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La Alhambra (Granada - Andalucía) vista desde el mirador de San Nicolás en el emblemático barrio del Albaicín.
English
The Alhambra (Granada - Andalusia) seen from the San Nicolás viewpoint in the emblematic Albaicín neighborhood.
Cámara Nikon D850 con lente Nikkor 24-120 F4/G-VR. Editada con Photoshop 2023
Tiempo de exposición : 3 sec
Bias de exposición : -.0.33 ev
Diafragma : F/8
Sensibilidad : 64 Iso
Distancia focal de : 78 mm
Tripode Si
Recomiendo hacer doble click sobre la imagen y ver en grande.
I recommend see in larger, clicking double on the imagen.
- I like how the water ripples Through, as The Sunlight Emerges and Reflects from "The Shadow of Darkness" - Salt River, AZ. -
Imagen de "La Alhambra" capturada desde el mirador de San Nicolás, ubicado en el emblemático barrio del Sacromonte (Granada - Andalucía). Un maravilloso marco para un momento de luz y color inolvidable...Lo mejor fue compartir estos instantes en una ciudad mágica como es Granada, con amigos que sienten la misma pasión por la fotografía, y con los que a través de ella, nos une una sincera amistad......Imagen dedicada en especial a ellos y también a todos los amigos en Flickr.
Image of "La Alhambra" captured from the viewpoint of San Nicolás, located in the emblematic Sacromonte neighborhood (Granada - Andalusia). A wonderful setting for an unforgettable moment of light and color ... The best thing was to share these moments in a magical city such as Granada, with friends who feel the same passion for photography, and with those who, through it, unite us a sincere friendship ...... Image dedicated especially to them and also to all the friends on Flickr.
Cámara Nikon D850 con lente 24-120 F4/G-VR editada con Camera Raw y Photoshop CC 2019.
Esta captura se tomó con 3 segundos de exposición, con Iso 64, un diafragma de f/8 y una distancia focal fue de 78 mm en formato completo
Recomiendo hacer doble click sobre la imagen y ver en grande,
I recommend see in larger, clicking double on the imagen.
Imagen de "La Alhambra" capturada enla hora azul, desde el mirador de San Nicolás, ubicado en el emblemático barrio del Sacromonte (Granada - Andalucía). Un maravilloso marco para un momento de luz y color inolvidable
Image of "La Alhambra" captured at blue hour, from the San Nicolás viewpoint, located in the emblematic Sacromonte neighborhood (Granada - Andalusia). A wonderful setting for an unforgettable moment of light and color.
Cámara Nikon D850 con lente 24-120 F4/G-VR editada con Photoshop
Recomiendo hacer doble click sobre la imagen y ver en grande,
I recommend see in larger, clicking double on the imagen.
Macro Mondays - High Key
I was looking forward to this one but it turned out to be way harder to achieve than I thought. I thought I was all set and when I looked on the computer there was way too much shadow. So I had to get out a small soft light to help me out.
Happy Macro Mondays
This morning picture was taken with Agfa Isolette I and a copy film cut down to fit 120 format (IMAXproject). ISO 3 and Stand development Fomadon R09 1:100.
Magical Ireland...
..and back again to my favourite place to take more LE pics lol
Hit - Z - to view in the light box (full size).
Press - F - button if you like it ☑️
~ Camera Nikon D90, 18-108 Nikon lens, fixed on tripod. ISO L1 / 1,3" / White balance 2.5K
All copy rights reserved. HR images are available.
As always, thank you all in advance for all comments and favourites **** Enjoy your weekend guys ! TGIF
A still life photo, with the light coming from the left side, as used in many of the paintings of Rembrandt.. Nikon D4s ISO 50 f6 1/4 of a second.
Generated By Midjourney V6
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**🎬 Prompt :**
Un chat noir au pelage ébouriffé et légèrement humide, assis parfaitement au centre du cadre, fixe la caméra avec un regard perçant et presque surnaturel. Ses yeux dorés brillent comme deux éclats d’ambre liquide, contrastant violemment avec son pelage d’encre. Chaque mèche de fourrure est visible, détaillée, hérissée comme électrisée par une tension invisible.
L’arrière-plan est un tissu zébré noir et blanc, aux motifs ondulants qui créent une illusion optique hypnotique, presque vivante, comme si le décor respirait doucement. Les lignes du motif semblent converger vers le sujet, accentuant sa présence dominante et mystérieuse.
