dkthompson
@dkt-1.bsky.social
Photographer working in history, cultural heritage and folklife documentation. Opinions are my own and not those of my employers.
my first thought was it looked slightly red. or the paper base was stained/fogged. been a lifetime since I color printed (EP2) but we used a viewing box in lab with daylight fluorescent tubes and the right gray paint on walls.
November 23, 2025 at 6:37 PM
my first thought was it looked slightly red. or the paper base was stained/fogged. been a lifetime since I color printed (EP2) but we used a viewing box in lab with daylight fluorescent tubes and the right gray paint on walls.
here's another one light set using a speedotron strobe as a backlight for a sheer cloth of at WWI Red Cross nurse's veil.
November 23, 2025 at 5:24 PM
here's another one light set using a speedotron strobe as a backlight for a sheer cloth of at WWI Red Cross nurse's veil.
studio 101 rule - angle of incidence=angle or reflection. also larger the source, larger the reflection and vice-versa. you can have a large source up close be "soft", farther away it gets "hard". also becomes dimmer. easier to have "hard" lights and make them "soft" than other way around.
November 23, 2025 at 4:05 PM
studio 101 rule - angle of incidence=angle or reflection. also larger the source, larger the reflection and vice-versa. you can have a large source up close be "soft", farther away it gets "hard". also becomes dimmer. easier to have "hard" lights and make them "soft" than other way around.
here - 2 examples of what I was talking about. btw, although we mostly use speedotron strobes in the museum studio, as an old timer I sometimes will use hotlights. It's easier to control lighting with continuous sources and shape the light. small flash is tough without a "modeling light".
November 23, 2025 at 4:02 PM
here - 2 examples of what I was talking about. btw, although we mostly use speedotron strobes in the museum studio, as an old timer I sometimes will use hotlights. It's easier to control lighting with continuous sources and shape the light. small flash is tough without a "modeling light".
as a backlight from top aimed back at camera and then use fill cards from front. You can do it small manual flash as long as you understand principle. Hitting metal direct with flash gives more hotspots. the metal is lit by the reflection. A big source = big reflection
November 23, 2025 at 3:34 PM
as a backlight from top aimed back at camera and then use fill cards from front. You can do it small manual flash as long as you understand principle. Hitting metal direct with flash gives more hotspots. the metal is lit by the reflection. A big source = big reflection
something else to try is bouncing the flash off a larger white card fur example. for a small flash used off camera try this. for this angle the card would be to back right. put the flash, even handheld to bounce off card and illuminate below. For a lot of tabletop studio work you can use one light
November 23, 2025 at 3:32 PM
something else to try is bouncing the flash off a larger white card fur example. for a small flash used off camera try this. for this angle the card would be to back right. put the flash, even handheld to bounce off card and illuminate below. For a lot of tabletop studio work you can use one light
it’s good to have on hand
November 21, 2025 at 5:24 PM
it’s good to have on hand
as a view camera user you got used to having to load on field also.
November 21, 2025 at 4:01 PM
as a view camera user you got used to having to load on field also.
the only trouble I ever had was that sometimes you could split the leader down the middle with part going over and then under. sometimes it took a few tries also. When I went on road I often took a changing bag just in case. I have also used dark closets with towels jammed at doors. shit happens
November 21, 2025 at 4:01 PM
the only trouble I ever had was that sometimes you could split the leader down the middle with part going over and then under. sometimes it took a few tries also. When I went on road I often took a changing bag just in case. I have also used dark closets with towels jammed at doors. shit happens
always had one of these in my office and domke bag
November 21, 2025 at 3:32 PM
always had one of these in my office and domke bag
if you're into graphics, the Grafmatic has a distinctive sound. add the focal plane shutter for the total package. second thru fourth image shows the sequence. next to the film pack, this is closest to a motor you'll get with press cameras.
November 21, 2025 at 2:50 AM
if you're into graphics, the Grafmatic has a distinctive sound. add the focal plane shutter for the total package. second thru fourth image shows the sequence. next to the film pack, this is closest to a motor you'll get with press cameras.
D2H was a speed demon
November 21, 2025 at 2:41 AM
D2H was a speed demon
you can tell an archive staff by the appreciation of boxes.
November 20, 2025 at 8:15 PM
you can tell an archive staff by the appreciation of boxes.
dark fabrics are tough because they "soak" up the light. when shooting dark forms, use a mid to dark gray instead of lighter or white if possible, because the amount of light you will dump on it to raise the tone for repro will blow out the background if too light. "thunder gray" is good for studio
November 20, 2025 at 3:56 PM
dark fabrics are tough because they "soak" up the light. when shooting dark forms, use a mid to dark gray instead of lighter or white if possible, because the amount of light you will dump on it to raise the tone for repro will blow out the background if too light. "thunder gray" is good for studio
basic theory here with textiles is that the fabric dictates the type of lighting. coarser weaves and textures mean you can use harder light from front. shiny slick materials, need bigger reflections to avoid spotty contrast. but you need some highlights so you blend the hard with more soft.
November 20, 2025 at 3:54 PM
basic theory here with textiles is that the fabric dictates the type of lighting. coarser weaves and textures mean you can use harder light from front. shiny slick materials, need bigger reflections to avoid spotty contrast. but you need some highlights so you blend the hard with more soft.
typical setups that show the types of lighting used for the above. at the MOH we have always tended to use a "hard" Main light off to the side with softer light for fill. I often use the hard light as a 3/4 in back. we typically use 2-3 lights. sometimes more. multiple shadows need to be avoided.
November 20, 2025 at 3:52 PM
typical setups that show the types of lighting used for the above. at the MOH we have always tended to use a "hard" Main light off to the side with softer light for fill. I often use the hard light as a 3/4 in back. we typically use 2-3 lights. sometimes more. multiple shadows need to be avoided.
some of the best b&w products to date. these older techniques were born out of necessity for graded papers and older emulsions etc. the thinking that there’s some magic esoteric formula or techniques is misleading imho. Sometimes what the manufacturer says on the spec sheet really is best.
November 19, 2025 at 9:02 PM
some of the best b&w products to date. these older techniques were born out of necessity for graded papers and older emulsions etc. the thinking that there’s some magic esoteric formula or techniques is misleading imho. Sometimes what the manufacturer says on the spec sheet really is best.
omg totally. years ago I ignited a flame war on my FB by suggesting to some younger photographers I know that that was not good. I’m just an old guy at this point. but over the years we’ve lost a tremendous amount of product but at same time the new material from established makes is very very good
November 19, 2025 at 9:00 PM
omg totally. years ago I ignited a flame war on my FB by suggesting to some younger photographers I know that that was not good. I’m just an old guy at this point. but over the years we’ve lost a tremendous amount of product but at same time the new material from established makes is very very good