#redscale — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #redscale, aggregated by home.social.
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Delft Tiles
At the Open Air Museum Molfsee
Canon AV-1 + KONO! Rotwild No2
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The Historical Pharmacy
At the Open Air Museum Molfsee
Canon AV-1 + KONO! Rotwild No2
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The Historical Pharmacy
At the Open Air Museum Molfsee
Canon AV-1 + KONO! Rotwild No2
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The Historical Pharmacy
At the Open Air Museum Molfsee
Canon AV-1 + KONO! Rotwild No2
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Jour 26 : Orange
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Jour 26 : Orange
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Jour 26 : Orange
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Beautiful Old Chairoplane
At the Open Air Museum Molfsee
Canon AV-1 + KONO Rotwild No2
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The smock mill at the Open Air Museum Molfsee
Canon AV-1 + KONO! Rotwild No2
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while technically not truly monochrome, I think this redscale film shot of the Schuylkill river is in the spirit of #MonochromeMonday as well ^^
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The #FrugalFilmProject, July 2025: The One Where We Tried To Expose Both Sides
This month I thought it would be fun to try something different with the Golden Wonder (a.k.a the Welta Penti II, half-frame Rapid camera). EBS photography, or Expose Both Sides, is exactly what it sounds like. First exposing a film normally in the camera — with the emulsion side facing the subject — but then reversing the film, reloading that into the camera, and exposing the whole film again — this time with the emulsion side facing away from the subject.
There are a few factors that need to be borne in mind when conducting EBS photography, like slightly underexposing each side so that the multiple exposures balance out to give a ‘properly exposed’ film, and deciding whether its important to you if the frames on each side are lined up or not. I loaded the Golden Wonder with a canister of Harman Phoenix, but this time I inserted a little bit of film into the take-up canister and marked the position of the film gate on the film. By doing this I hoped that I could line up the frames when I exposed the other side of the film. I reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to ‘1’.
We took the camera to Barra, where I took photographs around the beach, and later finished the roll in Oliveira do Bairro. When metering the exposures I tried to underexpose the film slightly by taking each image 1-stop under the suggested reading from the Camera Meter app. Once the film was exposed, it was time to turn it over and reload it back into the Golden Wonder. Inside the dark bag I fed the previously exposed film into another Rapid canister, but this time I fed it backwards, as if for redscaling, with the emulsion side facing outwards.
Once loaded into the canister, I pulled a bit of film out of the canister until I could see the gate markings that I made for the first exposure. I marked the emulsion side of the film with the markings in the same position and loaded the canisters into the camera so the film was in the same position. I then reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to number ‘1’. By doing this, I hoped that the frames on each side were lined up.
I took the Golden Wonder on a walk around Águas Boas, a nearby village, and photographed walls, trees and various textures. When taking the photos I held the camera upside down so that the orientation of the images on the both sides would be in the same direction. On completion, the film was taken to Forever Blue in Aveiro and scanned at home with an Epson Perfection v750 Pro flat bed scanner and Epson Scan software. I’ve posted the whole roll in an album on my Flickr, light leaks and all, if you want to see the rest of the images.
On return from the lab, looking at the negatives one thing was immediately apparent: the frames weren’t lined up. In fact they were almost precisely 50% off, so there was a big band down the centre of the first exposure which was the ‘between frames’ unexposed part of the film of the second exposure. Also, the ‘redscaled’ second exposure was well overexposed compared to the first exposure, so most of the details of the first exposure were completely lost. I had tried to underexpose the second exposure by going 1-stop unter the exposure, but clearly it didn’t work.
A couple of the images came out really well, and I was pleased there was some success, but most of them were an unintelligible mess. At the end of the roll, there were a few more redscale images, and these came out really well. I’m definitely going to try some EBS with Rapid films again, though, but next time I might use a different camera to the Golden Wonder. Still, it’s now challenging me to get the frames lined up.
If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.
