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Home Office Clutter, shot on Ilford HP5+, developed in Kodak D-76 1:1, 68 degrees, 11 minutes, 1 inversion every 15 seconds

Kodak 400TMY-2, 135 Format, Kodak D-76 1:1, 68 degrees, 10:00, 1 inversion every 15 seconds.

 

Standard Negative Scan (4200 dpi), cropped to 4x5, spotted for dust, basic exposure adjustment.

This was shot on 35mm Kodak TMAX 400 (400TMY2) film. It was scanned in and post processed with Simple Image Tools in 32 bit floating point linear light space.

 

It was developed in Kodak D-76 1:1 at 68 degrees for 10:00 and fixed with Kodak Fixer.

0129_3308

 

Shot on Ilford Photo HP5+ with a Toyo 4x5 camera and 120 roll film back. The lens used was Fujinon W 150mm.

 

It was developed in Kodak replensihed XTOL at 24C for 7:00 with constant rotary agitation and fixed with Kodak Fixer.

 

Strobist:

 

Main light, camera left, Paul Buff White Lightning X1600 in LumoPro 36 inch Octobox feathered across the background.

 

Fill light, behind camera Paul Buff White Lightning X1600 shot against 8x12 foot white wall.

This was shot on 35mm Kodak TMAX 400 (400TMY2) film. It was scanned in and post processed with Simple Image Tools in 32 bit floating point linear light space.

 

It was developed in Kodak D-76 1:1 at 68 degrees for 10:00 and fixed with Kodak Fixer.

Shot on Kodak Tri-X 400TX 35mm film. Scanned in and processed with simple image tools in 32 bit floating point scene referred linear light space. Developed with Kodak D-76 1:1 for 9:20 at 68 degrees. Fixed with Kodak Fixer.

This was shot on 35mm Kodak TMAX 100 (100TMX) film. It was scanned in and post processed with Simple Image Tools in 32 bit floating point linear light space.

 

It was developed in Kodak D-76 1:1 at 68 degrees for 9:30 and fixed with Kodak Fixer.

20170912_1018

 

Strobist:

 

Main Light, camera left: Paul Buff White Lightning X-1600 in LumoPro 4x6 foot softbox, Rosco R08 Pale Gold gel

 

Fill Light, camera right: Paul Buff White Lightning X-1600 in LumoPro 2x3 foot softbox, Rosco R3202 Full CTB stacked with R3304 Tough Plusgreen gel

 

Hair Light, camera top: LumoPro LP180, no gel, Magmod MagGrid

 

Backdrop Light, behind subject: LumoPro LP180, no gel, Magmod MagGrid, Magmod MagSphere

 

All lights triggered with PocketWizard PlusX radio triggers.

20171115_3140

 

Strobist:

 

Key Light, Camera Left: Paul Buff White Lightning X-1600 in a LumoPro Octa90 softbox, Rosco CalColor Gels: 30 units of Yellow, 15 units of Red, metered to f/4.0

 

Fill Light, Paul Buff White Lightning X-1600 bounced off of 10x20 foot white sheet behind camera, Rosco CalColor Gels: 120 units Cyan, 60 units Blue, metered to f/1.0

 

Hair light, LumoPro LP180 bounced off of overhead white card. MagMod MagGrid, 1/4 CTO MagGel, metered to f/1.0

 

Background Light: LumoPro LP180 with MagMod MagGrid, MagSphere, full CTO MagGel, metered to f/1.4

 

Background: Savage Thunder Grey

This was shot on 35mm Kodak TMAX 100 (100TMX) film. It was scanned in and post processed with Simple Image Tools in 32 bit floating point linear light space.

 

It was developed in Kodak D-76 1:1 at 68 degrees for 9:30 and fixed with Kodak Fixer.

0022_0581

 

Shot on Kodak TMAX400 film in 135 format on a Canon EOS 1n SLR and Sigma 35mm ART prime lens.

 

Developed in Kodak D-76 1:1 at 68 degrees for 10:00, 1 inversion every 15 seconds. Fixed in Kodak fixer.