Éclairage cinématographique dramatique en clair-obscur : une lumière principale douce mais directionnelle venant légèrement de côté sculpte le visage du chat, révélant les textures fines de la fourrure et les reflets subtils dans ses yeux. Une légère rim light souligne les contours de ses oreilles et de son dos, détachant sa silhouette du fond graphique.
Profondeur de champ faible (bokeh doux), arrière-plan légèrement flouté mais encore lisible pour conserver l’effet visuel hypnotique. L’image est capturée en ultra haute définition, style photographie animalière de luxe mêlée à une esthétique de film noir contemporain.
Ambiance : énigmatique, élégante, légèrement inquiétante, comme si ce chat était le gardien silencieux d’un secret ancien.
Palette de couleurs dominée par le noir profond, le blanc contrasté et les reflets dorés.
Caméra : plan frontal, cadrage symétrique, objectif 85mm, ouverture f/1.8, ISO bas, netteté extrême sur les yeux.
Texture : hyperréalisme, micro-détails visibles (poils, fibres du tissu, reflets lumineux).
Style : mélange de **cinéma noir**, photographie éditoriale haut de gamme et réalisme dramatique.
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**🎬 Prompt:**
A black cat with slightly damp, tousled fur sits perfectly centered in the frame, staring directly into the camera with a piercing, almost supernatural gaze. Its golden eyes glow like liquid amber, sharply contrasting against its ink-dark coat. Every strand of fur is visible in extreme detail, slightly raised as if charged with an unseen tension.
The background consists of a black-and-white zebra-patterned fabric, its flowing stripes forming a hypnotic optical illusion. The pattern feels almost alive, subtly breathing, with its lines visually converging toward the subject, amplifying the cat’s dominant and mysterious presence.
Dramatic cinematic lighting in chiaroscuro style: a soft yet directional key light from the side sculpts the cat’s face, revealing intricate fur textures and delicate reflections in the eyes. A subtle rim light outlines the ears and back, cleanly separating the silhouette from the graphic background.
Shallow depth of field with soft bokeh; the background remains slightly blurred but still recognizable, preserving the hypnotic visual effect. Captured in ultra-high definition, blending luxury animal photography with a contemporary film noir aesthetic.
Mood: enigmatic, elegant, slightly unsettling, as if the cat is a silent guardian of an ancient secret.
Color palette dominated by deep blacks, stark whites, and rich golden highlights.
Camera: frontal shot, symmetrical composition, 85mm lens, aperture f/1.8, low ISO, razor-sharp focus on the eyes.
Texture: hyperrealism, visible micro-details (individual hairs, fabric fibers, subtle light reflections).
Style: fusion of **film noir**, high-end editorial photography, and dramatic realism.
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--ar 3:2 --v 6 --style raw --q 2 --stylize 100 --chaos 5 --uplight --no blur --no distortion
Taken with Agfa Isolette I (Agnar) and a copy film cut down to fit 120 format (IMAXproject). ISO 3 and Stand development Fomadon R09 1:100.
Generated By Midjourney V7
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**🎬 Prompt :**
Nature morte cinématographique hyperréaliste capturée en lumière dorée de fin d’après-midi, ambiance automnale chaleureuse, scène intérieure rustique baignée par des rayons de soleil traversant une fenêtre ancienne légèrement voilée de rideaux translucides. Sur une table en bois patiné recouverte d’une nappe en dentelle ivoire, un grand vase en céramique émaillée contient un bouquet luxuriant composé de tournesols éclatants, de dahlias crème et orangés, d’épis de blé dorés et de petites fleurs violettes sauvages.
Disposition soigneusement équilibrée mais naturelle, style peinture flamande vivante, avec imperfections réalistes dans les pétales et les feuilles. À l’avant-plan, plusieurs citrouilles aux textures variées (lisses, nervurées, légèrement tachées), une grappe de raisins rouges translucides captant la lumière, et deux épis de maïs séchés reposent négligemment.
À gauche, une tasse en céramique beige contenant une boisson chaude dégage une vapeur subtile, capturée dans la lumière rasante. La lumière crée des ombres longues, douces et diffuses, avec un effet volumétrique visible dans les particules de poussière flottantes.
Profondeur de champ faible (bokeh doux en arrière-plan), mise au point nette sur le bouquet central. Textures ultra détaillées : rugosité du bois, brillance des raisins, velouté des pétales, imperfections du vernis du vase. Palette de couleurs chaude dominée par l’or, l’ocre, l’ambre et des touches de violet profond.