#HarmanPhoenix #Agfa #AgfaRapid #Cassette #EBS #ExposeBothSides #FrugalFilmProject #HalfFrame #Penti2 #Rapid #RapidFilm #Redscale #Welta
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The #FrugalFilmProject, July 2025: The One Where We Tried To Expose Both Sides
This month I thought it would be fun to try something different with the Golden Wonder (a.k.a the Welta Penti II, half-frame Rapid camera). EBS photography, or Expose Both Sides, is exactly what it sounds like. First exposing a film normally in the camera — with the emulsion side facing the subject — but then reversing the film, reloading that into the camera, and exposing the whole film again — this time with the emulsion side facing away from the subject.
There are a few factors that need to be borne in mind when conducting EBS photography, like slightly underexposing each side so that the multiple exposures balance out to give a ‘properly exposed’ film, and deciding whether its important to you if the frames on each side are lined up or not. I loaded the Golden Wonder with a canister of Harman Phoenix, but this time I inserted a little bit of film into the take-up canister and marked the position of the film gate on the film. By doing this I hoped that I could line up the frames when I exposed the other side of the film. I reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to ‘1’.
We took the camera to Barra, where I took photographs around the beach, and later finished the roll in Oliveira do Bairro. When metering the exposures I tried to underexpose the film slightly by taking each image 1-stop under the suggested reading from the Camera Meter app. Once the film was exposed, it was time to turn it over and reload it back into the Golden Wonder. Inside the dark bag I fed the previously exposed film into another Rapid canister, but this time I fed it backwards, as if for redscaling, with the emulsion side facing outwards.
Once loaded into the canister, I pulled a bit of film out of the canister until I could see the gate markings that I made for the first exposure. I marked the emulsion side of the film with the markings in the same position and loaded the canisters into the camera so the film was in the same position. I then reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to number ‘1’. By doing this, I hoped that the frames on each side were lined up.
I took the Golden Wonder on a walk around Águas Boas, a nearby village, and photographed walls, trees and various textures. When taking the photos I held the camera upside down so that the orientation of the images on the both sides would be in the same direction. On completion, the film was taken to Forever Blue in Aveiro and scanned at home with an Epson Perfection v750 Pro flat bed scanner and Epson Scan software. I’ve posted the whole roll in an album on my Flickr, light leaks and all, if you want to see the rest of the images.
On return from the lab, looking at the negatives one thing was immediately apparent: the frames weren’t lined up. In fact they were almost precisely 50% off, so there was a big band down the centre of the first exposure which was the ‘between frames’ unexposed part of the film of the second exposure. Also, the ‘redscaled’ second exposure was well overexposed compared to the first exposure, so most of the details of the first exposure were completely lost. I had tried to underexpose the second exposure by going 1-stop unter the exposure, but clearly it didn’t work.
A couple of the images came out really well, and I was pleased there was some success, but most of them were an unintelligible mess. At the end of the roll, there were a few more redscale images, and these came out really well. I’m definitely going to try some EBS with Rapid films again, though, but next time I might use a different camera to the Golden Wonder. Still, it’s now challenging me to get the frames lined up.
If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.
#HarmanPhoenix #Agfa #AgfaRapid #Cassette #EBS #ExposeBothSides #FrugalFilmProject #HalfFrame #Penti2 #Rapid #RapidFilm #Redscale #Welta
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The #FrugalFilmProject, July 2025: The One Where We Tried To Expose Both Sides
This month I thought it would be fun to try something different with the Golden Wonder (a.k.a the Welta Penti II, half-frame Rapid camera). EBS photography, or Expose Both Sides, is exactly what it sounds like. First exposing a film normally in the camera — with the emulsion side facing the subject — but then reversing the film, reloading that into the camera, and exposing the whole film again — this time with the emulsion side facing away from the subject.
There are a few factors that need to be borne in mind when conducting EBS photography, like slightly underexposing each side so that the multiple exposures balance out to give a ‘properly exposed’ film, and deciding whether its important to you if the frames on each side are lined up or not. I loaded the Golden Wonder with a canister of Harman Phoenix, but this time I inserted a little bit of film into the take-up canister and marked the position of the film gate on the film. By doing this I hoped that I could line up the frames when I exposed the other side of the film. I reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to ‘1’.
