Thanks, John!

It's much easier than playing around with adding light during
development for sure! But it's still tricky. I accomplished these
using handmade custom "curves" in Photoshop. Curves map the input
pixel levels to output levels using a graphical tool, and subtle
variations can produce some extreme output value swings. Photoshop
helps in this as it superimposes the image histogram over the curves
UI giving you an indication of where to draw the graph and what tonal
range in the input will be affected.

A curve that produces both positive and negative tone slopes is
closest to what chemical solarization would produce. But of course you
can make curves that go quite far beyond that. Too much just goes
overboard into the psychedelic. :)


On Thu, Apr 9, 2015 at 10:09 PM, John Coyle <[email protected]> wrote:
> Nice - I remember doing solarization on prints at one time - quite difficult
> to control, so probably it's now much easier!
>
>
> John in Brisbane
>
>
> -----Original Message-----
> From: PDML [mailto:[email protected]] On Behalf Of Bruce Walker
> Sent: Friday, 10 April 2015 9:31 AM
> To: Pentax Discuss Mailing List
> Subject: GESO ~ solarizations
>
> Thanks to Bob W I was moved to spend a couple of days exploring
> solarization. Much fun was had! :)  Here I applied curves to Fredau's curves
> ...
>
> http://flickriver.com/photos/bruce_m_walker/sets/72157651857143211/
>
> Mildly NSFW in a tonally mutated way.
>
> K-3, DA* 50-135/2.8, 50mm, f:8, 1/125th sec, ISO 100
>
> Model: Fredau.
> The Junction, Toronto, June 2014.
>
> --
> -bmw
>
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-bmw

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