Style cinématographique inspiré des films d’époque et de la peinture classique, rendu 8K, HDR, photoréalisme extrême, éclairage global illumination, rendu physique réaliste (PBR), caméra virtuelle type plein format 85mm f/1.8, ISO faible, grain subtil.
Atmosphère : calme, nostalgique, abondance automnale, sensation de chaleur et de silence suspendu.
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**🎬 Prompt:**
Hyperrealistic cinematic still life set in a warm autumn atmosphere, captured during golden hour with soft sunlight streaming through an old window draped in sheer, slightly worn curtains. The light creates a gentle volumetric glow with visible dust particles floating in the air.
On a rustic wooden table covered with an ivory lace tablecloth sits a large glazed ceramic vase filled with an abundant, carefully arranged bouquet of vibrant sunflowers, cream and orange dahlias, golden wheat stalks, and delicate purple wildflowers. The composition feels natural yet artistically balanced, with subtle imperfections in petals and leaves for realism, evoking a living Flemish painting.
In the foreground, several pumpkins with varied textures (smooth, ribbed, slightly mottled) are arranged alongside a cluster of translucent red grapes catching the light, and two dried corn cobs placed casually. To the left, a beige ceramic cup filled with a hot beverage releases a faint, curling steam illuminated by the sunlight.
Shallow depth of field with soft background bokeh, sharp focus on the central bouquet. Ultra-detailed textures: rough wood grain, glossy grapes, velvety petals, minor glaze imperfections on the vase. Warm color palette dominated by gold, amber, ochre, and hints of deep violet.
Cinematic style inspired by classical painting and period films, 8K resolution, HDR, extreme photorealism, global illumination, physically based rendering (PBR), full-frame camera, 85mm lens, f/1.8, low ISO, subtle film grain.
Mood: nostalgic, rich autumn abundance, suspended stillness, quiet warmth.
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--v 7 --style raw --ar 3:2 --q 2 --s 150 --chaos 8 --seed 12345
Taken with Mamiya RB67 and Kodak 2383, a copy film cut down to fit 120 format (IMAXproject).
ISO 3 and Stand development Fomadon R09 1:100.
Trots op dit resultaat, al had ik gehoopt op een mooie zonsondergang. Met een ND filter en mijn trouwe partner Olympus OM-d EM5 mark II.
Nikon F5, Nikkor 24mm f2.8, orange filter, Svema (FPP) Blue Sensitive, Kodak Tmax developer.
Another shot of this really very photogenic location. I disliked this shot at first - it's got a lot wrong with it technically. The sky is blown out, it has vignetting at the edges.
But, as I was thinking about the composition overall, and the imperfections - I realized that I couldn't stop looking at this image. I love the straight on portrait mode with these old houses. It formalizes their witness to time and the elements. It shows off their scars, and it gives them a certain proudness. This house has seen things, and you can't help but to see that immediately in this image. It reminds me of Harry Truman in a way. Not the president. The old codgeter that wouldn't leave his house on the flanks of Mt. St. Helens. He's under a lot of that mountain now, but he was proud and unwilling to give up his lived experiences in that place. This house seems to be stating something similar. 'I took care of mine. I did that right here. I am proud I did my job, and content in my fate.'
That is what this image says to me.
Nikon F5, Nikkor 24mm f2.8, FPP Low ISO Color Negative (Eastman 2254).
Interesting color negative film. I have had two rolls of this stuff for some time and decided last weekend to give it a try. It is very slow - so a tripod is a must - they recommend an ISO of 1.6. My F5 only goes down to ISO 6, so I just shot at ISO 6 with two stops of exposure compensation. Seems to have worked okay.
This film has a definite color cast. It seems to lean very much toward the blue and magenta, so it does require quite a bit of fidgeting with the colors in post to get it tamed down. The film base is a pale pink purple, which I think is one of the reasons for the difficulty. I am reasonably happy with the colors of this one - and although they are not accurate, this has the feeling of the colors I remember from the day. Just read the fine print on the negative border - this one is Eastman 2254.
This was a one-room cabin next to the house that was built after this one was abandoned. Often on the prairie, this is the case - the original family outgrows the old place and builds a new one right next to the old one, which then just gradually decays away.
This one had three old toilets inside, strewn about. Just outside of the door was the old Steelcase-style 'tanker' desk chair. Will definitely be going back to this one.
Hm...feels like I wasn't the only one with the idea to upload a picture of the moon today :D
Anyway I actually planed to take a picture when the "giant" moon rises over the top of the valley I live in. But clouds got in my way.
I managed to take a picture about 3h later, when the moon was high up in the sky and there weren't any clouds in the way for a few minutes!
