Sechs Dutzend

Sechs Dutzend

L. & C. Hardt­muth „Stu­dio“ Drawing Pen­cils No. 541

Sechs Dutzend

LYRA Ita­lia No. 1205

Sechs Dutzend

A.W. Faber Poly­grade 1205

Sechs Dutzend

L. & C. Hardt­muth 1205

Sechs Dutzend

Pres­bi­tero Steno 3001

Sechs Dutzend

LYRA Kopier­stift 1641

Update vom 3.10.11: Fotos über­ar­bei­tet (mehr dazu hier).

Update vom 4.10.11: Titel geändert.

9 Kommentare zu „Sechs Dutzend“

  1. Do you know the year on the Poly­gra­des? Incredi­ble pho­tos! (as usual) :) As I’m not likely to have or see bund­les like these in per­son, it’s great to have such stun­ning photos.

    „Die Lexi­ka­li­ker Museum der Blei­stift Geschichte“

  2. Sean, thank you for your kind words regar­ding my pho­tos! Howe­ver, I am still not happy with the shadows – I wish I would know how to make their bor­ders softer.

    Unfor­tu­n­a­tely I don’t know how old the Poly­gra­des are, and the paper wrap­ping doesn’t give any clue.

    Regar­ding the museum: You won’t believe it but I am really thin­king about get­ting a glass-fronted cabi­net … Plans of a pen­cil nutso ;-)

  3. When you are edi­t­ing in Pho­to­shop, do you use the selec­tion tool (to select the back­ground sepa­r­ately from the pen­cils) before you adjust the bright­ness and con­trast? I’ve had some suc­cess adjus­ting the cur­ves rather than using the bright­ness and con­trast, so that I can adjust the most intense shadows from the bottom-up.

  4. No, I don’t use the selec­tion tool. In most cases I start with adjust the con­trast auto­ma­ti­cally in Fix­Foto (a great piece of soft­ware, also sold under the name of Pho­toPer­fect). After that, I adjust the white balance in Pho­to­shop, make some edi­t­ing etc. – Your descrip­tion sounds pro­mi­sing, and I will try to do that too.

  5. I have made an expe­ri­ment: I haven’t adjus­ted the con­trast auto­ma­ti­cally but have only incre­a­sed the bright­ness; after that, I have adjus­ted the white balance in Pho­to­shop (this time in a more gentle way). Here is the result (left: old, right: new; click to enlarge):

    A.W. Faber Polygrade 1205

    To me, the newer ver­sion looks bet­ter, also because of the fact that the vio­let tone of the paper wrap­ping is now noti­ce­able whe­reas it was lost in black before (but of course there is still room for impro­ve­ment). – Thank you for moti­vat­ing me to look and try again (albeit in a dif­fe­rent way).

  6. Even though the shadow loo­ked more arti­fi­cial in the old photo, it did have nice, warm colour tones over­all (at least on the moni­tor I am using here) – but it is of course even bet­ter to expe­ri­ence the real colours and fine nuan­ces, like the vio­let tones, through your new photo 8^)

  7. You’re right – the old pho­tos had their merit but were mis­sing a lot of their inter­me­diate shades because of the auto­ma­tic con­trast adjus­t­ment (which I won’t use again, at least not with its default settings).

    There are some more pro­blems, and most of them can’t be fixed in Pho­to­shop. I assume that it would have been much bet­ter with the light com­ing from the direc­tion of the camera, resul­ting in shadows behind the objects (and not in front of them); maybe I should have ligh­ten it up a little more with reflec­tion foil. But there will be a lot of oppor­tu­nities to improve it … ;-)

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