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I try to get down to eye level when shooting these guys too but I certainly don’t look this graceful doing it. I’m much more intimate with the ground. Which makes me less mobile too so it’s really nice when they hold still for a bit. This was a cold day, with he previous night getting way below freezing so I was surprised to see an active snake.
For the Edo Pop exhibition, we created details of five prints selected for wall-sized graphics. The details appear on movable walls called 'baffles' which range in size from seven to twelve feet wide by nine feet tall.
Above: A detail of "Ichikawa Yaozo III as Umeomaru" by Kabukido Enkyo was converted into a wall graphic for Edo Pop.
(November 18, 2015)
Oklahoma, U.S.
I like exploring new places for my photo shoots. I want to challenge to some extent my brain by using just available props which I can find there; then see what meaning I'm able to give to them if transferred onto my photographic world with me or without me.
Here you can see the props I used for one of the poems by Poświatowska: a white cup, a plate, a saucer and cutlery (the volume of verse by Poświatowska is mine and travels with me everywhere).
Here is how we did it:
Knowing that we would have to make composite images for each of the reproductions and that each of the details of the Edo Pop prints would be a different size, photographer Charles Walbridge started with the size of the baffles and worked backwards.
First, Walbridge converted the twelve by nine-foot baffle to 144 inches x 108 inches. Knowing that this type of print should be a 100 DPI final image, he knew needed to photograph the prints in sections to build a final file that was 14,400 by 10,800 pixels.
Above: Charles Walbridge photographs a section of "Ichikawa Yaozo III as Umeomaru" by Kabukido Enkyo for Edo Pop.
Olympus OM-D E-M5 MkII and Voigtlander 17.5mm f0.95 MFT Nokton Lens. I first started using the Voigtlander Nokton lenses from 2015. This is my favourite image from that period. Ida Ränzlöv, singing the part of Arminda, Anchise’s niece, waits backstage for her cue. Mozart's La finta giardiniera. Dress rehearsal. Royal College of Music Opera School, Prince Consort Road, London. November 25, 2016. Photo: Edmond Terakopian
This is what happens when you don't have a proper notion of time and space. I'm so bad at it, especially here in the U.S. I almost completely lost the notion of space.
It took me way too long to get ready, to pack my styling and gear that day. I was very inspired to take pictures for one of the poems by Halina Poświatowska, which I had studied carefully on the same day. I imagined all the scenes, and what I could possible do at this location, which I knew from the previous visits.
I was so excited about it but upon arrival at the destination, I was informed that the access to the lake wasn't permitted for visitors. Then, I was redirected to other entrance open to tourists. You can't imagine how angry I was. While in the car, I was only admiring the sunset on the way, and almost gave up on the shooting.
When I finally arrived to the lake, there were only 10 minutes left before the sunset, 10 minutes of warm soft light! I didn't even think to wear any of my styling, I forgot everything I planned to do, I just adjusted to the circumstances. I had only sharp rocks under my shoes. I removed them and the dress, placed the tripod and started shooting. The nature itself was enough of an inspiration to me. This is how my series "You Have Small Braids Like Spider Threads" was born. One of my best from 2016!
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│my life is a picture│ is a project documenting my life which I publish on blogspot:
mylifeisapicturebyangelikaejtel.blogspot.com/
and instagram:
This is where I shot my series "Tightly Wrapped In Black Love":
www.flickr.com/photos/60447970@N04/albums/72157675857185084
The natural light coming by the door felt good. I just used a laced tablecloth for covering the windowpane which gave more softness to the background. On the bed all the props I found in the cabin and also a few of mine.
That cabin was a wonder! Wherever I stood, I saw hundreds of possible scenarios. Behind me on the balustrade, I had the best time ever dancing.
This is where I shot my series titled "In The Wildly Dancing Blood".
Here is the setting I tried to arrange using a stylish lamp I found in the cabin, and a little wooden furniture. I also attached light white fabrics in the window to create kind of soft feel.
I'm very attracted to everything wooden, and even though it was quite cold that morning, I tried my best to be creative regardless of uncomfortable weather conditions.
I made my kitty travel with me. I wanted her to have little holidays, too. As always, she was very active checking on everything I touched or moved. It happened that she appeared later on my pictures without my permission, of course.
The entire one24thscale team is in agreement about this image. Emmy, Ken and Larry feel, this is the most scenic behind-the-scenes shot Ken has captured. (So far)
As some of you will have noticed, it is much harder for the team to get together now that 3 hours of travel are required to do so.
We managed just 19 posts this year, when you include this one.
All told, it was still a pretty successful year. The Flickr bot picked 10 of those images for Explore. Five of Ken's studio shots made the grade and all five scenes we captured on September 17th made it. In baseball terms, we batted over .500!
We also passed the Five Million views mark in 2024 and even managed to sell a couple images during a gallery showing at VFW Post #1 in Denver's Santa Fe Arts District.
Nudge nudge, we would love to sell any one of you an image or two..... Yeah, we know, photographers do not often buy the work of other photographers. Still, I had to put that message out there. Think of it as a, "Now, a word from our sponsors" kind of thing.
Best wishes for all of you in the coming year. May we all find that well-healed audience that wants to see our work hanging on their walls.