Normally I don't feel comfortable with using my compact camera at 130mm (or 720mm equivalent) but for the moon, I'm happy to be able to!
Ps: Don't know if you can see it in this version of the picture but in the high resolution version of the pic I have on my computer there is a small (3 pixel) object slightly below and left the moon. Would really like to know what I caught there.
No grain and high resolution.
A 70mm movie film cut down to 120.
Stand development R09 1:100
Mamiya RB67 127mm SEKOR.
Generated By Midjourney V7
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**Prompt :**
Portrait cinématographique ultra-réaliste d’une jeune femme debout au bord de l’océan au coucher du soleil, cadrage serré en gros plan, regard intense fixé directement vers la caméra, yeux bleu-vert cristallins capturant la lumière dorée. Sa peau est humide, recouverte de fines gouttelettes d’eau scintillant comme des particules d’ambre sous une lumière rasante chaude. Cheveux noirs légèrement mouillés, mèches collées à son visage et agitées par une brise marine subtile.
Une fleur tropicale blanche (type frangipanier) est glissée derrière son oreille, ses pétales délicatement rétroéclairés par le soleil couchant. Maquillage naturel mais cinématographique : lèvres rouges légèrement brillantes, peau texturée hyper détaillée avec pores visibles, micro-reflets et imperfections réalistes.
Arrière-plan : océan calme avec reflets dorés en bokeh, horizon légèrement flou, soleil bas créant un halo lumineux et des lens flares subtils. Palette colorimétrique dominée par des tons chauds (or, ambre, cuivre) contrastant avec la fraîcheur des yeux.
Éclairage : golden hour intense, lumière directionnelle venant de l’arrière et du côté, créant un rim light sur les contours du visage et des épaules, ombres douces mais définies.
Style visuel : photographie cinématographique haut de gamme, rendu 8K, ultra haute définition, profondeur de champ très faible (f/1.4), netteté extrême sur les yeux, arrière-plan crémeux. Texture de peau ultra réaliste, rendu HDR, color grading digne d’un film dramatique.
Ambiance : sensuelle, mystérieuse, presque mythologique, comme une déesse marine surgissant entre deux mondes, entre lumière et eau.
Caméra : objectif 85mm, ISO bas, vitesse rapide pour figer les gouttelettes, léger grain cinématographique. Composition centrée, symétrie subtile, regard magnétique.
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**Prompt:**
Ultra-realistic cinematic portrait of a young woman standing at the edge of the ocean during sunset, tight close-up framing, her intense gaze locked directly into the camera. Her blue-green eyes are crystal-clear, catching and reflecting the molten golden light. Her skin is wet, covered in fine droplets of water that shimmer like flecks of amber under warm grazing light.
Her dark hair is slightly wet, loose strands clinging to her face and gently moved by a soft ocean breeze. A white tropical flower (frangipani/plumeria) is tucked behind her ear, its petals delicately backlit by the setting sun.
Makeup is natural yet cinematic: subtly glossy red lips, highly detailed skin texture with visible pores, micro-reflections, and realistic imperfections. No plastic smoothing, full photorealism.
Background: calm ocean with golden reflections rendered in creamy bokeh, horizon softly blurred. The sun sits low, creating a radiant halo and subtle lens flares.
Lighting: intense golden hour lighting, directional from behind and slightly to the side, producing a warm rim light outlining her face and shoulders, with soft yet sculpted shadows.
Color palette: dominated by warm tones (gold, amber, copper) contrasted with the cool clarity of her eyes.
Visual style: high-end cinematic photography, 8K resolution, ultra high definition, extremely shallow depth of field (f/1.4), razor-sharp focus on the eyes, creamy background blur. HDR rendering, film-grade color grading.
Mood: sensual, mysterious, almost mythological, like a sea-born goddess emerging between light and water.
Camera: 85mm lens, low ISO, fast shutter speed freezing water droplets, slight cinematic grain. Centered composition with subtle symmetry, magnetic eye contact.
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--v 7 --style raw --ar 16:9 --q 2 --s 100 --chaos 5 --seed 12345
No grain and high resolution.
A 70mm movie film cut down to 120.
Stand development R09 1:100
Mamiya RB67 127mm SEKOR.
A parasol mushroom, just a day or so before the parasol is fully opened. These large mushrooms are in abundance at the moment in my local woodland.
Taken with Agfa Isolette I and a copy film cut down to fit 120 format (IMAXproject). ISO 3 and Stand development Fomadon R09 1:100.