0029_0803

 

Shot on Lomography Lady Grey BW400 film and a Canon EOS 1n SLR. Don't remember the lens used. I shot it on program exposure and let the camera meter for what it thought was best.

 

Developed in Kodak D76 1:1 at 68 degrees for 10:00 with 1 inversion every 15 seconds. Fixed in Kodak Fixer.

 

Digitized with a Canon 80D and custom film jig and the raw file was processed through simple image tools to create the linear positive.

 

A lot of people say Lady Grey is like a less expensive Kodak TMAX 400. I have to totally disagree. I've charted the H+D curve of this film and all of Kodak's BW film stock, and if Lady Grey film base is exposed to the digitizer so that it is the same brightness as TMAX 100, the H+D curve is exactly the same as TMAX 100., given that both are developed in D76-1:1 for their respective recommened times.

 

TMAX 100's H+D curve is very similar to TMAX 400 from the film base up to a stop or so over normal exposure. After that, TMAX 100 starts to roll off into shoulder until it maxes out density at about 8 stops over normal exposure. TMAX 400 on the other hand just keeps getting denser at a pretty good clip. I've exposed a grey card onto TMAX 400 all the way up to 13 stops over normal exposure (the max I can do) and still hadn't run into shoulder. Lady Grey is not a less expensive version of TMAX 400. It's like TMAX 100 under exposed by 2 stops and pushed by 2 stops except grain more like 400TX.

0125_2925

 

Shot on a Toyo 4x5 large format camera with a Fujinon W 150mm lens and a 120 roll film film adapter.

 

The film used was Ilford HP5+ and it was developed in Kodak replenished XTOL at 24C for 7:00 with constant rotary agitation. Fixed in Kodak Fixer.

 

Scanned and digitized with Simple Image Tools and 0.62 contrast.

 

Strobist: backlit with a single LumoPro LP180.

0112_2752

 

Shot on JCH Street Pan 400 135 (JCH_400) film with a Canon EOS-1n and Sigma 35mm ART Prime lens.

 

Developed in replenished Kodak XTOL with rotary agitation at 24C for 11:00, fixed with Kodak Fixer.

 

Digitized with a Canon 80D using a 100mm Cine Macro lens and studio strobe with a custom film jig.

 

Linearized with Simple Image Tools and a film profile with a Contrast Index of 0.72.

...Even though you just said something hilarious.

 

20171023_2938

 

Strobist:

 

Key: Paul Buff X-1600 White Lightning in a LumoPro Octa90 softbox. Rosco Calcolor 45 units Yellow, 15 units Pink.

 

Fill: Paul Buff X-1600 White Lightning in a 8x14 foot makeshift softbox, Rosco Calcolor 180 units Cyan, 60 units Blue.

 

Hair Light: LumoPro LP180 bounced off a white foam-core board, MagMod MagSnoot, 1/4 CTS MagGel.

 

Background Light: LumoPro LP180 with MagMod MagGrid, MagSphere, Full CTO MagGel.

 

All lights triggered with PocketWizard PlusX radio triggers.

Strobist:

 

Main Light, camera left: Paul Buff White Lightning X-1600 in LumoPro 4x6 foot softbox, stacked, Rosco R3409 Quarter CTO gel, R08 Pale Gold gel

 

Fill Light, camera right: Paul Buff White Lightning X-1600 reflected against white wall and used as base fill, stacked Rosco R375 Cerulean Blue gel, R3202 Full CTB gel, R3304 Tough Plusgreen gel.

 

Hair Light, camera top: LumoPro LP180, Rosco R3409 Quarter CTO gel, Magmod MagGrid

 

Backdrop Light, behind subject: LumoPro LP180, stacked, Rosco R3409 Quarter CTO gel, R26 Red gel, Magmod MagSphere

 

All lights triggered with PocketWizard PlusX radio triggers.

20171015_2712

 

Lighting Formula:

 

Fill: Metered to f/1.0

Key Metered to f/2.8

 

Strobist:

 

Key Light: Paul Buff White Lightning X-1600 in LumoPro Octa-90 Lightbox. Rosco Calcolor 15 units yellow, 15 units red.

