I recommend using the built in photoshop automerge for aligning the trichromes. If you turn off the merge images option, you'll get the 3 lined up images as 3 layers. Much much much easier than moving them by hand.
thanks for this - watching your channel is what i'd like to think reading the diary of a mad scientist is like. do people ever come up to you while you're trichroming and ask what you're doing?
Most people usually leave me alone. It's other photographers and people who used to shoot film that asks questions. Actually on my last attempt an older gentleman approached me and was stoaked to see someone shooting film. He talked about how his dad used to be a photographer and shot with Hasselblads. It was neat.
7:51 tbh I Really fuck with the first one. The weird color shifts and frame misalignments are so cool, its like a glitch effect or something, plus the infrared makes it even better. Hella cool
You're an absolute psycho man! Especially going through the post process without automerge, absolute legend ahah. So cool that you did this though, and the results are stellar!
You are one of the few interesting film photography you tube channels. Your unhealthy obsession and dedication to the these wild experiments is commendable as it is concerning.
Really dig the first infrared one! IMO it's the staple of this process of making a photo. Granted, it's a torturing process, but that photo conveys all the craziness that would happen if anyone wanted to follow suit. Kudos to you my man!
I spent a few years evolving my own Tri-Colour B&W separation photography technique, and eventually I got fantastic results with really beautiful colour and exquisite tonality. But it took a long time, and the Photoshop work was often sheer torture. Glad to see someone else carrying the torch.
It's so cool to see you do such crazy shit! Today I was literally explaining to a friend how cool tri-chroming and contact sheet photography were individually and now you've gone and done both at the same time. Great work keep it up!
Honestly I love the look of the one with the more mistakes. Thats what makes trichrome so cool to me is where the errors and exposure issues give the picture incorrect colors
Neat project, I like it. Some (many?) hasselblad backs don't have truly orthogonal frame edges, usually it's the top (or bottom, or both) but I've had ones that the sides are off too. Hasselblad techs said this was normal when sent in for service. Before digital and film scanning I doubt too many even noticed this.
Omg yes, I get so excited every time you release a video. It rarely happens to me that I ring the bell on youtube to get notifications, but this channel deserves it. Probably the best channel on experimenting with film development.
Everything you do is so interesting. I pretty much only shoot digital but I can't stop watching this videos. Love your dictation to the craft. Not many people doing this type of thing.
Last night, I developed and scanned my first trichrome roll on Ilford PanF. 4 out of 5 of the shots looked great! It was worth all the effort! Thanks for the awesome UA-cam content, bro :)
This is super cool! Just a fun idea - maybe just do a trichrome-contact-sheet pano? Since the strips have 3 frames each, each one could be a color-channel for the same 3-shot-pano? It'd save on film and make frame spacing more consistent I think
Men this is really inspiring ! I've been shooting trichrome for years now and this give me some new ideas. Remember there's an option on psd to auto align the three different images . ( It's around the middle on the Edit window ) Great video as always 👌
Thanks. Someone told me about auto align shortly after I posted this video and I feel like I wasted so much time. I've since used it for trichrome contact sheets, but I still manually align for the occasional trichromes.
This is awesome. I actually kind of dig the weird, not quite even look you got from 1:0 at the end. Probably won't try it out but it's cool to see that it works!
The closest this reminds me of is narrow band astrophotography. You also use filters to capture different parts of the spectrum. You might then also do 20x50second of every part of the mosaic and add all the dark, flat and bias frames. The results can be great, but it's all digital with a lot of post processing. I have tried to shoot some panormas with low resolution thermal cameras and it was an adventure. Getting the exposure correct across the whole scene is one challenge and not having a panorama head is the next. I have heard from people doing HDR panoramas where every angle is bracketed, which cameras do on their own. And in the end they combine it for increased dynamic range and reduced noise. But if you go beyond two dimensions of spatial and fee channels of color or exposure. If you got example do super resolution by mult exposure or sensor shift or something like focus stacking. You can end up taking a few thousand exposures for a single photograph. Building a robot to do this for me and do the calculations in real time sounds like a goal to me. It has been done by Richard Mosse already, so I know it's possible.
