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Looking Close... on Friday: Hobby
I collect the bones of poor dead creatures I find to show the children at my Child Care Centre.
Here I have a tiny bird skull, maybe a rat, one I don't know and a baby crocodile skull in the background (from Kakadu N.T. Australia).
I also have snake, legless lizard, wombat, cow, goat, sheep ...
many in a Display Case for the children to see up close with magnifying glasses.
It's amazing to compare tiny snake backbones with large cow backbones and then feel our own :)
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I belong to this album. Textures&Backgrounds
Created for "Hearts on Black Background" theme in "Looking close... on Friday!"
Three tiny red glitter acrylic hearts on shiny black acrylic to create the reflections below. These were extra cutouts from when I cut an intricate heart pattern using my laser.
Two sweet, too sweet... in my book on the Peony.
A totally different variety.
Pure joy!
With love to you and thank you for ALL your faves and comments, M, (* _ *)
For more: www.indigo2photography.com
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Peony, petals white, red, bud, two, duo, pair, opening, protecting, leaves, silky, "conceptual art", colour, flowers, studio, design, black-background, "Nikon D7200", square, "magda indigo"
I had some reasonable shots of a Kingfisher but they had a pretty uninspiring grey background due to a dull overcast day. So for the very first time I decided to find out how to change the background of the shot, this is the result not perfect by any means but more pleasing to the eye than grey. There is also a slight vignette, it's obviously not a natural background and I would always say if I had done this. Any thoughts ?
Helios 77M-4 50mm f/1.8 M42
If you want to see more awesome pictures you can check out my group Only Awesome Photos
I haven't been able to use my new camera too much, and I've been missing out! Really enjoying the quality so far. After plenty of tweaking and color grading, this may be my new favorite picture!
Compressed before uploaded to Flickr. Be sure to fave!
Processed in Photoshop and Topaz including Impression
Added Textures are my own
Thank you for any comments
Generated By Midjourney V6
**PROMPT CINÉMATOGRAPHIQUE ULTRA DÉTAILLÉ (FR)**
Un gigantesque minotaure anthropomorphe surgit d’un ancien labyrinthe de pierre humide, sa masse musculaire luisante de sueur et d’eau stagnante. Sa tête bovine imposante, aux cornes épaisses et asymétriques, est légèrement inclinée vers l’avant dans une posture de traque prédatrice. Ses yeux ambrés brillent d’une lueur menaçante dans la pénombre. Chaque pas écrase les flaques sur le sol pavé, projetant des gouttelettes dans l’air chargé de brume.
À l’arrière-plan, un guerrier héroïque inspiré de la Grèce antique — cape rouge sombre flottant dans un courant d’air souterrain — se tient en haut de quelques marches de pierre usées. Il tient une épée courte à la main droite, lame orientée vers le bas dans une posture tendue mais contrôlée. Son armure de bronze patiné capte la lumière vacillante des torches murales.
**ENVIRONNEMENT & DÉCOR :**
Le labyrinthe est ancien, massif, oppressant, construit en blocs de pierre cyclopéens couverts de mousse humide et de traces d’érosion. Des torches fixées aux murs diffusent une lumière chaude orangée qui contraste fortement avec les ombres froides bleutées de la profondeur. Une légère brume au ras du sol ajoute de la profondeur atmosphérique. Le sol est irrégulier, mouillé, réfléchissant la lumière du feu en reflets dorés.
**ÉCLAIRAGE (STYLE CINÉMA ÉPIQUE) :**
— Key light chaude provenant des torches latérales
— Rim light froide bleutée détachant la silhouette du minotaure
— Volumetric lighting visible dans la fumée
— Fort contraste clair-obscur (style Caravage cinématographique)
— Reflets spéculaires sur la peau humide et l’armure
**CAMÉRA & COMPOSITION :**
— Plan large dramatique (wide cinematic shot)
— Angle légèrement en contre-plongée pour accentuer la taille du minotaure
— Profondeur de champ moyenne, arrière-plan légèrement flou
— Composition en triangle entre le monstre, le héros et les torches
— Perspective immersive au ras du sol avec éclaboussures nettes au premier plan
**STYLE VISUEL :**
— Ultra-réaliste, hyper détaillé
— Dark fantasy mythologique
— Texture peau et pierre en 8K
— Grain cinéma subtil
— Palette couleur : ambre brûlé, bleu nuit, bronze antique
— Atmosphère lourde, humide, dramatique
**AMBiance & ÉMOTION :**
Tension maximale juste avant l’affrontement final. Sensation de danger imminent, souffle retenu, moment suspendu dans le temps. Le monstre avance lentement tandis que le héros reste immobile mais déterminé.
**PARAMÈTRES SUGGÉRÉS :**
— aspect ratio 16:9
— ultra detailed
— cinematic lighting
— volumetric fog
— dramatic shadows
— sharp focus
— photorealistic
— epic dark fantasy
— 8k texture
— high dynamic range
---
**ULTRA-DETAILED CINEMATIC PROMPT (EN)**
A gigantic anthropomorphic minotaur emerges from an ancient, damp stone labyrinth, its massive muscular body glistening with sweat and stagnant water. Its imposing bovine head, crowned with thick asymmetrical horns, tilts slightly forward in a predatory stalking posture. Its amber eyes glow menacingly in the darkness. Each heavy step crushes the puddles on the cobblestone floor, sending droplets scattering through the mist-filled air.