 

Fill Light: Paul Buff X-1600 with 8 inch standard reflector shot against a white sheet behind camera. Rosco Calcolor 150 units Cyan, 75 units Blue

 

Hair Light: LumoPro LP180, MagMod MagGrid, MagMod 1/4 CTS gel

 

Background Light: LumoPro LP180, MagMod 2x MagGrid, MagMod Full CTO gel

20171004_2259

 

Metered Lighting Formula:

 

Key Light: f/4.0

Fill Light: f/1.4

Background Light: f/2.0

Hair Light: f/1.4

 

Strobist:

 

Main Light, camera left: Paul Buff White Lightning X-1600 in LumoPro Octo-90 softbox, stacked gels, Rosco CalColor 15 units Yellow, 15 units Red

 

Fill Light, camera right: Paul Buff White Lightning X-1600 in LumoPro 4x6 foot softbox and used as base fill, stacked gels, Rosco Calcolor 90 units Cyan, 60 units Blue

 

Hair Light, camera top: LumoPro LP180, MagMod Quarter CTO gel, Magmod MagGrid bounced against overhead white foamcore board

 

Backdrop Light, behind subject on grey mottled muslin: LumoPro LP180, MagMod Quarter CTO gel, Magmod MagSnoot

 

All lights triggered with PocketWizard PlusX radio triggers.

0050_1377

 

Shot on Ilford HP5+ 120 roll film with a Fujica GW690 camera. Developed with Kodak D-76 1:1 for 13:00 at 68 degrees F. +- 0.25 degrees, 1 inversion every 15 seconds. Fixed with Kodak Fixer.

 

Digitized with a Canon 80D and custom film jig lit with a studio strobe. Turned into a positive image via Simple Image Tools and a film profile developed specifically for this emulsion

0038_0928

 

Shot on Kodak TMAX 400 (TMY2) Film in 120 roll film format on a Fujica GW690 medium format camera.

 

Developed in Kodak D-76 1:1 for 10:00 at 68 degrees, 1 inversion every 15 seconds. Fixed with Kodak Fixer.

 

Digitized with a Canon 80D with a 100mm Cine Macro lens and a custom film holder jig with a studio strobe. Shot RAW.

 

Turned into a floating point linear light Adobe DNG positive image using Simple Image Tools and a LUT designed specifically for this emulsion.

20170909_0699

 

Strobist:

 

Main Light, Camera Left: Paul Buff X-1600 White Lightning in LumoPro 4x6 foot softbox, Rosco 1/4 CTO gel

 

Camera Right: Paul Buff X-1600 White Lightning in LumoPro 2x3 foot softbox, Rosco Cerulean Cyan gel

 

Overhead Light: Bare LumoPro LP180, MagMod MagGrid

 

Everything triggered with PocketWizard PlusX wireless triggers

20170911_0983

 

Strobist:

 

Main Light, Camera Left: Paul Buff White Lightning X-1600 in LumoPro 4x6 foot softbox, Rosco R08 Pale Gold gel

 

Fill Light, Camera Right: Paul Buff White Lightning X-1600 in LumoPro 2x3 foot softbox, Rosco R3202 Full CTB gel.

 

Overhead Light: LumoPro LP180, MagMod full CTB gel with MagSphere.

 

Willis Tower Light, Camera Left, behind subject shooting through clear bricks: LumoPro LP180, MagMod Full CTO, MagSnoot.

 

John Hancock Center Light, Camera Right: LumoPro LP180, MagMod Creative Green gel, MagSnoot

 

All lights triggered with PocketWizard PlusX radio triggers

20170910_0706

 

Strobist:

 

Main Light, Camera Left: Paul Buff X-1600 White Lightning in LumoPro 4x6 foot softbox, Rosco 1/4 CTO gel

 

Camera Right: Paul Buff X-1600 White Lightning in LumoPro 2x3 foot softbox, Rosco Cerulean Cyan gel

 

Overhead Light: Bare LumoPro LP180, MagMod MagGrid, 1/4 CTB gel

 

Everything triggered with PocketWizard PlusX wireless triggers

This was generated with a revision of the code that added additional controls to the camera profile used. The colorspace used was switched to Identity Color Space (it's bigger than ACES 2065-1)

This was generated with a revision of the code that added additional controls to the camera profile used. The colorspace used was switched to Identity Color Space (it's bigger than ACES 2065-1)

Simple Image Tools Edge Detection Testing

 

These photos are to test how well Simple Image Tools detects and renders edges. There should be crisp edges with a smooth artifact free transition to the out of focus areas of the image.