You might of already figured this out, but for a more efficient process you can: Shoot Red, shoot Green , Shoot Blue, Reposition frame. Then shoot Blue again, shoot Green, shoot Red. Basically reverse order, and saves you a whole 'remove dark slide/swapback' step for each trichrome frame. That is 12 less times you have to swap backs and even less dark slide steps (I can't do that much math after finishing work haha)
I actually tried that for my first attempt. While it was more efficient, I ended up losing track of where I was. You can see where I doubled up frames and that's where I was on autopilot and forgot if I was going RGB or BGR. It does work, but requires more attention.
Yeah, maybe after some practice or some diligent note taking. For myself I'll probably stick with RGB because for me its tried and true, and with so many other variables in the mix, it's one less thing I need to worry about in the field.
Looks pretty rad. Like you said... lots of work. Seems like you have to choose between fixing registration problems in post, or just accepting that even the most expensive 6x6 cameras available won't be perfect on that front :) After I saw your video on contact sheet art, I did a bunch of math to see what I could do with a roll of 35mm. Thought it could be kind of a cool look to contact print, maybe using an alt process like salt printing or kallitype. Still probably will try it at some point. Dunno when though. Like you said, lots of work haha.
4:22 i'm not much of a bw shooter (but becoming more familiar with it as i transition to home development) it's awesome to see the effects of diff coloured filters on the frames (even though they are diff film stocks) makes me wanna burn a roll just testing a bunch of scenes with a bunch of diff coloured filters
Ah, Multnomah Falls! Been there, walked up to the top, back around 1970. Couldn't figure out a way to get a decent photo (of the whole upper fall, bridge, and lower fall) on either a Brownie Hawkeye Flash or a Pony 135. Now I'd set up my RB67 with Graflex 23 film back and 50 mm + 0.46x converter (effective 23 mm lens). And I wouldn't even *consider* making a contact sheet image, never mind a contact sheet IR trichrome... O.o
Hey dude, love your vids! I had a crazy thought today: Maybe im insane, but if you tri-chromed black and white slide film, and then overlapped them or recaptured them together somehow, could you create a colour image in person lol? or like if you were able to put all 3 images together in one slide holder? I would love to see some experiments with black and white slide since its a pretty rarely discussed film choice. Thanks! please keep torturing film stocks
Theoretically, I don't think you're supposed to readjust exposure between shots or colors, but rather take one reading, adjusting it up, and keeping it the same for every shot If you think about it, all three layers of a color film are getting the same exposure. I guess technically what you're doing is a roundabout white balance, as you'll average out the gray value to be equal for all three components, making a neutral gray.
I love the imperfect and otherworldly first attempt better. It doesn't have to be good, all aligned and color corrected. If "perfect" was the goal you'd straight up shoot color film. But you don't, so embrace the fuck ups.
Not sure if this has been done anywhere, but I think it should be theoretically possible to do trichromatic with three colors that aren’t RGB (say Cyan Magenta and Yellow filters ). It wouldn’t be as simple as bringing in each image as one of the color channels in photoshop, but would be interested to see the results
CMY doesn't really work because it's subtractive, you get random muddy colors. With that said you can totally mix and match colors filters and it'll give you wacky colors.
Cool weirdness. I been looking for a bit. You put colors together. Have you ripped any apart yet? I might try separating a color negative onto three black and white films under the enlarger today. Then I'd have to contact print a negative from that positive.
I'd be really curious to see someone attempting this using a 6x6 back on an 8x10 camera, essentially just using a ridiculous amount of focal plane shifting. If this works at all you could get perfect perspective alignment.
ב''ה, you got a (what the manufacturers are calling) "HDR" effect from per frame metering, but otherwise you'd want one exposure setting per scene or, if different densities, per filter, though then you're living with what the film can give you.
question: have you ever printed trichrome in a darkroom? with analog printing paper? I've recently dove into this world of trichromatic photography (must say, I'm hooked!). but I am a darkroom fiend and want to try printing a trichromatic print....any thoughts? I've done the modern photoshop way, I want to try the analog way :)
I haven't, but it's high on the list of things I want to try. In theory it should be possible. I'd imagine you'd have to do a triple exposure with each negative and their corresponding color filter. Alignment sounds like a nightmare though.
