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Nikon Nikkor-P Auto 105mm f2.5.
I.M..H.O. this lens is at irs best with portraits but close seccond are those intimate midrange scapes. Closed down it is sharp and has decent depth od focus. It compresses space just a little bit. Enough to be noticable and to play with it and use it in composition, and not as prononced to be distracting and unnatural as lenses of longer focal distances.
Excerpt from the plaque:
Fun House #2 by Nathan Eugene Carson: As a child, outdoor carnivals always attracted me. I walked around with a sense of wonder…the intersection of the many different moving parts…the games, the rides, the food and drinks, and the myriad of performances that were taking place, often in the parking lot of a mall or fairground. Fun House #2 is inspired by the carnival model with the added artistic twist for Supercrawl. An intimate tented carnival space will showcase artworks from local artists including Paul Allard, Gord Bond, Julie Jenkinson, Christopher Hall, Laine Groeneweg, Kyle Steward, and Sandee Ewasiuk. The space will be animated by performances, an outdoor flea market, with more surprises over the weekend. Welcome to the Funhouse. Where the magic happens. Thank you to Motts Borsellino and Stephen McIntyre, Robyn Snow and Casa Studio.
Sand Dunes, First Light. Death Valley National Park, California. March 31, 2016. © Copyright 2016 G Dan Mitchell - all rights reserved.
The first morning light reveals textures in sand dunes, Death Valley National Park
These dunes, and other like them, are both more ephemeral and more permanent that many may expect. The permanence initially surprised me. I had always imagined the peaks of dunes marching gradually across the landscape like slow motion ocean waves, producing a landscape that would never be the same twice. However, observing certain dunes in Death Valley National Park over a period of time made it clear that the broad features of the dunes are actually very nearly permanent. From year to year the overall form of the dunes remains largely the same — no surprise, perhaps, given that the forces that form them are constant, including the prevailing winds and surrounding geological features. Yet, other things are more ephemeral. Plants come and go, and footprints are erased by the next dust storm. The light is constantly changing, through the daily cycles and the annual cycle.
This was the final morning of this trip to Death Valley. Since dust storms (and rain!) had passed through the previous evening I was certain that I could find areas unmarked by footprints, where the natural patterns produced by wind would be found. I drove to a less popular area near the dunes, loaded up my equipment, and set out across the playa to get to the low dunes I had in mind. I arrived in soft pre-dawn light and began to photograph, trying to work with this subtle light and its extraordinarily low contrast, all the while watching the sky to the east to see when sunlight would strike the dunes. I composed this photograph in that soft light, but as I worked the sun cleared the mountains far to the east and warmer colored light began to more clearly show the sand patterns. I made this photograph during the very brief interval — literally only seconds — when that first light began to softly light the sand and before it struck with full intensity.
G Dan Mitchell is a California photographer and visual opportunist. His book, "California's Fall Color: A Photographer's Guide to Autumn in the Sierra" is available from Heyday Books and Amazon.
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INTIMATE SET ALL BODIES
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credits:
AG. Coldheart Eyes @ Lootbox
LAQ ~ Anais skin (Omega) worn on Noelle Head (with my personal shape)
Rainy, diffuse lighting makes the colors pop without hotspots from the sun in this aspen grove study. Fall, 2022.
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There's something magical about little wildernesses in urban areas. Patches of sunlight find their way in through the beech and hazel to rest upon tangles of brambles and grasses wrestling for space and the warmth of the sun. These are always peaceful spots and a haven for small birds and mammals.
© Copyright John C. House, Everyday Miracles Photography.
www.everydaymiraclesphotography.com
All Rights Reserved. Please do not use in any way without my express consent.
Access to the Bald River Falls has been cut off while they rebuild a bridge just downriver from it, but I can go back and look at times when I was able to get a much closer look. Taking a piece out of a landscape that represents the whole is sometimes called visual extraction, or intimate landscape. I like the latter, and this is a good example of what I try to do when I’m attempting to create such an image.