Don't worry - I haven't gone over to the dark side. Last month I posted some pics of old cars that I'd taken years ago with a Mamiya Press 6x9 camera. Well, whilst cleaning stuff off my hard drive, I came across these versions of the same car photos - with a couple of exceptions - that were heavily breathed on in Photoshop when I was a digital dabbler.
I thought it might be interesting to post them here to get your opinion of them in comparison with the scanned but largely unadulterated versions in the earlier post. Three of the pics are the same but the VW shot at the top of this post is different and there's one missing from last month's post.
Although I don't go in for this sort of thing any more, I have to say that I quite like these Photoshopped files. It's all a matter of taste, I suppose, and I can imagine Phil Rogers reaching for the sick bag already. I can't remember now exactly what I did to arrive at these images (photographs seems too "normal" a word) but I could probably recreate the look with some footering about for ten minutes.
Somewhat bizarrely, it would almost be possible to get this effect in the darkroom but it would be a hell of a lot of work. It would start with some under the lens diffusion, heavy edge burning and strong sepia toning. Maybe a bit of selective bleaching before the toning to get the bright highlights.
In fact, now that I think of it, I was probably influenced by Tony Worobiec's book Beyond Monochrome. Wait a minute while I nip into the darkroom and see if I can find it. Bloody hell, it's messy in there again! I swear that I'm going to throw everything out of that room except the bare essentials. Why is it that we tend to complicate life as we get older? Or is it just me? Why do I have four enlargers? How did that happen? Why do I have so many cameras and camera bags? Why do I need two tripods and a monopod? Anyway, I found the book easily enough as my bookcase is the only thing with any order to it.
Here's a quick iPhone pic of one of his images straight off the page which is sort of similar but not heavily diffused like mine. It just shows what you can do in the darkroom if you want to move away from pure black and white prints. Of course, Tony spent a lot of time and effort reaching that level of mastery whereas as I could duplicate it in seconds in Photoshop.
Tony's subject matter is much more interesting than mine but I haven't got time to nip out to North Dakota where I think he took this one. So with that in mind, here are my more mundane images given the same sort of treatment, albeit digitally. What do you think? Hit or miss?