@@atticdarkroom omg! Thank you for the quick reply! 😃 I was thinking the same things, maybe there's a way to work out the alignment before I turn off the lights? I guess it's just about testing it and finding out as I go along. 🤓🤓 I'll be honest I just binged watched your entire channel I think... Can't wait for the next "uninspired" thing.
Regarding the alignment, here's the best I could come up with: First print one of the negatives. This will be a reference print. Place the reference print in the easel. Align the negative to the reference print. Remove reference print and place RA4 paper. Make your exposure, and then put the RA4 paper in a paper safe. And repeat for the other two channels. This is very clunky and there's probably an easier way, but that's what I got so far.
@@atticdarkroom ok, I'm going to share with you my experience with trying to print a trichromatic photograph in the darkroom. be advised, it's not a happy ending. Also, this might be a very long comment. I apologize in advance. so, in theory if I did a triple exposure with each negative and their corresponding color filter, I would have a beautiful trichromatic photograph. here's what happened: the red filter printed a brownish print, the green filter printed a red print, and the blue filter printed an orange print. now you may think: ok, so it prints out the complimentary color of the filter (aka red-green, blue-orange, green-red), lets try using a complimentary filter in the first place. But then how come the red filter printed a brownish print and not a green print?? so after some thinking, and consulting, I thought of another theory: use the enlarger color filters CYM to create the colors I need. that way the print will come out the color I want and not the complimentary color. and that's what I did: tested each negative to find its corresponding filter color through the filters in the enlarger. I now had 3 separate prints, one was red, one was green and one was blue. ok, time to put it all together right? triple exposure, three negatives, each one with its corresponding filters to create the correct colors. and....it didn't work. all I got was a dark reddish brownish print. as if no filters were used. so I'm at a loss, don't even know what else to try. and I couldn't find any useful information online. so I'm gonna hit the books! not giving up yet, just wanted to share my frustration.
Incredible work! Do you sell prints, or are you willing to share the resulting images at 7:49 by any chance? I really like both results. Also, is it just me, or is your website broken on mobile?
For everyday use? No. It's first and foremost a monopod head, which comes with its own set of hurdles. For example, I find myself needing to adjust my tripod legs just to get a level scene. A simple ball head is far more convenient for everyday use. But if you're looking for a specific set of movements, the L20S is well made. It also uses the standard 3/8 thread, so it can mount to pretty much most tripod legs.
Using the hasselblad with the 80mm what degree of change do you do per picture to make the contact sheet? how can I calculate this for myself? id like to try and mimic this style of photography
Depending on the scene I'll use either the 80mm or the 150mm. The amount of movement required depends from scene to scene. How I figure that out is looking straight into the viewfinder, take a note of where one edge is, and move it one frames worth. Not really scientific and not super accurate. But it sort of works.
You certainly can! Its actually easier to do as 35mm has more exposures per roll. For example, a single trichrome image takes 3 exposures, on a standard 35mm 36 exposure film that means you can do 12 trichrome pictures
This stuff is only valuable for the impressionistic quality of the mistakes. So why try for perfection? You had a Hassleblad! You could have just taken one color picture, and it would have been perfect! REACH FOR UNATTAINABLE PERFECTION! For the drama... IMHO
I recommend using the built in photoshop automerge for aligning the trichromes. If you turn off the merge images option, you'll get the 3 lined up images as 3 layers. Much much much easier than moving them by hand.
Huh, so that's a thing. I'll have to fiddle around with it.
This is a man of focus, commitment and sheer fucking will
thanks for this - watching your channel is what i'd like to think reading the diary of a mad scientist is like. do people ever come up to you while you're trichroming and ask what you're doing?
Most people usually leave me alone. It's other photographers and people who used to shoot film that asks questions.
Actually on my last attempt an older gentleman approached me and was stoaked to see someone shooting film. He talked about how his dad used to be a photographer and shot with Hasselblads. It was neat.
