18mm Group
View allAll Photos Tagged 18mm
Atrium ~ James R. Thompson Center ~ Downtown Chicago, Illinois
Nikon D7500, Sigma 18-300, ISO 500, f/3.5, 18mm, 1/250s
Sony A7II + Zeiss Batis 18mm f/2.8
Baby it's cold outside, stay in the bed and kiss me all long day!😍
Sebastian Inlet State Park, Florida, USA.
Sony 10-18mm.
Commercial licensing available at jillb.smugmug.com
A macro of a glass of coffee, for Macro Monday, on the theme of beverage.
This was my second try at it, as the first try gave me some very lukewarm image. Also had to take a photo, then leave it for a few seconds, then go back, as the lense kept fogging up!
I was originally going to leave this as colour, but popped it into silver efex after color efex, just to see and I really liked it.
Nikon Z6, 18mm Extension Tube, FTZ, Tamron 90mm Macro Lense, Ring FLash,
Exposure X5, Color Efex Pro 4, Silver Efex Pro 2
Hjørundfjorden Fjord ~ Sunnmøre Alps ~ Møre og Romsdal, Norway
Nikon D7500, Nikkor 18-300, ISO 200, f/10.0, 18mm, 1/250s
Past are ghost they will not let you sleep.
Future are dreams they will not let you sleep.
Present is doing just now or never.
Time is running for ever and ever.
You have a single moment to do now.
Past and future makes files of thoughts in your mind.
They repeat and tingle you again and again.
Your mind is full of imaginations and illusions.
Your mind is full of attachment and tensions.
You start losing present moments.
You stop living present moments.
Time runs and never waits for you.
And you have nothing to do.
You cry for what you left before.
You dream to want more and more.
Wake up wake up now with this moment
Live with totality now with this moment.
-by Ramesh Kavdia
When I begun to process this exposure bracketing, I thought that I knew what I wanted to attain. I was perfectly wrong. Indeed, these RAW files kept a few secret bits of beauty which I was not aware of when I selected them for processing – and they changed the course of the journey I had foreordained.
I was in a gloomy mood, for both personal and general concerns, and the RAWs looked rather duller than the average – taken: they appeared to accurately mirror the state of my soul. At worst, I would have wasted some hours of pointless procesing work before deciding to look for something better. Nobody would have known. However things were to contradict my expectations. I got some good news (a rarity in those tough days) about the health conditions of my brother and my “adopted brother-in-law” (i.e. my brother’s brother-in-law); on the other hand, Darktable – that wonderful software – gifted me with a few unanticipated treasures. My thoughts were growing more and more positive and the processing of this bracketing were proceeding accordingly: a hidden beauty was unfolding before me, my own persisting unawareness of it notwithstanding. At last I found myself with a picture that had apparently self-processed itself*, while I was busy exploring uncharted thoughts that kept emerging along the way
* Admittedly a bizarre phenomenon, which Maurits Cornelius Escher would have loved – think of his Drawing hands.
I would avoid to nag you about this incredibly wonderful location: you can take a look at my album Silent banks, the complete collection of the photos I have taken there; the attached narratives are rich in information about the place, if you are curious enough.
This location is especially renowned for its legendary morning mists, but only a thin layer of milky mist floated above the water that morning. On top of the hill in the distance, beyond the river, lays the sanctuary of the Madonna della Rocca ( = Madonna of the Rock), already brushed by the first light pouring from the Eastern horizon.
I have obtained this picture by blending an exposure bracketing [-1.7/0/+1.7 EV] by luminosity masks in the Gimp (EXIF data, as usual, refer to the "normal exposure" shot), then, as usual, I added some final touches with Nik Color Efex Pro 4.
I tried the inverted RGB blue channel technique described by Boris Hajdukovic as a possible final contribution to the processing. While this technique (which, its imposing name notwithstanding, is pretty simple to implement) often holds interesting results in full daylight landscapes, its effects on a low-light capture (e.g. a sunrise) are utterly unpredictable, so at the end of my workflow I often give it a try to ascertain its possibilities. In this picture I have exploited this technique in a very frugal, yet effective, way – just some touches where needed.
RAW files has been processed with Darktable. Denoising with DFine 2 and the Gimp (denoised and original images blended by lightness).