This is another photo of the kirkjufjell waterfall without the classic mountain in the back as it is shot from the otherside. What do you guys think? (kirkjufells foss)
Kodak 2383 at ISO 3, stand development Fomadon R09. Taken with Agfa Isolette I, with the Agnar triplet lens.
Nikon F5, Nikkor 24mm f2.8, FPP Slow ISO color (Eastman 2254).
This abandoned farmstead has a lot of interest. This is part of the 'new' house built adjacent to the old one room cabin toward the front of the property. This was a cattle operation - the chutes and barns all speak to that, but someone either just walked away from this place - probably in the 80's it looks like, or someone died and there was no one to inherit, or no one wanted to. Things were just left, pretty much as-is. No car in the garage, but there is lots of stuff in the house.
This film definitely has a look, and the more I play with the settings in Lightroom, the more control over it I think I am getting. I think the main thing of importance is to give it the full ISO 1.6 to get the most 'correct' color rendition. I know I underexposed a few of my shots, and those ones are the most difficult to get rid of the blue in. If you try this film, that is ISO 1.6 - my F5 only goes down to ISO 6, so I was using 2 stops of compensation to get to ISO 1.5, but I know I must have not re-metered on a few images.
It was a rainy morning with overcast skies, which I favor when speed is not an issue. It provides nice even lighting, and the camera can capture nice bright and dark tones. I promised this guy, and it is a guy, that if he turned his head a bit, I’d share his portrait. Being a man of my word, here it is. I could tell it was the male Great Blue Heron, from it’s behavior. His mate was sitting in the nest, hopefully laying eggs. He had been diligently bringing in sticks and they were busy with their mating rituals, both G and X rated. (Arden Herodias) (Sony a1, 400mm f/2.8 @ 2.8, 1/400 second, ISO 100)
5x7 paper negative taken with Linhof color and Rodenstock Apo Ronar 360mm. Fomaspeed 311 at ISO 3 with yellow filter.
This male screech owls was often perched very low in a small bush and sometimes out in the open during the day.
# OwlsbyDay #NoFlash, #LowISO, #ElusiveOwls
Today's capture for the "2019: one photo a day" group is a "Low ISO-Long Exposure" shot, using my Tripod and Remote Control.
I didn't noticed before I developed the photo that the moon was visible through the Clouds.
The Colour of Winter, Part V, for lichen lovers everywhere. Some great things about lichens: 1 - they are as colourful as wildflowers; 2 - you can find them in winter as well as summer; 3 - the ones that grow on rocks don't move, so it doesn't matter if the wind is blowing; 4 - rock lichens often grow on flat or nearly flat surfaces, so all you have to do is stop down to f/16 or smaller and most or all of your subject will be in focus; 5 - you don't have to worry about backgrounds (again referring to rock lichens), just find a pleasing configuration; 6 - they're everywhere; 7 - they can live for thousands of years, so if you mess up the shot all you have to do is find that rock and try again; 8 - most photographers don't bother with them, so the competition is nil; and 9 - they're often very beautiful.
The down side for some is that to get a TOP quality photo, you have to use a tripod. A tripod allows you to stop your lens way down for maximum depth of field without worrying about the shutter speed. Using a tripod is the only way to achieve the ideal combination of small f-stop, slow shutter, and low ISO. If you don't, image quality will be compromised, either by insufficient depth of field, unintentional blur, or digital noise. Admittedly, these problems are not as great as in times past. In particular, modern sensors in high end cameras are so good - and noise reduction software is now so sophisticated - that you can get a good result at higher ISO settings. But for the BEST quality, without compromise, you still need to tick those three boxes. Oh, and you'll need a decent macro lens, too!
So, to summarize: sturdy tripod, good macro lens, low ISO, stop down the aperture. In addition, I use a cable release and lock my mirror up before exposure to eliminate vibration from mirror slap. Those with mirrorless cameras can skip this step. Of course, you have to be able to see and compose, too :-)
Photographed in Grasslands National Park, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission ©2021 James R. Page - all rights reserved.
My owling karma continues and what a super fun, summer I had with my sightings. I never dreamed about seeing the toughest, three Washington owls this past weekend, and finished with SEEING all 15 owls species for Washington. The last one seen, is one of the most elusive to get a good visual and photo, an adult BOREAL OWL! So it was very special! What a beautiful owl, with it's stunning facial mask and sparkles!!
I have worked very hard the last few years trying to understand all the owls, and his has paid off tremendously. I am grateful and my passion for the owls, has gotten even more intense.
LowISO#, ElusiveOwls#, NoFlash#