7:51 tbh I Really fuck with the first one. The weird color shifts and frame misalignments are so cool, its like a glitch effect or something, plus the infrared makes it even better. Hella cool
You're an absolute psycho man! Especially going through the post process without automerge, absolute legend ahah. So cool that you did this though, and the results are stellar!
You are one of the few interesting film photography you tube channels. Your unhealthy obsession and dedication to the these wild experiments is commendable as it is concerning.
Really dig the first infrared one! IMO it's the staple of this process of making a photo. Granted, it's a torturing process, but that photo conveys all the craziness that would happen if anyone wanted to follow suit. Kudos to you my man!
These are the experimental photography videos I like when i open UA-cam.
it finally happened
That last attempt is perfect for a Mamiya C series user like myself that doesnt have interchangeable backs, but can get crazy closeups
I spent a few years evolving my own Tri-Colour B&W separation photography technique, and eventually I got fantastic results with really beautiful colour and exquisite tonality. But it took a long time, and the Photoshop work was often sheer torture. Glad to see someone else carrying the torch.
you are the best analog channel on the internet! i love your content
When those turn out, they look great. A color infrared one would look killer if nailed.
Man you are such a sucker for punishment - its brilliant. That second contact sheet came out great!
Trichrome Contact sheet liquid emulsion on cianotype, idk if that makes any sense
I'm not sure what the sensitivities are for liquid emulsions or cyanotypes, but that's something I'm definitely interested in trying.
I love the look of trichroming a waterfall. NEED to try that
that first trichrome looked so sick. wow. wowowowowowowow
this entire thing is bananas
was just checking your channel today to see if you uploaded. can't imagine how tedious this must have been ahaha! love the channel!!
the results look brilliant though deadass, especially knowing the work that went into them
Absolute mad lad.
absolute food lad
It's so cool to see you do such crazy shit! Today I was literally explaining to a friend how cool tri-chroming and contact sheet photography were individually and now you've gone and done both at the same time. Great work keep it up!
Honestly I love the look of the one with the more mistakes. Thats what makes trichrome so cool to me is where the errors and exposure issues give the picture incorrect colors
Things like this motivate me to experiment with photography
Very cool! The rainbow rebates really make it.
i kinda love the surreal dali-esque nature of the first one not gonna lie
Neat project, I like it. Some (many?) hasselblad backs don't have truly orthogonal frame edges, usually it's the top (or bottom, or both) but I've had ones that the sides are off too. Hasselblad techs said this was normal when sent in for service. Before digital and film scanning I doubt too many even noticed this.
You are certifiably crazy--in really, really good genius way! Brilliant!
Omg yes, I get so excited every time you release a video. It rarely happens to me that I ring the bell on youtube to get notifications, but this channel deserves it. Probably the best channel on experimenting with film development.
my favorite film madman is back!
Stunning amount of work you have done here, thank you for sharing this awesome experiment. I learnt a great deal!
the second attempt is reallyyyy good well done
Everything you do is so interesting. I pretty much only shoot digital but I can't stop watching this videos. Love your dictation to the craft. Not many people doing this type of thing.
Thanks!
Last night, I developed and scanned my first trichrome roll on Ilford PanF. 4 out of 5 of the shots looked great! It was worth all the effort!
Thanks for the awesome UA-cam content, bro :)
That's awesome, glad to hear it!
This is super cool! Just a fun idea - maybe just do a trichrome-contact-sheet pano? Since the strips have 3 frames each, each one could be a color-channel for the same 3-shot-pano? It'd save on film and make frame spacing more consistent I think
This sheet is insane
Men this is really inspiring ! I've been shooting trichrome for years now and this give me some new ideas. Remember there's an option on psd to auto align the three different images . ( It's around the middle on the Edit window )
Great video as always 👌
Thanks. Someone told me about auto align shortly after I posted this video and I feel like I wasted so much time. I've since used it for trichrome contact sheets, but I still manually align for the occasional trichromes.
Fascinating, thanks for sharing this enormous task. Single frame trichromes are PITA enough, this is another level. Do 11x14 next!! or 6x17!
This is awesome. I actually kind of dig the weird, not quite even look you got from 1:0 at the end. Probably won't try it out but it's cool to see that it works!