We took the camera to Barra, where I took photographs around the beach, and later finished the roll in Oliveira do Bairro. When metering the exposures I tried to underexpose the film slightly by taking each image 1-stop under the suggested reading from the Camera Meter app. Once the film was exposed, it was time to turn it over and reload it back into the Golden Wonder. Inside the dark bag I fed the previously exposed film into another Rapid canister, but this time I fed it backwards, as if for redscaling, with the emulsion side facing outwards.
Once loaded into the canister, I pulled a bit of film out of the canister until I could see the gate markings that I made for the first exposure. I marked the emulsion side of the film with the markings in the same position and loaded the canisters into the camera so the film was in the same position. I then reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to number ‘1’. By doing this, I hoped that the frames on each side were lined up.
I took the Golden Wonder on a walk around Águas Boas, a nearby village, and photographed walls, trees and various textures. When taking the photos I held the camera upside down so that the orientation of the images on the both sides would be in the same direction. On completion, the film was taken to Forever Blue in Aveiro and scanned at home with an Epson Perfection v750 Pro flat bed scanner and Epson Scan software. I’ve posted the whole roll in an album on my Flickr, light leaks and all, if you want to see the rest of the images.
On return from the lab, looking at the negatives one thing was immediately apparent: the frames weren’t lined up. In fact they were almost precisely 50% off, so there was a big band down the centre of the first exposure which was the ‘between frames’ unexposed part of the film of the second exposure. Also, the ‘redscaled’ second exposure was well overexposed compared to the first exposure, so most of the details of the first exposure were completely lost. I had tried to underexpose the second exposure by going 1-stop unter the exposure, but clearly it didn’t work.
A couple of the images came out really well, and I was pleased there was some success, but most of them were an unintelligible mess. At the end of the roll, there were a few more redscale images, and these came out really well. I’m definitely going to try some EBS with Rapid films again, though, but next time I might use a different camera to the Golden Wonder. Still, it’s now challenging me to get the frames lined up.
If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.
#HarmanPhoenix #Agfa #AgfaRapid #Cassette #EBS #ExposeBothSides #FrugalFilmProject #HalfFrame #Penti2 #Rapid #RapidFilm #Redscale #Welta
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The #FrugalFilmProject, July 2025: The One Where We Tried To Expose Both Sides
This month I thought it would be fun to try something different with the Golden Wonder (a.k.a the Welta Penti II, half-frame Rapid camera). EBS photography, or Expose Both Sides, is exactly what it sounds like. First exposing a film normally in the camera — with the emulsion side facing the subject — but then reversing the film, reloading that into the camera, and exposing the whole film again — this time with the emulsion side facing away from the subject.
There are a few factors that need to be borne in mind when conducting EBS photography, like slightly underexposing each side so that the multiple exposures balance out to give a ‘properly exposed’ film, and deciding whether its important to you if the frames on each side are lined up or not. I loaded the Golden Wonder with a canister of Harman Phoenix, but this time I inserted a little bit of film into the take-up canister and marked the position of the film gate on the film. By doing this I hoped that I could line up the frames when I exposed the other side of the film. I reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to ‘1’.
We took the camera to Barra, where I took photographs around the beach, and later finished the roll in Oliveira do Bairro. When metering the exposures I tried to underexpose the film slightly by taking each image 1-stop under the suggested reading from the Camera Meter app. Once the film was exposed, it was time to turn it over and reload it back into the Golden Wonder. Inside the dark bag I fed the previously exposed film into another Rapid canister, but this time I fed it backwards, as if for redscaling, with the emulsion side facing outwards.
Once loaded into the canister, I pulled a bit of film out of the canister until I could see the gate markings that I made for the first exposure. I marked the emulsion side of the film with the markings in the same position and loaded the canisters into the camera so the film was in the same position. I then reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to number ‘1’. By doing this, I hoped that the frames on each side were lined up.
I took the Golden Wonder on a walk around Águas Boas, a nearby village, and photographed walls, trees and various textures. When taking the photos I held the camera upside down so that the orientation of the images on the both sides would be in the same direction. On completion, the film was taken to Forever Blue in Aveiro and scanned at home with an Epson Perfection v750 Pro flat bed scanner and Epson Scan software. I’ve posted the whole roll in an album on my Flickr, light leaks and all, if you want to see the rest of the images.