This is a behind-the-scenes setup photo of our "Family Friendly Fords" forced perspective photograph. It can be seen here:
www.flickr.com/photos/one24thscale/54216532027/in/datepos...
I was taking the behind the scenes photographs of my recent work "New season, new trends!", published in Avenue T magazine of Dhaka Tribune newspaper on 5th Sept. 2013.
Please don't use this image anywhere without permission. © All rights reserved by Sabiha Akond Rupa & Dhaka Tribune.
I was tagged by Alex, Vana, Deejay Bafaroy and RockWan -- thanks!
I wasn't sure how I might be able to play along with this game until Little Enchanted World asked about the hairstyle of this Poppy in my latest photo, so here is the behind the scenes of how I twisted her beehive hairstyle.
As you can see, I hid the rest of Poppy's very thick hair in a tight ponytail tucked inside her top. From that point, it was about finding the right angle to photograph so that the rest of her hair was hidden by her neck. :)
If you see this and want to play along, please do so!
Here's where and how the magic happens, so to speak...
This is were I take most of my indoor pictures. Last year I bought this Ikea MICKE desk (it's meant for kids). It's small yet offers quite some place to store stuff. The thing I loved most is the metallic background: I simply use magnets to easily set wallpaper, fabric, scrapbook paper etc on it. It's just high enough for 1/6 scale dioramas.
In the big drawer I keep tiny elastics, tiny hairclips, painter tape, everything that is usefull and I always need asap. Like that brush I use to dust the doll's face just before her close-up.
In the small one I keep the floor carpets so they remain flat all the time.
On the upper shelf in plastic boxes I keep all the little props (like re-ment, dishes, cushions, plates, etc) I hate how it looks (I love nothing more than an empty shelf) but I must admit it's very handy to have these under hand at all time.
Between those is my 'reflector' it's a faux mirror I once found in craft store, it's very practical because it's small and flexible so I can redirect the light as I want.
Now you see were all the little pets spend most of there time when they are not with their mistresses. I keep them all there so I don't lose them and can grab them at anytime. (Remember Sindy had a kitty?...well he's not there because I kinda lost it...that's why I do this now)
Behind the door I keep my structures and panels like wood floors, windows, walls, etc.
You see I also have a big studio light umbrella. I have two but it takes too much place in my small room so I don't leave them there all the time (again that certain need of emptiness of mine). But when I need a fully indoor lighted scene, I need both of those + 2 or 3 table lamps that I put as close as possible to the doll(s) face(s).
Now about the making of the Momoko pictures of yesterday, you can see how I set it up, and here's a little making of:
Keep in mind that I'm not a real pro photographer, I learned everything by myself and still learning as I go, also English is not my first language so you can imagine my technical photographic explanations might sound strange)
(My camera is a Nikon D5600)
I made this series when it was dark outside and the only light source was the table lamp on the right on the desk. The bulb inside is a 15W LED in cold light (4000k), it's close to daylight. I put a double layer of pattern paper around it to diffuse the light, so it doesn't fall harsh on Momoko's face.
When indoor, I always use a tripod and the timer of my camera as I don't trust my shaky hand.
For this picture the 'white balance' on my camera was set on auto and the following settings:
ISO 100 and aperture priority (I barely ever change these two)
f/3,5 : when there is so little light you can't open the camera lens much more than this because the light areas will be burned and the dark ones will be two dark.
This mean I couldn't obtain a very blurry background, as I couldn't set the aperture to let's say f/1,8.
I usually close the blinds on the right window as the light come directly in front of the camera and ruins the lighting of the set. But I keep them open on the window on the left.
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Before I had the ikea desk, I was using a coffee table against the radiator, so I was already using the easy background + magnets solution. But I was always down on my knees and it was very uncomfortable. (And I don't get any younger you know...)
The back drop is 7 feet across. From the back drop to the front of the table is 8 feet. The camera was three feet in front of the table and then I was behind the camera.....WOW I was just about to run out of space.
A quick look at my Azrak Abbey set during a break in filming - all the usual suspects are there; my blue styrofoam walls, aquarium/vivarium plants, vinyl floor tiles, branches from the garden, bits of stone & reindeer-moss stuff etc.
If anyone's wondering, in Toyville lore Azrak Abbey was built at about the same time as St. Mego's (and along similar lines too) but out of cheaper, inferior materials and it fell apart very quickly ;)
When I was filling the tiny nut cups with peanuts (yes, 1/6 scale peanuts!), Bela was sitting a little further out. Of course, I spilled the peanuts. "Oh!" I gasped, "Bela, DON'T MOVE!" Then I picked three nuts out of his grey furs. The rest landed on the carpet and on the tiles. Whew!
this little corner in the family room usually has a nice amount of light coming in through the tall sash window.
it's one of my favourite places in the house to set up for a photo.
all of the things I put onto the little coffee table never ended up making it into the final shot, and look at how messy the sofa cover is!
FACTOR Prizmo RGB+W lights create stunning moods and colors. Just turn the control knob on the back to add any color you can imagine to your scene! We're lighting this shot with two FACTOR Prizmo 1x1 lights, the Prizmo on the left is set to blue and the Prizmo on the right is set to pink. Click here to learn more: bit.ly/2QKU8gp
Model: Meghan www.instagram.com/siren0293