I’m just curious if anyone thinks there’s anything to be learned from the era of large-format negatives or 35MM in regard to model photography.
After my layout became what I refer to as, “photo worthy” I went back and read several of the old magazine and book passages on model train photography. Lacking a darkroom and realizing that a lot of digital manipulation of photos can look, well, terrible (putting real loco smoke into a photo with the lighting totally off, can look laughable).
Taking some of these old techniques, I think I got some good effects. Some of the other shots I took around the same time as these will be in the new On30 Annual which should be out next month.
I’m hardly saying my work is any better than anyone else’s, but I have raised some eyebrows with the local modelers when I told them I used no software at all on these shots other than to crop them.
Most were taken in 30+ second exposures and the ‘smoke’ and ‘steam' were formed structures of paper, foam or cotton, moved under the long exposures and removed for a translucent look. Note also they cast shadows, unlike photoshop.
My point is, we can learn a lot from the old heads when it comes to photography!
Last edited on Wed Mar 29th, 2017 01:22 am by Lee B
"But is it an issue? Is it valid even to ask the question at all? Isn’t it time we rejected all that “either/or” nonsense and concentrated on simply getting the job done in the best possible way?
There’s only one way to get a decent answer: ask the experts. So that’s what I’ve done. I put my question to a group of top professionals from the field of practical effects, left them to ponder … and then stood well back.
You want to know what the future holds for practical creature effects? You’re about to find out." http://cinefex.com/blog/practical-creature-effects/
"There is no objectively correct position to the debate about visual effects versus practical effects in modern filmmaking. Each side has its advantages and potential pitfalls, whether they are more efficient, economical or commercial. To critics the ultimate valuation of one process over the other is their successful integration into the completed film as seen by audiences. If the final result is convincing how it got to the screen is largely irrelevant. " https://medium.com/cinenation-show/a-balancing-act-practical-effects-and-visual-effects-96f29f26527a
____________________ See y'all later, Forrest. Screw the rivets, I'm building for atmosphere