A relatively successful, if I didn't say so myself, antique color photography LoRA for <a target="_blank" rel="ugc" href="https://huggingface.co/black-forest-labs/FLUX.1-schnell">FLUX.1-schnell</a>, improving it more reliably than most Dev-trained LoRAs. Plus, as Schnell goes, sell whatever you might, and fear not the legal eagle.Catered to producing realistic images, especially portraits, reminiscent of color film analog photography, exhibiting parallels to a broad spectrum of iconic instrumentalities and visual paradigms, from Autochrome-to-Kodachrome-to-Fujifilm-and-beyond.Produces visuals with a vaguely "historical" or "lived-in" aesthetic character, striking chromaticity and luminosity dynamics, as well as richer textural/anatomical/skin details.Trained by me, A.C.T. Soon®, for 4000 steps at full rank 64 on one A100 via Colab Pro, using the dedicated <a target="_blank" rel="ugc" href="https://github.com/ostris/ai-toolkit/blob/main/notebooks/FLUX_1_schnell_LoRA_Training.ipynb">Schnell Training Notebook by Ostris</a> on 135 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 <a target="_blank" rel="ugc" href="https://prokudin-gorsky.org/">archive at this link</a>, 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 an archive of recent restorations and more. The original Prokudin-Gorsky glass-plate negatives are currently held at and administrated by the Library of Congress in Washington, DC, USA, along with a collection of prints.You should use the token <code>HST</code> to trigger the image generation.<h2 id="historical-note:-6197riwoa">Historical Note:</h2>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 a subject/shot onto glass plates covered with light-emulsive mixture. The photographer's focus on refining the developer and filter quality, in tandem with his incessant and wide-ranging experimentation, and his artful optimizations of glass plates (generally unwieldy, esp. for color, and by the 1910's already becoming outmoded for B&amp;W on-location shoots, though 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 idiosyncratic 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 contemporaneously 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.

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