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Merged via photoshop. This had 2 Elinchrom flash/soft boxes. One pointing to the ceiling and the other direct at the subjects. 3 separate pictures converted to b&w and then I used photoshop to select the heads and then refined the edges. Finally I pasted the 3 heads as layers into a new black inage.
Something a bit different. No Photoshop here...just cardboard.
I was aware of things like the splitzers you can buy/make for your Lomo so I thought I'd try something similar with my Hasselblad. I put together a makeshift splitzer by cutting some black cardboard to fit in a Cokin holder. Composing through a 45° finder while your camera is upside down is challenging to say the least. I possibly should have composed so that there was no ground in the shot (that's what's causing the weird diagonal parallelogram thing) but feck it, this is ok.
Hasselblad 500c/m, Planar 80mm, Tri-x 400, Cokin P holder and cardboard filter :)
Cave Dale a dry limestone valley close to Castleton in the Peak District, Derbyshire.
The dale rises gently after leaving Castleton for approximately 200 metres before becoming steeper culminating in a fine viewpoint down the dale taking in Peveril Castle with Lose Hill behind. After the viewpoint, the dale swings west and levels out with gentle gradients, becoming just a shallow depression as it peters out onto the open pastureland between Castleton and Chapel-en-le-Frith.
Cave Dale was initially formed by glacial meltwater carving a deep narrow valley in the local soluble limestone. The river then found a route underground leaving a dry valley with caverns underneath. Later on, the caverns below Cave Dale collapsed making the valley even deeper and gorge-like at the northern end. The Castleton entrance to Cave Dale had a narrow natural arch as recently as 200 years ago, a relic of the roof collapse. The lower slopes of the dale have large amounts of scree, frost on the higher limestone cliffs having caused the rock to shatter. Halfway up the valley is an outcrop of basaltic lava with a few small columns.
A bridleway runs the entire length of the dale, part of the Limestone Way footpath which travels 80 kilometres from Castleton to Rocester in Staffordshire. Cave Dale is accessed through a narrow rocky opening almost from the centre of Castleton and Peveril Castle is seen high up on the almost vertical western slopes. The Normans chose this site because the steep sides of Cave Dale gave a natural defence and good lookout.
The chambers and caves of Peak Cavern run directly below Cave Dale and any small streams in the dale quickly disappear into the ground down limestone fissures and into the caverns beneath. Mineral veins can also be seen within the limestone of the dale. The cliffs at the northern end of Cave Dale are used by rock climbers and there are several routes in the Very Severe category. There are several small caves or old lead mines within the dale's limestone walls, with one being larger than the rest with bars preventing access.
At the southwestern extremity of the dale as it merges into the moorland between Castleton and Peak Forest are the remains of several old lead mines. The Hazard Mine was one of the major mines of the area. Over 5000 tonnes of lead ore were mined, and the main shaft goes down 700 feet. The Hollandtwine Mine lies 250 metres to the east. Drainage from both mines went directly into Peak Cavern.
In 1983 Cave Dale was the scene of the murder of a 21-year-old Manchester Polytechnic student, Susan Renhard. Norman Smith, a local 17-year-old, was subsequently jailed for life at Nottingham Crown Court in 1984. Cave Dale features in the 1987 film The Princess Bride, and the 2008 film The Other Boleyn Girl.
Information Source:
another CarArt product made from a internet image. Used as a background on my tablet and laptop...and shared with co-workers..
3 images (-2.0, 0.0, 2.0 ) merged in CS3 HDR and more processing using topaz plug ins and several layers of color..
Pour son exposition au Centre d’art contemporain de la Matmut – Daniel Havis, Maia Flore fait se rencontrer deux composantes essentielles à la vie : le rire et le rêve. Ses photographies, créées à partir de souvenirs et d’impressions, nous emmènent dans l’imaginaire de l’artiste. Un imaginaire foisonnant remplit de malice et de poésie.
Maia Flore utilise la photographie comme principal médium, qu’elle souligne par la pratique du dessin et du collage. Comme une conteuse visuelle, l’artiste transforme la réalité et magnifie les choses simples qui nous entourent. Un coucher de soleil, un arbre en fleur ou encore un ciel un soir de pleine lune : découvrir le travail de Maia Flore c’est s’autoriser à rêver…et à rire d’un petit rien ! La photographe s’inspire de ce qui l’entoure pour créer ses compositions, parfois numériquement. Un brin surréaliste, elles sont souvent teintées d’humour. Maia Flore s’empare de situations du quotidien pour en faire des mises en scène cocasses dont elle est la principale actrice. La place du corps est au cœur de ses images : il est toujours en mouvement, en lévitation, gracieux, parfois même en fusion avec son environnement. Toutefois, l’artiste nous cache son visage pour que le spectateur s’identifie mieux au personnage de ses photographies. Le parcours de l’exposition met en avant le travail métaphorique de Maia Flore, qui navigue habilement entre le monde réel et le monde imaginaire laissant place à une intimité visuelle qui unit le corps humain et le paysage. En explorant les galeries du centre d’art, les visiteurs sont transportés dans un rêve onirique captivant et amusant.
