, which potentially means less paper wasted.
I chose to print on matte paper because the C-Type print was on glossy paper and I wanted to see the difference, however because of the different tones it's hard to discuss the effect that the paper has on the print. I do appreciate how with the matte print of this image the colours remain the same from every angle and don't reflect light from the environment they're in. I think this makes the image seem more bold in tones.
This is the same composited file, however if I were to shoot this again i'd do some focus stacking throughout the whole image because certain parts of the print (such as the side of the box) aren't in focus when parts of both the foreground and background are in focus.
On the front of the bottle, the green label isn't lit completely evenly with it being a bit more dark at the top of the label. This is because of uneven lighting; the light directly facing the box would have been a little too low. If I were to reshoot this i'd have it more centered.
Print 3 - A3 Landscape Cropped, Matte Inkjet Print, Hasselblad H5D-40, Post Production Editing
This print is the more or less the exact same as the one above, just with an A3 crop. However, because of this crop we're able to see a mistake in my post production editing. In the top right hand corner you can see a darker area. This is because I painted over some of the background with a white paintbrush, but clearly didn't realise I hadn't gone to the edge of that corner. It's not overly distracting because I used a rather low opacity, however it is visible. This would be really easy to fix in photoshop but I didn't have the funds to make another print.
Other than that, I think this is successful. The colours have printed well and the tones are correct to what I was expecting.
An A3 print like this could be used as a double page spread in a magazine, a billboard or a website. There's space on the left side for text to accompany the image, which is common in advertising.
Print 4 - Tray Print (1 minute hard developer, 1 minute soft developer), Large Format Camera, Black and White, Camera Movements, Bellows Extension
This print was done using an equal amount of time in the hard and soft developers while I was doing my tray archival printing. Because of the lack of post production, you can see all the scratches that occurred during my film development.
The whites on the statue are a little blown out and the image could do with more contrast, hence why I decided to experiment with different timings in the developers.
There's really good detail in the trees and the pavement, however it's a shame that the main subject of the image hasn't retained as much detail as I would have liked.
This may also have something to do with my shooting too, because I took the light meter reading from the pavement which is much darker than the white statue, and so the film itself may have been exposed incorrectly. However, the different development times can still help with bringing out the details in my statue.
During the shooting stage, I used slight movements by tilting the front standard by 4 degrees.
Print 5 - Tray Print (30 seconds hard developer, 1 minute 30 seconds soft developer), Large Format Camera, Black and White, Camera Movements, Bellows Extension
This print was printed using tray printing, but this time I used less time in the hard developer and more time in the soft developer. The total time is still 2 minutes of development but less time in the hard developer meant that there would be less contrast and darkness.
The result is that the dark background has gained a lot more detail than the image with the equal timings. It it much lighter and has a kind of washed out look even despite having more detail.
The statue itself is even lighter which was to be expected. This isn't how i'd present the final image because the main subject isn't well exposed.
Print 6 - Tray Print (1 minute 30 seconds hard developer,30 seconds soft developer), Large Format Camera, Black and White, Camera Movements, Bellows Extension
This print had more time in the hard developer and less in the soft developer, resulting in the image having more contrast. The most noticeable difference to me is the detail in the statue. We can see much more shadows and textures than the previous two versions of this image.
The background is also much darker and has more contrast, meaning there's less detail shown in the dark areas of the trees, however I think this benefits the image because there isn't complete loss of detail and the contrast between the background and the statue allows for the statue to have the most attention and gives the image more 'pop'. However, if i wanted the background to be lighter like the previous image I would have used dodging and burning to achieve this.
This is my favourite of the three tray development images because it has much more detail and it much nicer to look at because of the more even exposure.
Print 7 - Glossy Inkjet Print from Imacon Scan, Large Format Camera, Black and White, Camera Movements, Bellows Extension, Post Production
This print is from the same negative as the one three tray printing images, however I scanned the negative in the imacon scanners at university instead of using an enlarger. The imacon scanner picks up a lot of detail, and allows you to edit the preview before the scan which I utilised. The way I edited it increased the contrast greatly because that's simply the look I prefer as it creates an image that stands out and has a dramatic feeling. The textures that are important to me (the pavement, statue, grass and leaves) are still all there and the focus is good throughout.
The contrast does remove some of the detail in the shadows of the image such as in the darkest parts of the trees, but as said before I don't think this is detrimental to the overall image.
In post production I also removed the scratches from the negative using the spot healing tool and the patch tool. I don't think you can really tell the areas that have been fixed which means that there's less distraction from the image as the prints from tray printing.
The image was sharpened by 50% before printing.
Print 8 - Glossy Inkjet Print from Flatbed Epson Scan, Large Format Camera, Black and White, Camera Movements, Bellows Extension, Post Production
This print is very similar to the one above however it was scanned on the flatbed scanner rather than the imacon. The imacon is supposed to have better quality scans, which you'd expect from the price difference of the two.
The epson scan does seem to have less detail and sharpness, despite having the same 50% sharpness from the unsharp mask in post production. This is visible in the writing of the statue, where it's far less readable than that of the imacon scan. You can also see this in the edges of the statue.
Some of this may be down to slight differences in editing within the scanner although I tried to get them to be similar.
Despite being the same size, I did accidentally crop this image tighter in, which makes the statue appear closer to you. To compare better I would have liked for them to have the exact same crop.
I think the biggest difference between the imacon and flatbaed scan is definitely the detail and sharpness.
I prefer the image scanned with the imacon because of this, however without the imacon to compare it to i'd be very happy with the outcome of this print.
I printed the image on the same paper for the best comparison between this and the imacon scanned print, and the other tray printings of this image are also on glossy paper.
In comparison to the tray printing images, i prefer the images that have been scanned because I have a lot more control over how they look with more ease, and of course the scratches are erased before the printing process.
Print 9 - Glossy Inkjet Print, Canon 5D Mrk II DSLR, Post Production
This print is an image taken on the Nikon 5D Mrk II, a full frame DSLR camera. The point of this was to compare with the image below from the Mamiya with the Phase One back.
This image has been edited to try and match that of the Mamiya, to eliminate any colour differences. As seen in my blog previously, the colour differences were rather dramatic.
Because this image is cropped down quite a bit due to lens differences, the image isn't as sharp as I would have liked. Both images have equal sharpening before printing and are on the same paper.
I didn't crop this image the exact same as the image appears in the image taken by the Mamiya, however this was because when I saw the preview the image was just too blurred do to the cropping; the pixels were getting too stretched.
This print has the background being far more in focus despite being on the same settings (f11) This is due to the type of lens on the camera; in this instance the Canon used a 28-135mm f3.6-5.6 lens.
Print 10 - Glossy Inkjet Print, Mamiya 645AF with Phase One Back, Post Production
This print is the image taken on the mamiya in the same setup and setting as the image above. It clearly has a much more out of focus background than the DSLR, however major details can be seen, such as the branches on the trees. This allows the bench to appear more sharp because it offers a contrast, however the bench is very sharp. It definitely helps that this image hasn't been cropped and so no pixels have to be stretched.
This print was given 50% sharpening and the result is a very sharp and crisp image.
To edit I had to fix the purple tones of the foliage behind the bench, which I did using the hue/saturation tools.
Comments
Post a Comment