On return from the lab, looking at the negatives one thing was immediately apparent: the frames weren’t lined up. In fact they were almost precisely 50% off, so there was a big band down the centre of the first exposure which was the ‘between frames’ unexposed part of the film of the second exposure. Also, the ‘redscaled’ second exposure was well overexposed compared to the first exposure, so most of the details of the first exposure were completely lost. I had tried to underexpose the second exposure by going 1-stop unter the exposure, but clearly it didn’t work.
A couple of the images came out really well, and I was pleased there was some success, but most of them were an unintelligible mess. At the end of the roll, there were a few more redscale images, and these came out really well. I’m definitely going to try some EBS with Rapid films again, though, but next time I might use a different camera to the Golden Wonder. Still, it’s now challenging me to get the frames lined up.
If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.
#HarmanPhoenix #Agfa #AgfaRapid #Cassette #EBS #ExposeBothSides #FrugalFilmProject #HalfFrame #Penti2 #Rapid #RapidFilm #Redscale #Welta
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The #FrugalFilmProject, July 2025: The One Where We Tried To Expose Both Sides
This month I thought it would be fun to try something different with the Golden Wonder (a.k.a the Welta Penti II, half-frame Rapid camera). EBS photography, or Expose Both Sides, is exactly what it sounds like. First exposing a film normally in the camera — with the emulsion side facing the subject — but then reversing the film, reloading that into the camera, and exposing the whole film again — this time with the emulsion side facing away from the subject.
There are a few factors that need to be borne in mind when conducting EBS photography, like slightly underexposing each side so that the multiple exposures balance out to give a ‘properly exposed’ film, and deciding whether its important to you if the frames on each side are lined up or not. I loaded the Golden Wonder with a canister of Harman Phoenix, but this time I inserted a little bit of film into the take-up canister and marked the position of the film gate on the film. By doing this I hoped that I could line up the frames when I exposed the other side of the film. I reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to ‘1’.
We took the camera to Barra, where I took photographs around the beach, and later finished the roll in Oliveira do Bairro. When metering the exposures I tried to underexpose the film slightly by taking each image 1-stop under the suggested reading from the Camera Meter app. Once the film was exposed, it was time to turn it over and reload it back into the Golden Wonder. Inside the dark bag I fed the previously exposed film into another Rapid canister, but this time I fed it backwards, as if for redscaling, with the emulsion side facing outwards.
Once loaded into the canister, I pulled a bit of film out of the canister until I could see the gate markings that I made for the first exposure. I marked the emulsion side of the film with the markings in the same position and loaded the canisters into the camera so the film was in the same position. I then reset the frame counter to zero, closed the camera, and fired off two shots to take the counter to number ‘1’. By doing this, I hoped that the frames on each side were lined up.
I took the Golden Wonder on a walk around Águas Boas, a nearby village, and photographed walls, trees and various textures. When taking the photos I held the camera upside down so that the orientation of the images on the both sides would be in the same direction. On completion, the film was taken to Forever Blue in Aveiro and scanned at home with an Epson Perfection v750 Pro flat bed scanner and Epson Scan software. I’ve posted the whole roll in an album on my Flickr, light leaks and all, if you want to see the rest of the images.
On return from the lab, looking at the negatives one thing was immediately apparent: the frames weren’t lined up. In fact they were almost precisely 50% off, so there was a big band down the centre of the first exposure which was the ‘between frames’ unexposed part of the film of the second exposure. Also, the ‘redscaled’ second exposure was well overexposed compared to the first exposure, so most of the details of the first exposure were completely lost. I had tried to underexpose the second exposure by going 1-stop unter the exposure, but clearly it didn’t work.
A couple of the images came out really well, and I was pleased there was some success, but most of them were an unintelligible mess. At the end of the roll, there were a few more redscale images, and these came out really well. I’m definitely going to try some EBS with Rapid films again, though, but next time I might use a different camera to the Golden Wonder. Still, it’s now challenging me to get the frames lined up.
If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.