This made me so happy. Thank you, you mad man. Keep it coming
Love you man, finished both ads for you :)
The closest this reminds me of is narrow band astrophotography. You also use filters to capture different parts of the spectrum. You might then also do 20x50second of every part of the mosaic and add all the dark, flat and bias frames. The results can be great, but it's all digital with a lot of post processing.
I have tried to shoot some panormas with low resolution thermal cameras and it was an adventure. Getting the exposure correct across the whole scene is one challenge and not having a panorama head is the next.
I have heard from people doing HDR panoramas where every angle is bracketed, which cameras do on their own. And in the end they combine it for increased dynamic range and reduced noise.
But if you go beyond two dimensions of spatial and fee channels of color or exposure. If you got example do super resolution by mult exposure or sensor shift or something like focus stacking. You can end up taking a few thousand exposures for a single photograph.
Building a robot to do this for me and do the calculations in real time sounds like a goal to me. It has been done by Richard Mosse already, so I know it's possible.
You might of already figured this out, but for a more efficient process you can:
Shoot Red, shoot Green , Shoot Blue, Reposition frame. Then shoot Blue again, shoot Green, shoot Red.
Basically reverse order, and saves you a whole 'remove dark slide/swapback' step for each trichrome frame.
That is 12 less times you have to swap backs and even less dark slide steps (I can't do that much math after finishing work haha)
I actually tried that for my first attempt. While it was more efficient, I ended up losing track of where I was. You can see where I doubled up frames and that's where I was on autopilot and forgot if I was going RGB or BGR.
It does work, but requires more attention.
@@atticdarkroom Its does sound like a nightmare to keep track of, probably something you would have to do alot of to get it intuitively
Yeah, maybe after some practice or some diligent note taking.
For myself I'll probably stick with RGB because for me its tried and true, and with so many other variables in the mix, it's one less thing I need to worry about in the field.
Looks pretty rad. Like you said... lots of work. Seems like you have to choose between fixing registration problems in post, or just accepting that even the most expensive 6x6 cameras available won't be perfect on that front :)
After I saw your video on contact sheet art, I did a bunch of math to see what I could do with a roll of 35mm. Thought it could be kind of a cool look to contact print, maybe using an alt process like salt printing or kallitype. Still probably will try it at some point. Dunno when though. Like you said, lots of work haha.
This is mad. I love it
This is totally awesome. You're inspirationally crazy.
1:32 - you have a hasselblad with at least 3 backs, and so you no longer have any money. ;D I just found your channel and I love your experiments. :)
4:22 i'm not much of a bw shooter (but becoming more familiar with it as i transition to home development) it's awesome to see the effects of diff coloured filters on the frames (even though they are diff film stocks) makes me wanna burn a roll just testing a bunch of scenes with a bunch of diff coloured filters
Ah, Multnomah Falls! Been there, walked up to the top, back around 1970. Couldn't figure out a way to get a decent photo (of the whole upper fall, bridge, and lower fall) on either a Brownie Hawkeye Flash or a Pony 135. Now I'd set up my RB67 with Graflex 23 film back and 50 mm + 0.46x converter (effective 23 mm lens). And I wouldn't even *consider* making a contact sheet image, never mind a contact sheet IR trichrome... O.o
My next roll of 120 Ektachrome will definitely be a contact sheet for sure
"It goes against my only rule: trichrome everything."
I love this channel. If nothing else, you've at least shown me that my stupid ideas can be tested lol
Was fully expecting the "easier method" to just be a roll of portra ... :)
Dude, you nailed it!! Great video as always!!
Next level- gum print the trichrome contact sheets 😂
You can also dev 2 rolls of 120 on one reel, if you tape the 2 rolls together at the end, and load it basically as a 220 roll.
I also know you can reel the film in base to base. I wonder if you can develop 4 rolls on 120 in a single reel 🤔
@@atticdarkroom that's a little far, even for me. You may have some fixing problems, but you can totally fix the film properly after
This started to get me thinking.... Can I somehow shoot trichrome 16mm on my Bolex? So, thanks for planting that seed.
I sort of prefer the first attempt. The mistakes give a quality.