 

All of these photos where shot outside in the late afternoon. The white balance in LR was set to Daylight, and other than basic exposure corrections, these are as they came out of the raw processor.

 

Simple Image Tools took the raw CR2 file and demosiaced and converted it to a scene referred 32 bit floating point linear light TIFF file.

 

The colorspace used was the Identity Color Space (from ninedegreesbelow.com), which is the biggest color space I've ever seen.

 

Upon import into LR, LR converted it to it's internal color space.

0056_1352

 

Shot on Fomapan 200 BW Film in 135 (35mm) format at EI 160

 

Processed in Kodak D-76 1:1 at 68 degrees for 10:00 with 1 inversion every 15 seconds. Fixed with Kodak Fixer.

 

Digitized with a Canon 80D in a custom film jig with a 100mm Cine Macro lens and studio strobe.

 

Turned into a positive image via Simple Image Tools and a film profile developed specificially for this emulsion.

0083_2921

 

Shot on Bergger Pancro400 135 format. Developed in Kodak replenished XTOL, at 24C, constant rotary agitation. Still working out development time.

 

Scanned in and linearized with 0.62 contrast with Simple Image Tools

Shot on Kodak Tri-X 400TX 35mm film. Scanned in and processed with simple image tools in 32 bit floating point scene referred linear light space. Developed with Kodak D-76 1:1 for 9:20 at 68 degrees. Fixed with Kodak Fixer.

Simple Image Tools Edge Detection Testing

 

These photos are to test how well Simple Image Tools detects and renders edges. There should be crisp edges with a smooth artifact free transition to the out of focus areas of the image.

 

All of these photos where shot outside in the late afternoon. The white balance in LR was set to Daylight, and other than basic exposure corrections, these are as they came out of the raw processor.

 

Simple Image Tools took the raw CR2 file and demosiaced and converted it to a scene referred 32 bit floating point linear light TIFF file.

 

The colorspace used was the Identity Color Space (from ninedegreesbelow.com), which is the biggest color space I've ever seen.

 

Upon import into LR, LR converted it to it's internal color space.

0040_1000

 

Shot on Lomography Earl Grey 100 B&W film in 135 format on a Canon EOS 1n SLR and Sigma 35mm ART prime lens.

 

Developed in Kodak D-76 1:1 at 68 degrees for 10:00, 1 inversion every 15 seconds. Fixed in Kodak fixer.

0037_0922

 

Shot on Kodak TMAX 400 (TMY2) Film in 120 roll film format on a Fujica GW690 medium format camera.

 

Developed in Kodak D-76 1:1 for 10:00 at 68 degrees, 1 inversion every 15 seconds. Fixed with Kodak Fixer.

 

Digitized with a Canon 80D with a 100mm Cine Macro lens and a custom film holder jig with a studio strobe. Shot RAW.

 

Turned into a floating point linear light Adobe DNG positive image using Simple Image Tools and a LUT designed specifically for this emulsion.

This was shot on 35mm Kodak TMAX 400 (100TMY2) film. It was scanned in and post processed with Simple Image Tools in 32 bit floating point linear light space.

 

It was developed in Kodak D-76 1:1 at 68 degrees for 10:00 and fixed with Kodak Fixer.

0040_1004

 

Shot on Lomography Earl Grey 100 B&W film in 135 format on a Canon EOS 1n SLR and Sigma 35mm ART prime lens.

 

Developed in Kodak D-76 1:1 at 68 degrees for 10:00, 1 inversion every 15 seconds. Fixed in Kodak fixer.

0112_2748

 

Shot on JCH Street Pan 400 135 (JCH_400) film with a Canon EOS-1n and Sigma 35mm ART Prime lens.