#HarmanPhoenix #Agfa #AgfaRapid #Cassette #EBS #ExposeBothSides #FrugalFilmProject #HalfFrame #Penti2 #Rapid #RapidFilm #Redscale #Welta
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Exploring the Sutro Baths 📸 Leica M6 🔘Voigtlander 50mm f/1.5 🎞️ Lomo Redscale #leica #leicam6 #lomo #lomography #redscale #35mm #film #filmphotography #analog #photo #photography #fotografia #believeinfilm #westcoastkin #lensculture #streetphotography #ArtYear #sanfrancisco #bayarea #TagTuesday
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Harman Launches Its Red 125 Redscale Pro-Finished Film in 120 Format https://petapixel.com/2025/06/17/harman-launches-its-red-125-redscale-pro-finished-film-in-120-format/ #harmanred125 #mediumformat #redscalefilm #120format #redscale #120film #Analog #analog #harman #News #film
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Hundreds of miles, six shots, one or two images. Sunnyside, WA. Lomography Redscale ISO 200.
#photography #pinhole #pinholephotography #worldwidepinholephotographyday #mediumformat #filmphotography #redscale #ishootfilm #wppd #wppd2025 -
Browns Point Lighthouse. Tacoma, WA. @miapinholecameras 6x12 Panoramic. @lomography Redscale XR at iso 200.
#pinhole #photography #pinholephotography #pinholecamera #mediumformat #ishootfilm #filmisalive #lomography #redscale #art #fineart #fineartphotography #lomographyredscale #tacoma #lighthouse -
More Redscale, different format -135. Raymond, WA. Olympus XA with Lomo Redscale XR at iso 200.
#photography #art #fineart #fineartphotography #ishootfilm #filmisalive #filmphotography #olympusxa #35mm #redscalefilm #redscale #bridge #landscapephoto -
Having a go at Lomo Redscale XR in the Mia Pinhole Cameras 6x12. Browns Point Lighthouse. Tacoma, WA.
#pinhole #photography #pinholephotography #pinholecamera #mediumformat #ishootfilm #filmisalive #redscale #art #fineart #fineartphotography #lomographyredscale #tacoma #lighthouse -
Burning Reflection
🎞️ Lomography Redscale XR 50-200
📷 Zeroimage 2000 pinhole -
🎧 Ab 18 Uhr reden @chrismarquardt und @nSonic im Livestream über Fotografie! Themen heute: ZEISS-Comeback, Google-Wasserzeichen für KI-Bilder, RED mit Z-Mount, RED von Harmann, Tamron-Telezooms, Ed Sheeran und Kompaktkameras 📸
Gerne Boost 🚀
📺 https://www.youtube.com/watch?v=rcgRMDgCv7Y
📺 https://twitch.tv/chrismarquardthimself
#hslive #fotografie #podcast #livestream #zeiss #red #harmann #redscale #tamron #kompaktkamera
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Monday mood
#FirstFrame🎞️ Kodak ColorPlus redscaled
📷 Minox 35ML#FirstFrameOfTheRoll
#BelieveInFillm
#FilmPhotography
#redscale -
Self portrait
🎞️ Lomography Redscale XR 50-200
📷 Zeroimage 2000 pinhole -
Another image from the redscaled Harman Phoenix film. This whole roll came out magnificently. Yes, it was a bit fiddly to make but the effort was well worth it.
#Redscale, #RedscaleFilm #Harman, #Phoenix, #RedscalePhotography, #Experimental, #AltProcess, -
Back in June, I redscaled a roll of Harman Phoenix and loaded it into the Smena 8M. Yesterday, I finally finished the roll and took it to the lab to be developed. Couldn't be happier.
