Worlds within worlds

So far I would say that the lightbox is a fairly rousing success for laziness. I will either outgrow it in a year, like my airbrush compressor combo, or it will remain sufficient all by its lonesome. In either event, no regrets. Ordered some black wood hexies to use as risers since even the smalled tripod looms over everything but terrain.


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Date 25 March 2024
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Digital processing still required for dramatic presentation, but the raw files are sharper and the color respresentation is far less muddy.


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Date 25 March 2024
Date 27 November 2022

The gun drone color lines up with the WIP snaps taken under my desk lamp, less the glare and inopportune shadows. I think that’s the best I’m going to do until I have more space. And maybe a better monitor.

Comparison confirms I am not entirely bananas yet – matte varnish on the upper oinker, gloss on bottom. Depth of color is better but I can’t help but think higher contrast would he withstood the varnish blitz. Its smooth but its still too subtle.

Next round

  • Matte varnish over gloss
  • ISO settings
  • Wide angle lens
  • EOS -> HDMI -> Mothership

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Date 25 March 2024
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In contradiction to Rachmaninoff’s public image as a dour spirit, his late scores have a cosmopolitan veneer and a sly, ironic tone. At the same time, the Dies Irae keeps tolling ominously through them: at the end of the Third, the chant is given an up-tempo, syncopated arrangement, as if a dance orchestra were announcing the end of time.

Alex Ross, “How Radical Was Rachmaninoff?”, The New Yorker, Sept 2022