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Now that I have started wet printing, I wanted to capture a still life incorporating the different elements that have come together: the instruments (camera and film - yes, I know the misplaced inclusion there, pedants); the score (the negative); and the final performance (print).

I present 3 versions for critique. This was simply laid out on the light box with on-camera flash bouncing off the nearby wall. Only adjustments in ACR made.

Do these work?
If so, which one is preferable to you?
Are there obvious issues that should be corrected next time (I can think of a couple already that I will point out later)?

Thanks in advance

Interesting arrangement.

I prefer #2, but would like a tad more DOF to get the camera in sharper focus. Though at F7.1 that may be a bit of an ask. Also maybe either crop out the half headlamp, or get it all in frame. And accentuate the sepia tonings of the print. That is one aspect of #1 I like.

#1 The strip of film through the middle bothers me. It reads like a perspex rod & looks out of place

#3 Can't say why. It just doesn't do anything for me.

I agree that the film strip laying across the photo doesn't do much. Have you considered adding a couple of empty spools to the mix? I would remove the Ilford film box as well, but leave the roll of Ilford film. The lightbox is fine however the fill light is a bit harsh and I think it could be better if it was softer and more from the left, as if the light was coming from a window or a door way.

Thanks for the feedback, gentlemen.

As I like the concept, I will take on the suggestions.

Greg: the print actually is the cooler tone of number 2. The sepia shift is a white balance artifact.

Wayne: I will use a larger and softer light source with some fill.

I will remove the other negative strip.

One more thought.
You could perhaps put a red wash through to emulate a safelight.

Mr Darcy wrote:One more thought.
You could perhaps put a red wash through to emulate a safelight.

Mr Darcy wrote:One more thought.
You could perhaps put a red wash through to emulate a safelight.

Good idea and perhaps an extension is to include my safelight. It is a bare bulb on a socket.

Yes, the second is growing in me. I think
it is because the colour.

i dont much like the portrait orientation and would flip it to landscape personally, but otherwise i really like them. look forward to seeing how the shot progresses, i think youre onto something special.

Thanks folks.

One of the things that bothere me (after taking the shot) was the fact that the Galaxy print was upside down. In your opinion, would you reverse this or does it add randomness to the image?

I will do this for the reshoot:

1. Use a soft box rather than bounced flash. I am not sure this will make much of a difference.
2. Re-orientate to landscape and may even try a square crop (or perhaps 3:4 - what is the ratio of a D200 sensor? I forget)
3. Include either the safelight directly or indirectly into the shot.
4. Remove longer negative strip.
5. Replace box of Ilford with a roll.
6. Perhaps remove the errant Velvia roll