-
Amaryllis
I’ve been experimenting with macro shots or portraits that have a black background. For this I reduce the roomlight with the help of the electric shutters, the exposure time and the ISO value are increased. To improve the quality of the shots, I also used the method of frame averaging to get the RAW image with a single shot and sufficient quality.
Yesterday I was able to admire my friend Harold in a tutorial how he created LowKey HDR macro photographs using an exposure series from -4 EV to 0 EV. I tried all paths today with my Amaryllis, which I had bought 2 days ago.
Salmon pink Amaryllis. Two exposure series at two different aperture values. © Julian Köpke The exposure series can be performed for LowKey pictures and HighKey pictures. Through the systematic under-exposure one can create a beautiful black background. The use of a surface spotlight creates transparencies with HighKey effect.
Amaryllis. 25s, Automated Frame Average, longtime exposure © Julian Köpke 
Salmon pink Amaryllis on a lightbox © Julian Köpke The LED lightbox can be placed vertically on the wall. With two clamps you attach the black velvet as a background and loosen the clamp gently to create the HighKey image after switching on the lightbox.
Black velvet in front of the lightbox © Julian Köpke 
Black velvet dropped behind the bouquet © Julian Köpke A series of exposures with 5 shots between -4 EV and 0 EV is sufficient to capture the set in high quality.
Bouquet with Amaryllis © Julian Köpke -
Darkroom studio II (glasses)
My darkroom studio is convenient for flower photography and high contrast, especially white. Today I tried out glasses with reflections and a nearly complete homogenous white vase. The only variations are reflections imposed on it from little light leaks of my improvised studio.
White vase © Julian Köpke A photograph of a glass in a more documentary style is the following. The representation of the glass cutting is realistic. The stem out of the focal plane is appropriate for the focus of the photograph.
Glass cutting © Julian Köpke The combination of black and green thrilled me in the composition with traditional wine glasses for regional white wine. Unexpectedly, I got some copper allusions with some warmth in the transparent glass.
Wine glasses with green stem © Julian Köpke A more cool representation is the following composition with more glasses, including a tasting glass for Whisky. Is it the morning after a roaring party ? No leftovers can be seen so far …
Glasses with white and green stem © Julian Köpke A more detailed view ist the following photograph, which is more on the warm side. The glasses get a copper-like appearance.
Details of glasses © Julian Köpke -
Darkroom studio
The darkroom was the centre of analogue photography. In a darkroom were created the copies of a picture on photo paper, which had been planned when shooting with camera and film.
The “digital darkroom” is in a way the continuation of the darkroom from analogue times. Nowadays, the role of the film is taken over by the RAW image. The development of the film was linked to chemistry, intentional light and shadow effects and fine feeling. Each print was unique.
The “digital development” or postprocessing is non-destructive, repeatable and delivers a result, which at least theoretically can be printed as often as desired. In the digital workflow no print is unique anymore.With a dark background and systematic shading of daylight, my photo studio became a darkroom where I could photograph flowers. Exposure times became longer, almost like a long-term exposure at night outside. The saturation of the colors came out surprisingly strong.
Anthuria on black © Julian Köpke 
Red gerbera and fern © Julian Köpke The creation of a floating cloud with the help of white tulle did not require shading to achieve the effect of a darkroom. As my friend Lorenz mentioned, looking closer you can see nice interference patterns (Newtonian rings). I’m happy with this image idea: the image got two days later a Flickr in explore.
White cloudy glow of a piece of fabric © Julian Köpke The soft variations of light and shadow fit well to a soft vetch.
Vetch on white fabric © Julian Köpke 
Vetch and white fabric © Julian Köpke