 

Developed in replenished Kodak XTOL with rotary agitation at 24C for 11:00, fixed with Kodak Fixer.

 

Digitized with a Canon 80D using a 100mm Cine Macro lens and studio strobe with a custom film jig.

 

Linearized with Simple Image Tools and a film profile with a Contrast Index of 0.72.

0076_1713

 

Shot on Kodak Tri-X (400TX) 135 film with a Canon EOS-1n and Sigma 35mm ART Prime lens.

 

Developed in replenished Kodak XTOL with rotary agitation at 20C for 7:30, fixed with Kodak Fixer.

 

Digitized with a Canon 80D using a 100mm Cine Macro lens and studio strobe with a custom film jig.

 

Linearized with Simple Image Tools and a film profile with a Contrast Index of 0.56.

0056_1357

 

Shot on Fomapan 200 BW Film in 135 (35mm) format.

 

Processed in Kodak D-76 1:1 at 68 degrees for 10:00 with 1 inversion every 15 seconds. Fixed with Kodak Fixer.

 

Digitized with a Canon 80D in a custom film jig with a 100mm Cine Macro lens and studio strobe.

 

Turned into a positive image via Simple Image Tools and a film profile developed specificially for this emulsion.

0076_1719

 

Shot on Kodak Tri-X (400TX) 135 film with a Canon EOS-1n and Sigma 35mm ART Prime lens.

 

Developed in replenished Kodak XTOL with rotary agitation at 20C for 7:30, fixed with Kodak Fixer.

 

Digitized with a Canon 80D using a 100mm Cine Macro lens and studio strobe with a custom film jig.

 

Linearized with Simple Image Tools and a film profile with a Contrast Index of 0.56.

Simple Image Tools Color Rendition Testing

 

These photos are to test how well Simple Image Tools renders color. All of these photos where shot outside in the late afternoon. The white balance in LR was set to Daylight, and other than basic exposure corrections, these are as they came out of the raw processor.

 

Simple Image Tools took the raw CR2 file and demosiaced and converted it to a scene referred 32 bit floating point linear light TIFF file.

 

The colorspace used was the Identity Color Space (from ninedegreesbelow.com), which is the biggest color space I've ever seen.

 

Upon import into LR, LR converted it to it's internal color space.

0056_1349

 

Shot on Fomapan 200 BW Film in 135 (35mm) format at EI 160

 

Processed in Kodak D-76 1:1 at 68 degrees for 10:00 with 1 inversion every 15 seconds. Fixed with Kodak Fixer.

 

Digitized with a Canon 80D in a custom film jig with a 100mm Cine Macro lens and studio strobe.

 

Turned into a positive image via Simple Image Tools and a film profile developed specificially for this emulsion.

0095_2112

 

100TMX Sample Images

 

Shot on Kodak T-MAX 100 and developed in Replenished XTOL with Rotary agitation at 24C for 6:00. Fixed with Kodak Fixer.

 

Standard Simple Image Tools scan and linearization with 0.56 Contrast Index.

 

Camera/Lens: Canon EOS-1n, Sigma 35mm ART Prime.

0112_2753

 

Shot on JCH Street Pan 400 135 (JCH_400) film with a Canon EOS-1n and Sigma 35mm ART Prime lens.

 

Developed in replenished Kodak XTOL with rotary agitation at 24C for 11:00, fixed with Kodak Fixer.

 

Digitized with a Canon 80D using a 100mm Cine Macro lens and studio strobe with a custom film jig.

 

Linearized with Simple Image Tools and a film profile with a Contrast Index of 0.72.

Simple Image Tools Color Rendition Testing

 

These photos are to test how well Simple Image Tools renders color. All of these photos where shot outside in the late afternoon. The white balance in LR was set to Daylight, and other than basic exposure corrections, these are as they came out of the raw processor.

 

Simple Image Tools took the raw CR2 file and demosiaced and converted it to a scene referred 32 bit floating point linear light TIFF file.

 

The colorspace used was the Identity Color Space (from ninedegreesbelow.com), which is the biggest color space I've ever seen.

 

Upon import into LR, LR converted it to it's internal color space.

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