Hey dude, love your vids! I had a crazy thought today: Maybe im insane, but if you tri-chromed black and white slide film, and then overlapped them or recaptured them together somehow, could you create a colour image in person lol? or like if you were able to put all 3 images together in one slide holder? I would love to see some experiments with black and white slide since its a pretty rarely discussed film choice. Thanks! please keep torturing film stocks
You are damn crazy man. I love you.
Sweet video. I enjoyed that a lot.
Now do CMYK!
Theoretically, I don't think you're supposed to readjust exposure between shots or colors, but rather take one reading, adjusting it up, and keeping it the same for every shot
If you think about it, all three layers of a color film are getting the same exposure.
I guess technically what you're doing is a roundabout white balance, as you'll average out the gray value to be equal for all three components, making a neutral gray.
I love the imperfect and otherworldly first attempt better. It doesn't have to be good, all aligned and color corrected. If "perfect" was the goal you'd straight up shoot color film. But you don't, so embrace the fuck ups.
Not sure if this has been done anywhere, but I think it should be theoretically possible to do trichromatic with three colors that aren’t RGB (say Cyan Magenta and Yellow filters ). It wouldn’t be as simple as bringing in each image as one of the color channels in photoshop, but would be interested to see the results
CMY doesn't really work because it's subtractive, you get random muddy colors. With that said you can totally mix and match colors filters and it'll give you wacky colors.
Cool weirdness. I been looking for a bit. You put colors together. Have you ripped any apart yet? I might try separating a color negative onto three black and white films under the enlarger today. Then I'd have to contact print a negative from that positive.
I'd be really curious to see someone attempting this using a 6x6 back on an 8x10 camera, essentially just using a ridiculous amount of focal plane shifting. If this works at all you could get perfect perspective alignment.
I really like this idea. It won't happen anytime soon, but I'll definitely try this someday.
Did you know you can fit 2 rolls of 120 on a Paterson reel? It changed my life to find this out
ב''ה, you got a (what the manufacturers are calling) "HDR" effect from per frame metering, but otherwise you'd want one exposure setting per scene or, if different densities, per filter, though then you're living with what the film can give you.
you should try the chroma camera!
You just like being in pain, don't you?..But seriously, this looks amazing! I still need to try trichrome
Try using color filters with redscaled film
Thanks!
Thank you so much. I really appreciate it!
What kind of paper you use to make contact? You made it by analogic papers or you made it digitaly??? Congratulations from ARGENTINA
Love it
You should invest in an 8x10 camera
question: have you ever printed trichrome in a darkroom? with analog printing paper? I've recently dove into this world of trichromatic photography (must say, I'm hooked!). but I am a darkroom fiend and want to try printing a trichromatic print....any thoughts? I've done the modern photoshop way, I want to try the analog way :)
I haven't, but it's high on the list of things I want to try.
In theory it should be possible. I'd imagine you'd have to do a triple exposure with each negative and their corresponding color filter.
Alignment sounds like a nightmare though.
@@atticdarkroom omg! Thank you for the quick reply! 😃 I was thinking the same things, maybe there's a way to work out the alignment before I turn off the lights? I guess it's just about testing it and finding out as I go along. 🤓🤓
I'll be honest I just binged watched your entire channel I think... Can't wait for the next "uninspired" thing.
Regarding the alignment, here's the best I could come up with:
First print one of the negatives. This will be a reference print.
Place the reference print in the easel.
Align the negative to the reference print.
Remove reference print and place RA4 paper.
Make your exposure, and then put the RA4 paper in a paper safe.
And repeat for the other two channels.
This is very clunky and there's probably an easier way, but that's what I got so far.
