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Author Topic: Iconic Places. Oh what to do. Oh what to do  (Read 3293 times)
Walt Roycraft
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« Reply #40 on: February 14, 2014, 08:16:16 AM »
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Unlike the other images in this thread, which are mostly gorgeous,
I think this last shot has a problem with the  web display size.
I assume the foreground are some sand dunes or very slick rock.
I can't see any structure on it which sort of oddly separates it from the rest of the image.
Probably it works as a large print where you can clearly see the structure,
but on this small size for me it simply falls apart - which again tells me that the print
is the real thing and how limited web display is.
Cheers
~Chris


I mostly agree with what Chris said. I do love the detail and sculpting of the rock formations. Great DR. I do wonder your thought process on including the dunes(?) in the foreground. Even if they do have structure, and I'm sure they do, I'm not sure I would have included them.
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tim wolcott
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« Reply #41 on: February 14, 2014, 09:54:22 AM »
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Sorry guys grabbed the wrong jpeg.  but I'll show your both.  Since this nearly never ever exist and the had lots of wind and no rains the dunes grew faster than than nasty ugly sage.  Something I have been waiting for.  The idea was to have these two formations to be exploding like a rocket ship from the sand dunes.  i'll admit it seems to work better in the color one.  I do have another shot just the next sand over with the lines but with limited time need to dig it out.  

When I went out to Utah I wanted the tropical little clouds that I saw when I left my home usually they track that sort of direction since the monsoons were in.  Tim
« Last Edit: February 14, 2014, 10:06:15 AM by tim wolcott » Logged
tim wolcott
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« Reply #42 on: February 16, 2014, 09:18:32 PM »
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So let me add another one from the Utah area this one also was shot with the Phase One I believe with the IQ250 camera back.  This one was shot also with a ladder and a 12 foot gitzo tripod so I could shoot over the ugly brush and sage that would've been in the way.  I found this location a year ago and wanted to shoot the fall colors here but it was a terrible fall that year.  So I decided it would make a very nice B&W image.  So when the clouds came in I waited until they were in the right spot.  As you can see the landscape needed a great sky to accent the foreground.  All of these images I have shot in both cold and BW.  Tim
« Last Edit: February 16, 2014, 09:22:24 PM by tim wolcott » Logged
Walt Roycraft
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« Reply #43 on: February 17, 2014, 06:13:33 AM »
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Beautiful as usual.
May I tell you what I think the thought process was. So in the color version, the yellow green draws the eye framed nicely by the trees and dramatic sky. Pleasing color palette.
It seems that in the B&W conversion, the desire to draw the eye to the yellow/green area of the landscape was a bit overdone. Maybe it's viewing a jpeg on the screen and not seeing the print. There is a loss in subtle tonal variations that I see,and like, in the color but not in B&W.
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tim wolcott
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« Reply #44 on: February 17, 2014, 08:28:01 PM »
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Yes your color was correct and your BW.  But the original print looks great and there is lots of detail since its a triple stitch.  The point was to lead your eye over the foreground trees and let the yellow area or bright area in BW to keep your eye moving across the landscape going to the left the see the dimensional sky coming at the viewer.  By the way should you convert to profile SRGB in the BW also, like you do for color.   

Here is one from the White Mountains.  When I saw this it was like a hammer hitting me.  But premonitions are worth following and this one strong.  I believe it led me here to this spot.  It was the storm of the century in New Hampshire.  But as my old great professor said if rains use the rain.   

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tim wolcott
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« Reply #45 on: February 24, 2014, 12:12:18 AM »
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Thought I would post another one that I shot on private workshop.  I called this Ansel's Inspiration.

I think as we all look at the great master's who came before us we must recognize there work and pay honor.  A memory of me sitting, talking to Ansel Adams at the age of 17.  I many times reflect back about the inspiration that has shaped me, moved me, I would even say changed my way of thinking and later pushed me into designing a new process that led me into the carbon pigment process.  Later even designing the first pigment inkjet photographs that I had to keep secret as we creating the process from my friends and fellow photographers.  

When I look back Ansel complaining about the reflections of glass casting over his beautiful image of his "Moonrise Over Hernandez" and how it took the glow of his image away.  It has always stuck in my thoughts of getting rid of glass and plexi.  It only took 28 years and a large amount of money and lots of trial and errors to make his thought for me to make it come to reality.  

« Last Edit: February 24, 2014, 09:54:12 PM by tim wolcott » Logged
Alan Klein
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« Reply #46 on: February 24, 2014, 10:15:52 AM »
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Tim:  What process are you referring to?
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tim wolcott
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« Reply #47 on: February 24, 2014, 09:57:58 PM »
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Designing the carbon pigment printing process, which was solid state in 1991.  Later I took what we had developed from there and morphed it into the first pigment inkjet prints in 1995, with the first papers and now another advancement in 2012 by designing the new papers to accept the new coatings to make the most dynamic prints with the use of no glass or plexi needed.  One day hope to sell it, but for now don't have the time.  Tim
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Alan Klein
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« Reply #48 on: February 24, 2014, 10:44:24 PM »
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Wher can we see info on it?  Where can you get photos processed?
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Walt Roycraft
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« Reply #49 on: February 25, 2014, 01:36:06 PM »
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Wher can we see info on it?  Where can you get photos processed?

Alan, I think what Tim is saying is that he doesn't have the time to make this a commercial offering, ie selling it.

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tim wolcott
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« Reply #50 on: February 25, 2014, 02:27:39 PM »
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Walt you are correct but I'm being asked to set a large lab where I live.  We will see soon if that happens.  But if you want to see the prints I have a gallery in Big bear Lake.  But Calumet is talking to me about touring the new process in celebration of my families 175th anniversary and the new process showing how I followed in my ancestors footsteps as well as being guided and influenced by Ansel.  Tim
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Walt Roycraft
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« Reply #51 on: February 25, 2014, 08:02:15 PM »
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Walt you are correct but I'm being asked to set a large lab where I live.  We will see soon if that happens.  But if you want to see the prints I have a gallery in Big bear Lake.  But Calumet is talking to me about touring the new process in celebration of my families 175th anniversary and the new process showing how I followed in my ancestors footsteps as well as being guided and influenced by Ansel.  Tim

Tim, that would be great. Both the lab and the tour.
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tim wolcott
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« Reply #52 on: February 26, 2014, 11:44:58 AM »
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You can have a tour of the gallery but my lab is strictly confidential right now.  Too much intellectual processes going on.  But the real deal is in the gallery on the walls.  Tim
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Christoph C. Feldhaim
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« Reply #53 on: February 26, 2014, 12:10:19 PM »
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Well Tim ...  you cackled so much ... seems its becoming time to lay an egg ... Wink
Cheers
~Chris
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JohnBrew
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« Reply #54 on: February 26, 2014, 06:44:39 PM »
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Tim, I went to your website but find nothing on a gallery in Big Bear. Is there a link to those images? Definitely interested in your new bw printing process.
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tim wolcott
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« Reply #55 on: February 26, 2014, 07:50:57 PM »
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Good one Chris, but this much R&D.  You got to be careful.  The Gallery is at 40772 Village dr, Big Bear Lake, CA 92315

But the process is design for both B&W and color.  But the gallery shows you what we are doing.  Off to go shooting.  Tim
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