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I studied a YouTube channel tutorial on this technique and composition from Michael Wilson using Affinity Photo. The birds I have previously photographed in my backyard.
Berta and the green corn.
Geese have remarkable powers of perception (famously, geese warned the Romans of the Gallic invasion in 390 b.c.); the hiss of warning, almost snake-like, the beak wide open, the agitated honk with an outstretched neck, and—among many other goose noises—the great joyous cry of the guarding gander after his mate has laid an egg and gotten off her nest. Ducks quack, loudly or softly, but geese are large eloquent vocalizers, and each distinct breed has its own repertoire of phrases.
*© All rights reserved *
darken the background
focus the essence of the bloom
summer dogs bark
Canon EOS M; Canon EF 100mm f/2.8L Macro; RAW Image Post: Affinity Photo 1.8.4 — Unsharp Mask Adjustment; Brightness & Contrast Adjustment; Levels Adjustment; HSL Shift Adjustment.
2020-08-30-EOS-1612
(Summer 2020) GT Cooper
Fallen cherry flowers.
The end of Spring… A bit sad really as it’s my favourite season with its hope and optimism.
These flowers carpeted the patio under a Shirofugen cherry tree. The sight was a bit sombre, though full of interesting textures and muted colour. I hoped to capture my feelings in an image…
The problem with this sort of image, I have discovered, is that you need something for the eye to dwell on. Otherwise you keep restlessly looking around trying to work out what is going on and seeking something of interest. So I wanted to find something to give a point of attention.
The image I captured then reminded me rather of a field after a battle in the Middle Ages and that set me thinking – always a tad risky. Scouting the battlefield for survivors (or loot) the attention is drawn by movement and sound (I have clearly read too many fantasy novels!). But how can you reproduce that in a still image? Hmmm...
I hope you enjoy the photo. Thanks very much for dropping by and taking time to look.
[Handheld in daylight. Basic processing in LR (modest vibrance and clarity) then shipped to Affinity.
Sharpened (in colour) with Topaz Detail; layer duplicated and one copy converted to B&W with Topaz B&W then the colour layer on top with a Hide mask and painted the selected flower back in using a brush.
Finally a crop to move the flower up towards the one third line but maximise the width, and a moderate dark vignette. ]
the result of sticky shutter blades on the 1933 Voigtlander Rollfilmkamera. Perhaps even some fog in the elements. Will have to fix up.
This is one of the last ones I'll share of a wonderful evening at #highlightcarnival. Here Affinity is reflected in the large glass cafe window of the Dowse Art Museum. I liked how it looks like a window into another world.
Sky replaced, beach huts removed, flipped, bored so playing with Affinity. I quite like it but it's not a real photo......comments?
In the service of the time-honoured tradition
of observing the nature around our very condition
is like skimming the surface of life itself
a buoyant affinity where one can find oneself
isn't life so free as to be priceless?
the last place on Earth where hate can find us...
it is, we are, they certainly must be the evident esprit
given wholly to the cause, the natural designee
it's where our grounding begins, and ultimately ends
but each day is about the in-between and how it transcends
each and all at some point or another
this is how I see it before the medial smother
of society complicates the issue in view
Mother Nature perfected the calculation we only now review
as if we can walk across water in premediate importance
we must first wise-up as one united audience
to stop, and truly appreciate what it is, exactly, that we wish to see?
do we ever pay a visit to the basis of the makings of you or me?
the greatest stage production of our time runs and runs and runs
no expense spared and none needed for the universal reruns
every conceivable sound, with costumes to delight even the miseries
and though we may not always know it, we're each and all beneficiaries
from that which costs absolutely nothing to give
is our chance to see: how exactly do we want to live?
by anglia24
10h45: 11/07/2008
©2008anglia24
Streptocarpus (Cape Primrose). Photographed this with a an old 50mm Pentax lens at full aperture (f1.7) with a dumb adapter, Kenko extension tube, magnifying filter and a focus stacking rail. Got this image by selecting just three from the stack and taking the mean of them in Affinity.
My take on the 1933 painting by Rene Magritte titled 'Elective Affinities'. The title was taken from the Johann Wolfgang Von Goethe book 'Elective Affinities'.
Plywood burning bright.
Processed in Affinity Photo
The Tyger by William Blake
Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?
In what distant deeps or skies,
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?
And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?
What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp,
Dare its deadly terrors clasp!
When the stars threw down their spears
And water'd heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?
Tyger Tyger burning bright,
In the forests of the night:
What immortal hand or eye,
Dare frame thy fearful symmetry?