View allAll Photos Tagged Gradient
Okay, I got bored ... It has been raining and storming outside today, so I couldn't get out to my garden area to take some wonderful color shots ... so this will have to do for my fill of color.
We are swimming in tomatoes now. I've frozen a gallon bag of cherry tomatoes, and will freeze a few more before the season is finished. It means we'll have amazing tomato sauce or soup when only bland supermarket tomatoes are available.
On a recent morning, London's skyline became buried in fog. The temperature had been hovering above zero and a light layer of frost had developed overnight across Primrose Hill and Regent's Park. The frost became more visible as night turned to blue hour, while the cityscape became increasingly obscured in early-morning mist, with barely a silhouette St Paul's and the Walkie Talkie visible, and with only a faint outline of the Docklands in the distance. A sliver of warm light gradually appeared on the horizon, turning from deep red to vibrant pink, and finally to brilliant orange as the sun emerged from behind the city's buildings.
My aim with this image was to capture several parts of what was a chilly but remarkable experience, from the pre-dawn glow of the lamps across Primrose Hill to the moment when, minutes before the sun appeared, a glimpse of fiery light could be seen between Tower 42 and the Leadenhall Building. I began shooting long before dawn when I was the only person at the top of Primrose Hill, but by the time the sun rose I'd been joined by fellow photographer Peter Li as well as half a dozen other photographers, joggers and dog-walkers, all of whom were captivated by the spectacle.
There was something magical about the city lights and the lamps across the parkland, so I began by capturing these and later using a combination of blend modes and gradient masks in Photoshop to combine them with a series of bracketed images that I captured as the sun appeared. While luminosity masking would usually be a straightforward method of isolating light across the frame and targeting my brighter exposures to the cityscape and my darker exposures to the sky, the fog on the horizon and the faint early-morning light meant an equal amount of midtones across both the cityscape and the sky, and the challenge with this image was separating these and refining the luminosity masks until the cityscape could be edited without affecting the sky. It would have been easy to use darker exposures across the image and to simply raise the shadows and exposure along the lower half of the frame, but I wanted as clean and noise-free a finish as possible across the parkland, as well as a smooth and balanced transition of light between the obscured cityscape and the brilliant sky.
With the exposures from nearly two hours of shooting blended, the colour-grading process was a fairly straightforward process, with only minor adjustments to emphasise the tones that were already there. I used Curves, Colour Balance and Gradient Map adjustments to bring out the golden tones in the sky and the cold blue across the cityscape, as well as Hue/Saturation and Selective Colour adjustments to add a hint of cyan and green to the blue in the foreground, which I felt helped to bring out the frost and chill of the parkland. I also applied a low-opacity Exposure adjustment to the shadows in the foreground to soften the contrast among the trees, which seemed to focus the buildings and the light on the horizon as the central points of interest.
Inside Nik's Colour Efex Pro, I added a small amount of the Pro Contrast and Tonal Contrast filters to the buildings in order to give them a little extra definition against the sky, but I was mindful about how much of this to apply because the low visibility of the scene is what made the image unusual for me. I liked how, on this misty and freezing morning, only the tips of the highest buildings on the horizon were clearly visible, and how, minutes before the sun rose and the fog began to vanish, there was a fleeting but fantastic sense of drama across the city.
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Trackmen and workers pause for a moment from their routine as a robust looking palindrome WDP-4 from BGKT in LHF negotiates the TSR and the typical SWR gradients pulling the Udaipur bound Palace Queen Humsafar express from Mysore.
SERIES: CALIFORNIA
Afternoon light creates a wonderful gray gradient in building 44 Montgomery Street, San Francisco.
Thursday morning at the colliery, and the locomotive has just been sent down the wrong road by Dudley who’s on his damn notebook again and Deliberation Dave - both of who aren’t paying attention, despite them offering to change the point for shunter Shifty Sigmund stood with his back to us.
The driver of the loco luckily was on the ball and quickly applied the brakes. Phew. But Sigmund’s language cannot be repeated here, despite most of you, my loyal readers being of more sterling stuff and not of the easily offended on behalf other people variety.