@@atticdarkroom ok, I'm going to share with you my experience with trying to print a trichromatic photograph in the darkroom. be advised, it's not a happy ending. Also, this might be a very long comment. I apologize in advance.
so, in theory if I did a triple exposure with each negative and their corresponding color filter, I would have a beautiful trichromatic photograph. here's what happened: the red filter printed a brownish print, the green filter printed a red print, and the blue filter printed an orange print. now you may think: ok, so it prints out the complimentary color of the filter (aka red-green, blue-orange, green-red), lets try using a complimentary filter in the first place. But then how come the red filter printed a brownish print and not a green print??
so after some thinking, and consulting, I thought of another theory: use the enlarger color filters CYM to create the colors I need. that way the print will come out the color I want and not the complimentary color. and that's what I did: tested each negative to find its corresponding filter color through the filters in the enlarger. I now had 3 separate prints, one was red, one was green and one was blue. ok, time to put it all together right? triple exposure, three negatives, each one with its corresponding filters to create the correct colors. and....it didn't work. all I got was a dark reddish brownish print. as if no filters were used. so I'm at a loss, don't even know what else to try. and I couldn't find any useful information online. so I'm gonna hit the books! not giving up yet, just wanted to share my frustration.
That sounds really frustrating. I'm not sure what went wrong, but I'm glad to hear you're not giving up on this.
Thanks for the update.
You sir are batshit crazy but I love it. PS where did you get those magnetic filter attachments??
They're Manfrotto Xume adapters. I think they're discontinued now which sucks.
Blessed
this is great :)
Man, you really like doing photography in hardcore mode, don't you? 🤣
Incredible work! Do you sell prints, or are you willing to share the resulting images at 7:49 by any chance? I really like both results.
Also, is it just me, or is your website broken on mobile?
Thanks. I currently don't sell prints, and any files would be on my website, which is broken. I just haven't gotten around to fixing it yet.
@@atticdarkroom heya, any chance you could upload the resulting images now that your website is fine? Really love the results
Trichrome, tricost. What a pricey mistake. Still fun to experiment
Would Trichrome with multiple cameras and beam splitter be the way to do it?
OK hear me out:
Trichrome but with 3 different film stocks
That is what he did for the first attempt, Rollei Retro 400, Ilford HP5, Kodak Tri-X :)
Is the Sirui L-20S tripod head worth it for everyday use? also is it compatible with any manfrotto tripod?
For everyday use? No. It's first and foremost a monopod head, which comes with its own set of hurdles.
For example, I find myself needing to adjust my tripod legs just to get a level scene. A simple ball head is far more convenient for everyday use.
But if you're looking for a specific set of movements, the L20S is well made. It also uses the standard 3/8 thread, so it can mount to pretty much most tripod legs.
have you sue the ISO setting on meter to speed up ur work flow?
Now do it with 4x5's
Using the hasselblad with the 80mm what degree of change do you do per picture to make the contact sheet? how can I calculate this for myself? id like to try and mimic this style of photography
Depending on the scene I'll use either the 80mm or the 150mm. The amount of movement required depends from scene to scene. How I figure that out is looking straight into the viewfinder, take a note of where one edge is, and move it one frames worth.
Not really scientific and not super accurate. But it sort of works.
@@atticdarkroom thank you so much for responding, I can’t wait to try, I also plan to try trichrome soon, what magnetic filter system do you use
I use Manfrotto Xume adapters. I think they're discontinued now which is a real shame because they work so well.
Can you trichrome with 35mm? Or is it just too much work/too annoying
You certainly can! Its actually easier to do as 35mm has more exposures per roll.
For example, a single trichrome image takes 3 exposures, on a standard 35mm 36 exposure film that means you can do 12 trichrome pictures
And I thought dye transfer printing was a pain...
I dare you to pull delta 3200 to iso 32
🤔
How to trichrome without.. computer?
Have you ever tried combining trichrome photos with an enlarger onto color photo paper ?
I haven't yet. In theory it should work, but I need to learn up on RA-4 printing. I do want to try it though.
You like chipotle?🌯
The labels on the backs made me irrationally angry lmao
and I thought I was insane
Ok but why not just cut up the contact sheets and cut/paste accordingly.
Between magic and witchcraft
This stuff is only valuable for the impressionistic quality of the mistakes.
So why try for perfection? You had a Hassleblad! You could have just taken one color picture, and it would have been perfect!
REACH FOR UNATTAINABLE PERFECTION! For the drama... IMHO
Calls himself a film photographer - spends more hours in Photoshop than sniffing the pastel tonez from canisters of portra 69