La photographe française Maia Flore née en 1988 oscille entre la France et les États-Unis. Juste sortie de l’école des Gobelins, elle devient membre de l’agence Vu en 2010 et reçoit le Prix pour la photographie HSBC en 2015. Les différentes résidences auxquelles elle a participé et les expositions internationales l’on amenées à voyager de Rio à Rome, ou de Moscou à Buenos Aires. Elle a exposé à la galerie Themes+Projects à San Francisco et à la galerie Fremin à New York. Les thèmes du voyage, des paysages, du mouvement et du corps lui sont chers.
For her exhibition at the Matmut – Daniel Havis Contemporary Art Centre, Maia Flore brings together two essential components of life: laughter and dreams. Her photographs, created from memories and impressions, take us into the artist’s imagination. A teeming imagination filled with mischief and poetry. Maia Flore uses photography as her main medium, which she highlights through the practice of drawing and collage. Like a visual storyteller, the artist transforms reality and magnifies the simple things that surround us. A sunset, a tree in bloom or even a sky on a full moon night: discovering Maia Flore’s work is allowing yourself to dream…and laugh at a little nothing! The photographer draws inspiration from what surrounds her to create her compositions, sometimes digitally. A bit surreal, they are often tinged with humor. Maia Flore takes everyday situations and turns them into comical stagings in which she is the main actress. The place of the body is at the heart of her images: it is always in motion, levitating, graceful, sometimes even merging with its environment. However, the artist hides her face so that the viewer can better identify with the character in her photographs. The exhibition itinerary highlights Maia Flore's metaphorical work, which skillfully navigates between the real world and the imaginary world, leaving room for a visual intimacy that unites the human body and the landscape. By exploring the galleries of the art center, visitors are transported into a captivating and amusing dreamlike dream.
French photographer Maia Flore, born in 1988, oscillates between France and the United States. Fresh out of the Gobelins school, she became a member of the Vu agency in 2010 and received the HSBC Photography Prize in 2015. The various residencies in which she participated and international exhibitions have led her to travel from Rio to Rome, or from Moscow to Buenos Aires. She has exhibited at the Themes+Projects gallery in San Francisco and at the Fremin gallery in New York. The themes of travel, landscapes, movement and the body are dear to her.
I-94 Southbound - Lake Forest Oasis
52Frames - Week 33 - Night Photography (Alternate)
I was intent on shooting light trails for this week's 52Frames challenge on Night Photography.
Of the many shots I took, this is the #2 pick. I set-up at a tollway oasis, camera on tripod, just shooting away at traffic light trails. While the light trails were good, the photo was boring. So I captured some higher shutter speed shots with vehicles and ghosted them in via a 3-image composite (first ever) using blend mode and opacity adjustments in PS.
Taken 8/12/20
Spider Mum from the back (get your minds out of the gutter ;-)
12 images merged and focused stacked
Strobist Info:
Camera Settings: Nikon D3s with Nikkor 105mm f/2.8g lens with TC-20 III 2x teleconverter attached, Aperture f/11, Shutter Speed 200, ISO 100
Strobe Settings: Main Light - AlienBee 800 with 30 degree grid at 1/8th power camera right. AlienBee 800 with 10 degree grid at 1/8th power camera left.
Strobes triggered remotely using PocketWizard MiniTT1 transmitter and FlextTT5 with the AC-3 Zone Controller
Merged together, Construction of the new Port House @ Port of Antwerp, merged together with the old Fire Station @ Kattendijk dock..
Designed by British top architect Zaha Hadid..
Finally, the building ( skeleton ) will be covered with glass.
Picture taken with Pentax K5 with Sigma DF EX Aspherical 28-70mm F2.8..
This picture is copyright protected - no use without my permission - www.digicrea.be
A little mix of summer cherries and fallen cherry tree leaves
A busy time with the broom at the moment sweeping up the leaves !!! So reminded myself A bit of hard work in the autumn has its rewards in the summer :0)) HSS
LX-TLA -McDonnell Douglas DC-8-62/F - Cargo Lion
at Oostend Airport (OST)
c/n 45.960 - built in 1968 for Alitalia -
sold to Minerve as F-GDJM 11/1982 -
merged into AOM French Airlines 1992 and leased to Cargo Lion -
re-reg. LX-TLA 04/1995 -
stored at GSO in 200- - broken - up 2004
scanned from Kodachrome-slide
In this long-exposure shot from a bridge, the flowing trails of headlights and taillights trace cars merging from Dallas’ eastbound I-635 onto the southbound lanes of US 75, capturing the dynamic pulse of the city’s busy highway interchange.
Being very close to the rocky summit of Blankenstein, I made 2 hand held shots which were merged in Photoshop. Black and white conversion was made with the channel mixer. I find the rocky wall with fresh snow is showing nice details and like the cloudy atmosphere behind. Better in B&W in my view.
Detail of the glacial tongue of Svináfellsjökull.
Vatnajökulsþjóðgarður
Austurland, Iceland
February 2, 2016
This is an HDR image consisting of 5 exposures merged in Photomatix Pro. Additional processing in Lightroom and Photoshop.
PENTAX K-3, Sigma 18-250mm f/3.5-6.3 DC OS HSM
ISO 100 148 mm ¹⁄₂₀ sec at ƒ / 8.0