AlekseyCalvin/HistoricColor_Z-image-Turbo-LoRA

HISTORIC COLOR ZiT Low Rank Adapter

For the Z-Image Turbo DiT Model

||| By SilverAgePoets.com |||

This Historic Color LoRA series entree came from my first Z-image training.

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HST photo of a woman in a room, full height

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HST autochrome close-up photo of a woman

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HST photo of a man in a room, full height

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HST photo of a cat in a garden

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HST close-up photo of a young woman

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Rank 64 adapter trained by A.C.T. Soon® on 150 color photographs taken during the 1900s and 1910s by Sergey Prokudin-Gorsky, who traveled and photographed widely in those years while pioneering and perfecting implementations of an early three-color-composite photography technique.
We urge you to explore the work of Prokudin-Gorsky for yourself, at the wonderfully organized online archive at this link, featuring many hundreds of high quality downloadable scans of composite color photo prints from the photographer's original glass plate negatives, available at this site alongside relatively recent restorations of a substantial portion of the images. The original glass-plate negatives are currently held at and administrated by the Library of Congress in Washington, DC, USA.

Trigger words

You should use HST photo

Historical Note

Prokudin-Gorsky's color photography technique would involve three photo-exposures, either simultaneous or sequential, using specialized color-spectrum filters (basically R.B.G.: red, blue, and green), rendering the same subject/shot onto glass plates covered with light-emulsive mixture. Prokudin-Gorsky's focus on refining the developer and filter quality, in tandem with his incessant and wide-ranging experimentation, and his persistent usage of glass plates (unwieldly and increasingly old-fashioned, but elsewise extra reliable) ultimately led him to produce a color photography oeuvre of much greater fidelity and vividness than achieved by most of his contemporaries. At the same time, the peculiarities of the photographer's method, coupled with his exceptionally hands-on execution thereof, would manifest in a range of idyosyncratic color, light, and motion artifacts common across the resulting prints. Seldom marring the image as a whole, and less grave than the weaknesses of some contemporenously emerging autochrome techniques, the warm color hazes and flares framing many of Prokudin-Gorsky's prints may be seen as a kind of ephemeral signature. Alongside some of the more subtle chromatic, textural, and (in some measure) figural characteristics of his work, these auras have reliably imprinted themselves into this Flux Schnell LoRA, the fourth in our series of historical adapters for Flux.