#Redscale, #RedscaleFilm #Harman, #Phoenix, #RedscalePhotography, #Experimental, -
Saturday Coffee
🎞️ Kodak ProImage 100 (1 stop pushed)
📷 Canon EOS 3#BelieveInFillm
#FilmIsNotDead
#FilmPhotography
#redscale
#coffee
#coffeshop -
Saturday Coffee
🎞️ Kodak ProImage 100 (1 stop pushed)
📷 Canon EOS 3#BelieveInFillm
#FilmIsNotDead
#FilmPhotography
#redscale
#coffee
#coffeshop -
Saturday Coffee
🎞️ Kodak ProImage 100 (1 stop pushed)
📷 Canon EOS 3#BelieveInFillm
#FilmIsNotDead
#FilmPhotography
#redscale
#coffee
#coffeshop -
Saturday Coffee
🎞️ Kodak ProImage 100 (1 stop pushed)
📷 Canon EOS 3#BelieveInFillm
#FilmIsNotDead
#FilmPhotography
#redscale
#coffee
#coffeshop -
Saturday Coffee
🎞️ Kodak ProImage 100 (1 stop pushed)
📷 Canon EOS 3#BelieveInFillm
#FilmIsNotDead
#FilmPhotography
#redscale
#coffee
#coffeshop -
So I finally have my homemade redscale Harman Phoenix loaded into the Smena 8M and it's forecast to be dull and raining for the next few days. And I was really looking forward to some sunshine.
#Redscale, #RedscaleFilm #Harman, #Phoenix, #RedscalePhotography, #Experimental, #AltProcess, -
Something completely different, inspired by @moragperkins : a couple of #redscale images with #freelensing. The film is reversed Kodacolor 200; for the 1st image the camera was my #PentaxME (not really suitable, as it turned out) and lens a Vivitar 28/2.8; the 2nd was my #PentaxLX , lens SMC K 55/1.8. Not sure I'll be doing much more freelensing, though!
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This is the CMK (without Yellow) version of the print. I loved the initial colours created the Cyan and Magena layers I thought I would just add the Black to bring in contrast and depth so see how that looked. Amazing to my eyes.
A4 CMK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
Prints of this and others can be found in my print shop
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This is the CMK (without Yellow) version of the print. I loved the initial colours created the Cyan and Magena layers I thought I would just add the Black to bring in contrast and depth so see how that looked. Amazing to my eyes.
A4 CMK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
Prints of this and others can be found in my print shop
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This is the CMK (without Yellow) version of the print. I loved the initial colours created the Cyan and Magena layers I thought I would just add the Black to bring in contrast and depth so see how that looked. Amazing to my eyes.
A4 CMK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
Prints of this and others can be found in my print shop
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This is the CMK (without Yellow) version of the print. I loved the initial colours created the Cyan and Magena layers I thought I would just add the Black to bring in contrast and depth so see how that looked. Amazing to my eyes.
A4 CMK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
Prints of this and others can be found in my print shop
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This is the CMK (without Yellow) version of the print. I loved the initial colours created the Cyan and Magena layers I thought I would just add the Black to bring in contrast and depth so see how that looked. Amazing to my eyes.
A4 CMK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
Prints of this and others can be found in my print shop
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For those of you that don't want to click external links and read blogs (which is understandable) here is a scan of my latest Riso edition
A4 CMYK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
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For those of you that don't want to click external links and read blogs (which is understandable) here is a scan of my latest Riso edition
A4 CMYK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
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For those of you that don't want to click external links and read blogs (which is understandable) here is a scan of my latest Riso edition
A4 CMYK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
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For those of you that don't want to click external links and read blogs (which is understandable) here is a scan of my latest Riso edition
A4 CMYK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
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For those of you that don't want to click external links and read blogs (which is understandable) here is a scan of my latest Riso edition
A4 CMYK Riso of a Redscale multiple exposure photograph of the Round Pond, Christchurch Park, Ipswich
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Finally, one more that I was about to say is just plain redscale - but actually looking at the dark shadow in the corner I'm pretty sure this was freelensed too!
Those dark shadows and vignettes you get are just from the edge of the lens itself creeping into the frame - shows up in a lot of them and I quite like the effect!
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Redeye Redscale film
Canon EOS 300 & Pentacon 50mm f1.8, freelensing -
OK, so, freelensing is pretty much what it sounds like - it involves detaching the lens and holding it in front of the camera, making subtle adjustments to the angle and position until you get a pleasing result.
It tends to give soft dreamy results, with just the odd detail coming through sharp. Works best in a scene like this where focus doesn't matter that much!
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Redeye Redscale film
Canon EOS 300 & Pentacon 50mm f1.8, freelensing