Clear Building (Nurse F 12 mixH)

by Boris Starosta




This is a digital “dupe” made by Gammatech from a file I sent them. The file for each of these images was about 2500 x 2000 pixels, about 1200 pixels per inch. I had them “print” eight stereo pairs like this onto an 8×10 inch transparency. They offered two resolutions for this, “8k” and “16k.” I asked them to print my file at “16k” because my file had a resolution around 12k. I might try doing it onto 70mm film next time – the cost is about the same either way. This imagery was obtained and processed digitally. Cameras: twin rig Canon D60 (6MP DSLR) with 28mm lenses, stereobase for this view about 9 inches.

Using a multiple exposure technique, buildings are rendered magically translucent, revealing the structure beneath the facade, and the foundation beneath the structure. Images were obtained over a period spanning 12 to 18 months, each time from a platform carefully repositioned, so that the camera(s) would be in exactly the same spot, matching position, direction and orientation in six axes. From about 2007 to 2010, I recorded the construction of a half-dozen buildings like this in and around Charlottesville. With its requirement for extreme accuracy, digital post-processing was almost as much work as the photography itself!

Submission 2

by Nik Sekhar

Ducks Lake Winnebago

Velvia 100 and TL120(used for all)  Exposure f16 1/30

I used the reeds as a 3d frame for the ducks.  I like to underexpose velvia a bit to saturate the color.

My son, Efke 25, Nikon Sb 28 flash on auto f8

I love this film for portraits, grainless with excellent latitude.  Please try it and DR5 if you haven’t yet.

Purple Tree at Riverside Park Neenah Velvia 100

Also slightly underexposed to saturate the color.  I think trees are the perfect subject for 3d,  I think this was f16 1/125

Myrtle Falls Mt. Rainier Velvia 100

I used f8 and 1/500 for this to eliminate the need for the tripod.  Probably one of the few shots that I’ve used the top shutter speed for.  Still adequate depth of field at infinity, but if you are really looking for it. Some forground needles are slightly soft.  I love this place and hopefully will get to use the Tl- 120 in  few more National Parks.  Long Live Slide Film!


Autumn in Colorado, Ohio Pass

by dorothy mladenka

All my images this round were taken with my trusty Don Loppified sputnik. We traveled to Utah & Colorado in September 2011.  I used Kodak film, normally it was the 100vs or 100gx. I hand held the camera and shot f/22 at 50 shutter speed. Light is natural.

This was shot at Ohio Pass, Colorado. It was such a treat for us to see the changing colors in the trees as we only have 2 seasons in Texas: hot and hotter than hell-o 🙂

Cliff Palace #2, Mesa Verde, Colorado

by dorothy mladenka

All my images this round were taken with my trusty Don Loppified sputnik.  We traveled to Utah & Colorado in September 2011.  I used Kodak film, normally it was the 100vs or 100gx. I hand held the camera (tripod didn’t make it in either) and shot f/22 at 50 shutter speed. Light is natural.

This was shot at Cliff Palace at Mesa Verde, Colorado.

Cliff Palace, Mesa Verde

by dorothy mladenka

  •  All my images this round were taken with my trusty Don Loppified sputnik. Don has done a great job of tuning up the spud. Thank you Don!!! We traveled to Utah & Colorado in September 2011. I wanted to restrict my weight and to have both the spud and the realist in one camera bag. So the TL120 didn’t make it in. I used Kodak film, normally it was the 100vs or 100gx. I hand held the camera (tripod didn’t make it in either) and shot f/22 at 50 shutter speed. Light is natural.  We had extremely great weather, sunny & blue skies. To minimize light leakage I taped up the spud really good using black photographers tape. It is reusable and does not leave the sticky residue that electrical tape tends to do.

This was shot at Cliff Palace at Mesa Verde, Colorado.

Blue Flower

by Bob Venezia

The Giant Wheel at the Evergreen State Fair, now in LED!

The outfit that provides the rides for the Evergreen State Fair and Central Washington Fair is Butler Entertainment. This year they’ve outfitted their Giant Wheel with LEDs. I prefer the incandescent lights, but I know the LEDs will save a lot of energy. And the LEDs look pretty cool in my time-lapse movies. On film they can have nice patterns (or some with nauseating color) but they often look like big TV sets.

The rides always look (to me) like some great engine of science fiction when captured on film, and of course people should be mesmerized by it. So I’m glad the fellow on the left is doing his part.

Carousel Light Bokeh

by Bob Venezia

Shallow DOF in a long exposure at night.

Normally I don’t think to use shallow depth of field for my stereoscopic photos but I’ve been inspired by the work of my friend Frank Roberto. It was very late, around midnight after the Evergreen State Fair was closed, that I took this shot. It was obviously a long exposure — it came out looking like noon! I miscalculated the light as I didn’t expect it to be this bright but I was pleasantly surprised to see it.

Shot with TL-120 at f2.8 using Velvia 50. Shutter unrecorded.

YOYO & Fireworks #8

by Bob Venezia

Captured at the Evergreen State Fair in Monroe, Washington, August 2011.

Last year there were fireworks at the Evergreen State Fair and I didn’t know about it until it was happening. I was in a rotten spot to capture them and it all ended in tears.

This year I got the dates for the fireworks beforehand and guesstimated some good spots for shooting.

Poipu Sunrise

by Bob Venezia

The sunrise at Poipu beach on Kauai, a short walk from our rental house.

I have long wanted to use a graduated neutral density filter with my MF photography. The problem is aligning a couple of filters on different cameras. On the TL-120, I wouldn’t be able to mount 2 filter holders side-by-side — there isn’t enough room. You could use screw on filters but then you’re limited by where you can frame the image. Problems, problems, problems.

At some point I realized that there was an extra large square filter size called X-PRO that would fit over both lenses of the TL-120. I found a used filter holder and had it modified to fit on the TL-120 and also came up with a system for positioning the filter (because when you frame the shot through the viewing lens the filter is in the wrong position and needs to be lowered precisely to take the shot).

I found an outfit in the UK that claimed to have Lee ND grad filters in X-PRO size. This was a little confusing to me because on their website Lee has no mention that they make such filters. But after several emails back and forth to the UK and assurances that the filters were real I pulled the trigger. I picked up 1, 2, and 3 stop hard-edged filters.

I don’t remember which filters I used in this shot but it was probably 2 of them, dropping down the sky by 4 or 5 stops.

Hanging Ice Cubes

by John Thurston

This is another image from under the Mendenhall glacier. I have done several images of the surface and the caves. Here, I’ve screwed up the courage to actually get in the gap between the ice and the bedrock, put a camera on a tripod and try to compose some images. It’s pretty hard to concentrate on images when the ceiling is melting and the resulting ice-water-rain is running down your back. Then there are the streams (a little visible in the middle-ground), tumbling rocks, and falling ice-bits to keep you jumping!

I really wanted to get more light so you could see the distance better. Even though I had brought my flash (and all of the cables to make it go) I was unable to control it enough to get any light in the distance without blowing out the rocks in the foreground. What I needed was a Chimney Boy to slither in and rig a couple of remotes part way down the cleft.

Created with a tripod-mounted TL120-1