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I was driving on 64E on My way to Norfolk and I was tying to get the moon... this one was accidental, but it turned out better than the moon...
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The pendant in an amazing piece of raku clay, handstamped using fossils and seashells and flashing copper, turquoise, gold, green, fuchsia and purple. It measures about 2 7/8 inches x 1 7/8 inches (73mm x 47mm) and signed by the artist (Marianne "MAK" Kasparian) on the back (MAKU).
The pendant is fantastically framed with shimmery aquamarine, chunks of labradorite, more MakuStudio beads, gleaming sunstone, iron pyrite squares, hematite chips and bits of shiny glass.
17 1/2inches (44cm), strung on professional quality beading cable, and the easy to use, secure and lovely hoop clasp is handformed (by me) sterling silver.
This is the original photgraph. I was stood under the A34 fly-over to try and protect the camera lens fom the rain which was tipping down. As there was bright light under the fly-over I used ISO 200, and flash, because it was so dark on the street outside my shelter. The car in the foreground was travelling way too fast and came a screeching halt at the lights. For a moment I wondered if I was going to be photographing a traffic accident rather than the lights and reflections from the wet street !
UW Photo Club event. See www.flickr.com/photos/uwphotostefan/ for some more by me, and the group pool for more by the other club members who, unlike me, know what they're doing.
The beauty of digital photography is the way you can do some experimenting without tossing away a bunch of film. This time around we were at Longwood Gardens and decided to fool around with some fill flash technique. On a previous trip, I had used a radio trigger to fire the manually controlled flash unit. For some reason the radio triggers wouldn't work so this became our chance to try the optical trigger built into the flash attachment.
Firing the unit optically involves using the flash built into the camera to tell the off camera unit when to fire. I didn't want the on camera flash to light up the image so I set it's power level as low as possible. That way, most of the light hitting the subject would come from the off camera flash unit giving me control of the intensity, distance, and direction of the light.
These panels were put together to record what we did AND as a way of sharing the techniques with fellow photographers.