I did it. Bought the 9-18mm wide angle jobby. This was my sixteenth shot with it. You don't want to see the others -- trust me.
there is an entire scientific discipline devoted to the study and hydrology of patterned bogs and one can understand why when standing in front of one
for me it was the simple beauty of the repeating lines and the reflected skies in the pools, the pure agony during mosquito and blackfly season...early may and ice was still present, not a whine from a single biting insect
the trans-labrador highway is 1,150 kms west to east and sparsely populated, it was much like the northern highway through yukon, the boreal forest is as vast as it is magnificently wild
Llanberis
The sun was in the perfect position to rise between the mountains for sunrise, but that was just one element. I had taken a few photos of the tree the evening before and the water was perfectly still, lovely reelections with a few clouds in the sky. Fast forward 12 hours and it was windy with hardly any clouds in the sky. Luckily i'd set up an hour before sunrise and managed to get a bit of the early morning colour.
From today's dog walk. The focus isn't perfect, but I still like it.
_____
Nikon Z6, 11mm + 18mm Extension Tubes, Nikkor 24-70mm f/4 S
Exposure X7, Color Efex Pro 4, Silver Efex Pro 3
CONTAX ARIA D, Carl Zeiss Tessar T* 45mm F2.8 MMJ, 1/250, f/11, 2026/06/07 11:31 KODAK PORTRA 400, 現像：格安フィルム現像店 フラッシュ
CONTAX ARIA DとCarl Zeiss Tessar T* 45mm F2.8 MMJと田植えの終わった田圃の風景
もう1月以上前に撮った写真となってしまった。
散歩中に撮った風景だけれど、散歩も膝を痛めてから1月くらいはもうしないようにしている。この頃とは稲の力強さがまったく異なる田圃となった。もはや水面はまったく見ることができない。青々とした稲が生い茂っている。ここは深川川の湾曲部の少し先で、左に山陰道が走っている狭い区間だ。奥には県道と旧美祢線が走っていた。背後には国道が走っていて、囲われたような田圃だ。いまだに目につくところすべてで稲作がされているのは、このあたりでは珍しい方かもしれない。今後も変わらずに稲作が行われるといいのだけれど。
●
曇り時々晴れ。今日も1日暑かった。今日はひさしぶりにワールドカップの試合のない1日だった。もうすぐ終わってしまうと思うとちょっとさびしい。まあ、これからクライマックスなはずだけれど。定例の病院通いに車で行った。戻ったら艦これのルーティンをやったり、電書を読んだりした。午後から車でTreへ行った。Treでは従業員の方を募集していた。のんびりアイスコーヒーとチーズケーキを楽しみつつ、電書を読み続けた。SIGMA BFとLeica ELMARIT-TL 18mm F2.8 ASPH. シルバーでTreのベランダから眺めた風景、帰宅後駐車場の周りの風景などをある意味無理やり撮った。
Abandon hope, all ye... Some visitors peer warily into the gaping tartan maw of the beast. Don't go in, it's a trap!
Temps de Flors 2017, Girona.
Girona, Temps de Flors es una exposición de flores que se celebra en la ciudad de Girona desde 1954. Su creador fue María Cobarsí y fue en ese año que, junto con algunas mujeres de la Sección Femenina de la Falange, crearon la primera exposición Desde 1956, cada mes de mayo, se celebra este festival de primavera que atrae a personas de todo el mundo.
Girona, Temps de Flors is an exhibition of flowers that has been held in the city of Girona since 1954. Its creator was Maria Cobarsí and it was in that year that, together with some women from the Feminine Section of the Phalange, they set up the First exposure Since 1956, every month of May, this spring festival is celebrated that attracts people from all over the world.
Looking around this scene for compositions I can across a row of rocks that I thought would look good as a foreground element leading the eye to the two lovely water falls in the background. Setting my camera as low to the floor as possible.
Although it looks like the train is moving away, it’s actually moving towards the camera, just the steam and most of the sky is from an 3 minute earlier exposure when the train was moving away from camera. The Holiday Express runs each weekend thru January 4, 2025, starting at the Oregon Rail Heritage Center, Portland, Oregon. O3650,60 - Happy Sliders Sunday!
shot with a fujifilm x-s10 and a canon ef-s 10-18mm super wide angle zoom lens, on a fringer ef-fx pro ii adapter
red bay...along the labrador coast, minutes east of the quebec border and the ferry terminal to newfoundland's northern peninsula
Another from a bonny early wander with Billy Currie a week or two back. I just rather liked the different paths of the river and the road. Stob Dearg was immediately to my left and it was looking rather magnificent but I just liked this view instead. A 2:1 crop of a single shot using the Zeiss 18mm - a recent acquisition and one that I bought as a nice walking lens for those rare occasions I go wide.