This part of the colliery is interesting historically, because before the railway came and drastically changed the immediate landscape, there used to be a canal here. The humpback bridge in the distance used to cross over the waterway, but was kept when the railway was built.
The locomotive is stood on a 1 in 20 gradient, quite steep for a railway I’m sure you’ll agree. And whilst it’s not the steepest adhesion railway in the whole of Little Britain, it certainly is in this part of the Somerset Coal Field if one ignores the nearby cable hauled inclines of Kilmersdon, Clandown and suchlike.
A short flight of locks used to be roughly where the gradient is, with the one here being a 3 compartment ‘staircase’ flight, which made it particularly unpopular with the boatmen who worked the coal canal, especially in latter years with badly leaking gates.
And finally, the canal now terminates out of shot to the left next to The Pedant & Armchair pub. It was formerly known as ‘The Coal Boat’, and had a very different type of customer back then before it became a favourite haunt of the squeaky voiced nasally afflicted railway loving hobbyist and narrowboat loving gongoozlers.
¡Hola!
Primero de todo, siento la falta de actividad en esta página, la verdad que entre la Uni y que no tengo cámara me está siendo un poco complicado hacer fotos.
Como se puede adivinar por la calidad de esta foto, está sacada con un móvil, intento no perder las ganas :)
Por otro lado, me hice una página en Facebook, así que si os gustan mis trabajos podéis seguirla
Andong train station, timed the sunset just right, got off the train, walked off the platform, got this. Nikon D800.
New this week for The Saturday Sale!
7 - Gradient Neons
8 LI, mod/copy
Sold Separately
Available 4-4-20 for The Saturday Sale at Seven Emporium
For this I used:
OPI "Skull & Glossbones" (one of my favorite colors ever!)
China Glaze "For Audrey"
and a random no-name turquoise polish!
I stamped with BM-322 and Essence "Blue Ray"
:)
A different take on GBRf Shed 66763 as it passes Melton Ross under brooding skies with the 12.45 Immingham - Cottam PS (6F57) on 12th May 2015. I think this was just before the thunder, lightning and hail storm!
Figured I'd leave the gradient post in for this one.
by Alexander Lis
www.alexanderlis.com/about.html
Published by Catalogue Library (Failed Attempts collection)
Edition of 25
Printed in Leeds
2011
Oi queridas! Como estão?
Hoje aproveitei o lindo esmalte Fascínio Violeta da Jade para fazer uma gradiente holográfica inspirada neste post da Kelly no blog Esmaltes da Kelly.
Pela primeira vez depois de muito tempo postarei fotos da minha mão esquerda porque achei que a gradiente ficou mais bonita que a outra mão...rs. Mesmo assim também postarei as fotos da mão direita porque gosto delas! Rs (para quem não sabe sou canhota, por isso sempre posto fotos da mão direita).
- Fascínio Violeta (Jade)
- Magia Negra (Jade)
02 camadas de TC Vefic
Beijos.
Day 358
lol umm... I'm not sure why I did this haha
It may have been from the lack of a legitimate photo
Strobist:
Nikon SB-900 high camera right, shot through umbrella | 35mm @ 1/16 Power
Canon 430EX II low camera left, shot at at the background, bare | 35mm @ 1/32 Power
Olá meninas, quanto tempo! rsrs
Então, acho que estou ficando viciada nessa coisa de Gradiente! Depois de um tempo, olhei pro Cotton Candy e pensei: hum, acho que fazer uma gradiente do lilás pro roxo vai ficar bonita, começando por ele (cotton candy). Ou seja, nem 24 horas consegui ficar só com o Hits! rsrs Mas, achei mt mais bonito assim!
Beijo!
Usei:
Base Colorama
Cotton Candy, Hits (2x)
TC Lorena
Esponjado com Cotton Candy, Hits + Pucci-licious, Color Club e Veludo, Ana Hickmann
TC Lorena
Obs: de fundo, fazendo papel de robert, minha caixinha de manicure, os esmaltes, meu copão de água e meu livro das Crônicas de Nárnia! :-)