In the background, a heroic warrior inspired by Ancient Greece — dark red cape flowing in the underground draft — stands at the top of a few worn stone steps. He holds a short sword in his right hand, blade angled downward in a tense yet controlled stance. His weathered bronze armor catches the flickering light of the wall torches.
**ENVIRONMENT & SETTING:**
The labyrinth is ancient, massive, and oppressive, built from cyclopean stone blocks covered with damp moss and erosion marks. Wall-mounted torches cast a warm orange glow that strongly contrasts with the cold bluish shadows of the depths. A thin ground fog adds atmospheric depth. The uneven wet floor reflects the firelight in golden highlights.
**LIGHTING (EPIC CINEMA STYLE):**
— Warm key light from the side torches
— Cool bluish rim light separating the minotaur’s silhouette
— Visible volumetric lighting in the smoke
— Strong chiaroscuro contrast (cinematic Caravaggio style)
— Specular highlights on wet skin and bronze armor
**CAMERA & COMPOSITION:**
— Dramatic wide cinematic shot
— Slight low-angle perspective to emphasize the minotaur’s scale
— Medium depth of field, slightly blurred background
— Triangular composition between the monster, the hero, and the torches
— Immersive ground-level perspective with sharp foreground splashes
**VISUAL STYLE:**
— Ultra-realistic, hyper-detailed
— Mythological dark fantasy
— 8K surface textures
— Subtle cinematic film grain
— Color palette: burnt amber, midnight blue, antique bronze
— Heavy, humid, dramatic atmosphere
**MOOD & EMOTION:**
Maximum tension just before the final confrontation. A sense of imminent danger, breath-holding suspense, time frozen in a decisive moment. The monster advances slowly while the hero remains still but determined.
**SUGGESTED PARAMETERS :**
— aspect ratio 16:9
— ultra detailed
— cinematic lighting
— volumetric fog
— dramatic shadows
— sharp focus
— photorealistic
— epic dark fantasy
— 8k texture
— high dynamic range
---
--ar 16:9 --v 6 --style raw --q 2 --s 200 --chaos 8 --seed 777 --uplight
I don't normally go for this style of flower shot, but while weeding in my garden next to my small clump of anemones, I came face to face with this lovely little specimen. As my anemones have never done very well, I decided I really must dash inside the house for the camera. Shot as a focus stack of 14 images at f5 to keep the background soft.
We could be living the life
they all wish they were living
No chains to hold us down
They’re labeling us how we’re missing
But we have thrown it away
‘Cause we’ve seen better days
-fivetimesaugust
After a week when temperatures across the UK have hovered above a sweltering 30C/85F, I found myself longing for the chill and fog of early spring, and revisited a shot which I captured at the centre of Richmond Park in early April. On many mornings I'd hoped for calm conditions that would bring heavier fog, and before this particular sunrise the low wind speed and near-freezing temperature near the Pen Ponds created fog so dense that, for a couple of hours, visibility dropped to about 20 metres. As the sun finally crept above the woodland and created various shades of orange and pink on the horizon, I came across the bare branches of an oak tree, and next to it the remains of a broken tree trunk, part of which now lay on the ground. Something about this scene captivated me, so I stopped to capture it.
The image is a blend of seven bracketed exposures, and proved to be a fun editing project because of the contrast between intense foggy light around the sun and deep shadows covering the trees and foreground. I began by blending my exposures using luminosity masks, bringing up visibility of the tree trunks while toning down brightness around the sun. I then refined my own masks in order to select and intensify the fog in the background. This was achieved by duplicating the blue channel in the Channels Panel and using a Levels adjustment to increase the channel's contrast between Darks and Midtones, effectively removing the trees and grass from the selection. After extracting the highlights around the sun using a selection from my Brights luminosity masks, I was left with a selection of just the foggy background, where I blended in my brightest exposures using a combination of linear and reflective gradient masks.
Colour-grading the image was very straightforward, as the mixture of early-morning blues across the landscape and intense warm tones in the sky only needed a little emphasis. Using Colour Balance adjustments with Apply Image as a layer mask, I gave the midtones and shadows a colder finish, and targeted the brighter area around the sun to increase the reds and magentas in the highlights. Setting two low-opacity Colour Lookup adjustments to Soft Light, I then used the Foggy Night preset for the foreground and the Soft Warming preset for the sky.
Using Nik's Colour Efex Pro, I brought out a little of the tree trunks' texture using the Detail Extractor filter, and at the same time softened the detail in the sky using the Sunlight filter, which helped to bring out the hazy glow across the scene when I'd captured it. While I thought that viewers' eyes would gravitate to the sun emerging between the tree's branches, the tree and the trunks among the fog were what drew me to the scene, and I felt it was important to try to emphasise their weathered texture and, ultimately, their "character". There was something hopeful about the colour spreading across the horizon as the sun rose, but at the same time something poignant about a scene that seemed to tell a story of nature's brutality and illustrate how certain things, once broken, can't easily be healed or repaired.
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