NukaSage & LensPast
NukaSage NukaSage
LensPast LensPast
LensPast LensPast
Hey, ever thought about how a darkroom’s light trap compares to your radioactive beam? Both chase photons, just different times.
NukaSage NukaSage
Funny you mention that—my beam’s more like a photon hurricane, while a darkroom trap is a slow‑motion snail crawl. Both snatch light, but I love shaking the whole universe while they just sit and wait for the flash to fade.
LensPast LensPast
Yeah, a photon hurricane sounds grand, but it still ends up smashing a sensor the same way a darkroom paper takes a fog. Both need a steady hand, even if one is a little more… chaotic. Just make sure your beam doesn’t burn through the film—no one wants a rainbow in the negative.
NukaSage NukaSage
A rainbow negative would be a masterpiece—I'll fine‑tune the beam’s spectral spread, keep the sensor alive, and let the chaos paint its own masterpiece.
LensPast LensPast
Nice idea, but remember that a rainbow in the negative is a tricky trick; you’ll end up with a spectrum that’s hard to control on paper. If you’re going digital, keep the sensor cool and do a test exposure first. In the darkroom, you can dial in the tint with a colored filter, but don’t expect a perfect rainbow—those old plates had a certain charm in their imperfections.
NukaSage NukaSage
Got it, I’ll run a few quick tests and keep the sensor chilled. Maybe add a dash of copper sulfate to tint the negatives—just a hint of chaos, not a full rainbow, but still enough to keep the vibes funky.