View allAll Photos Tagged Confluence
Confluence of Rio Baker (left) and Rio Chacabuco along the Carretera Austral in the rugged territory north of Cochrane, Patagonia. This is the point of access to the Chacabuco Valley and Patagonia National Park, rewilded from the former ranchland of Estancia Valle Chacabuco.
04/05/2021 www.allenfotowild.com
A closer look at the confluence of Glacier Los Leones south, center and north glaciers where they descend from the icefields of Parque Nacional Laguna San Rafael (upper left) and terminate in the beautiful glacial green Lago Leones, Patagonia. Several avalanche tracks can be seen on the steep cliffs to the right of the image.
19/02/2021 www.allenfotowild.com
I call this Confluence because there are a number of factors coming together in this sunset/early twilight vista looking east: Earth Shadow, Belt of Venus colors, a singular broad anti-crepuscular ray fading into the vanishing point, and the moon.
Sadhus singing holy songs for god, while modern sports facilities await people to enjoy those....a typical display of Indian confluent culture on the bank of ancient river Betwa in Memorial campus of Orchha, Madhyapradesh, India
J’ai pris cette photo sous le bâtiment du musée des confluences à Lyon. Les personnes en silhouettes sur le bord opposé du bassin étaient toutes dans des postures expressives. Deux secondes avant ou deux secondes après, la photo aurait forcément été différente …
2,000 feet down two rivers meet where the Green offers up it’s current to the Colorado. Their headwaters distant and in differing states, yet join here in these depths for a dance through the Grand to empty with all the others flowing, to begin again as rain.
I created this piece in Adobe Fresco. It is a meditation on the confluence of the Green and Colorado Rivers and the rock formations that line the river's flow. A print of this and other artwork will be on display in the Datura Deli in Moonflower Market in Moab, Utah for July and August.
Im hinteren Lenninger Tal, direkt unterhalb von Gutenberg, fließen zwei Quellflüsse der Lauter ineinander.
Old friends will recognize one of my favorite "theme" topics (see the SET to the right)--this falls on Sugar River which is truly a well kept secret. Even on the sunniest weekend summer day there will be only one or 2 groups of people enjoying the view and the misty air; most often I'm there alone when I shoot. I went out to do a test of the new 80-400mm and had a terrible time :) Mist on the lens (forgot the lens hood), more water coming over the falls than I've ever seen, so the water blur effect was anything but subtle. Also, I didn't dare cross over the stream, which had turned into a rushing torrent that seemed a foot or 2 higher than I've seen--covering most of the stepping stones I usually use. No way the new lens was going to be trusted to my footing under those conditions. And the best shots are from the other side !! I also found out that the default setting for the remote timer on the D90 can really work against a tripod shooter in adverse conditions. It kept timing out on me while I played with shutter speeds and zoom settings, and wiping the lens, requiring enough resets that I was forced to read the manual (later) to find which menu item holds the longer settings. Oh my. Anyhow, this one looked OK after all the bother, so here you are.
Not managing to get out much at the moment, partly due to a dodgy knee and rubbish weather, so another one from last year
A confluence of generation z meeting at the QVB building in the city
George Street, Sydney
July, 2022
Sunrise at the place where the East and West Branches of the DuPage River come together to form a single waterway.
York Minster, situated in North England, proudly claims to be one of the world's most magnificent cathedrals. I'd been planning to visit the location for over a year, but it wasn't until I was standing inside it, taking in the awesome spectacle of its nave, that I realised how true that claim is.
The site's history extends back almost 2,000 years, with the remains of Roman barracks uncovered in the 1960s and now on display in the Minster's undercroft. The current building is around 800 years old, and on its north side is the Chapter House, a circular space ringed with low stalls, soaring stained-glass windows and a 60ft-high ribbed-vault ceiling. The day-to-day running of the Minster once took place here, and it was praised as revolutionary for its time because it lacked any central pillar to support the ceiling. From a photography standpoint, this was must-see architecture, not least because the absence of a central pillar meant it would be possible to capture a look-up directly beneath the ceiling.
The image was captured shortly after the Minster opened in the morning, and is a blend of eight bracketed exposures that were later blended in Photoshop using luminosity masks. My aim was to bring out as much of the nuance as possible in both the Chapter House's stone pillars and in the wooden roof, so I shifted the midtones and shadows towards the brighter exposures. At the same time I wanted to preserve the detail within the windows, so the highlights were geared towards my darker exposures. I also wanted to emphasise a sense of depth and proportion across the ceiling, so a combination of the Pen Tool and radial gradient masks were used to blend in brighter exposures at the centre of the frame.
When colour-grading the image, it was important to me to try to put the focus on the location's symmetry and ornate decorated architecture. For this reason I opted for quite a muted palette. The bold reddish-yellow tones across the ceiling were toned down, with only a low-opacity Colour Lookup applied to the centre of the ceiling using the Soft Light blend mode and the Soft Warming preset. Small adjustments were made using Colour Balance, Hue/Saturation and Curves layers to add a hint of blue to the shadows and to play up some of the warmth from the interior lighting, particularly along the carvings at the lower-centre of the frame.
Using Nik's Silver Efex Pro on a layer set to the Luminosity blend mode, I gently increased the image's dynamic brightness and amplified the whites, as well as lowering the midtone and shadow structure along the stone columns, which had a lovely gritty texture but which I thought might distract from the glass windows and ceiling that were the key components of the image. Lastly, inside Colour Efex Pro, I used the Pro Contrast filter to selectively increase the intensity of light coming through the windows on the left side of the frame. This was to ensure a balanced finish, as the position of the sun early in the morning meant the windows on the right side were slightly brighter than on the left.
The final result hopefully conveys the location's beautifully geometric architecture, and perhaps also the admirable workmanship that went into planning and constructing such a sublime building and on such an enormous scale during the late 13th century.
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