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I turn myself inside out – by eating 35mm photographic film.
The bumps, scratches, and marks left on the damaged emulsion were examined through a scanning electron microscope.
I can't say enough good things about Jhena. She is a beautiful person with such a sweet soul; excellent attitude and downright gorgeous. My camera loves shooting with her. Jhena joined us at small group shoot in Meridian, Idaho in August 2021. Of course, she was modelnapped anytime I blinked but I was able to get some nice shots of her. The last question at any shoot with Jhena is "When can we do this again?".
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Cat: (left) "Trindy mom will be so mad at us if we take this out of the box!"
Trindy:(right) "we are only looking, we are only looking..."
AdadApril2016/25 -Out of the box.
Shot on SX-70 & IP 600 Film Skateistan Flame Edition (Expired)
#polaroidweek2017 #roidweek2017 #sx70 #impossiblefilm
Not exactly the most original framing of the Bay Bridge but the fact that the lights (including the street lights) were out after sunset makes this a bit rare. I have seen the cable lights out on Earth Day and Spare The Air Day but I have never seen the whole bridge blacked out. It was kind of creepy, almost a wasteland feel to it as I drove up. I'm not sure why the lights were out but they came on by the time I drove around the island and back on to the bridge. This is what it should look like with the lights on.
Press L for larger view.
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Style: Cinematic Photography
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© 2012 RUJEM Photography
All Rights Reserved
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www.analogica.it/adattatore-kipon-medio-formato-a-full-fr...
Сокол Автомат (Sokol Automat) by ЛОМО (Lomo) soviet rangefinder camera. *
Индустар-70 2,8/50 (Industar 70) lanthanum.
Automat mode, lightmeter on-board camera, F8.
Fomapan 100 - 35mm
Adox Adonal 1+37 - 6min 30sec, 19 °C
Epson V600
My travels around the UK by car for three weeks with my son. June/July 2019 Scotland.
Day fifteen ..Ullappool on our journey to Helmsdale where we are staying the night.
Ullapool is a village of around 1,500 inhabitants in Ross and Cromarty, Scottish Highlands, located around 45 miles north-west of Inverness. Despite its small size it is the largest settlement for many miles around, and an important port and tourist destination.
On the east shore of Loch Broom, Ullapool was founded in 1788 as a herring port by the British Fisheries Society. It was designed by Thomas Telford. Before then the town was only an insignificant hamlet of just over 20 households. The harbour is still the edge of the town, used as a fishing port, yachting haven, and ferry port. Ferries sail to Stornoway in the Outer Hebrides.
The village was historically in Cromartyshire, a county made up of many separate enclaves scattered across northern Ross-shire. Cromartyshire was abolished and combined with surrounding Ross-shire in 1890.
Many of the pivotal discoveries of the Victorian era that contributed to the development of the concept of plate tectonics were made in this area, and there are still regular international geological conferences. It is described as the top geological hotspot in Scotland.
Parliament granted permission in the 1890s for a railway from Ullapool to the main Highland network at Garve, but the scheme was abandoned due to insufficient funds.
The name is possibly derived from the Norse for "Wool farm" or "Ulli's farm".
The region surrounding Ullapool is dominated by rugged mountains, and especially by Bheinn Ghobblach to the west, An Teallach to the south-west (both across the loch), Beinn Dearg to the south-east close to the head of Loch Broom, and Ben Mhòr na Còigich to the north. An Teallach is a massive mountain which dominates the area and consists of Torridonian sandstone, which is layered nearly horizontally. It is an easy climb but is several miles from the nearest road, so a long trek is needed before the ascent begins. The walker will be rewarded by magnificent views of the surroundings, especially to the sea and the islands to the west, but also to the south, and the desolate Whitbread wilderness.
For More Info: en.wikipedia.org/wiki/Ullapool
In actuality, she still has her breeding colors and plumage and is just showing off a little before she settles in on the eggs in the nest beneath her. I managed to get a few more calm portraits (in the comments below) as the breezy day swirled the elegant plumage around her ~ Great Egret ~ FL Wetlands
(4-shot display series in the comments)
Fish and chips by the sea, the best date you can have! - Ventnor, Isle of Wight
©2013 Nick Edwards, All Rights Reserved
This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
Y is for Yearning for sunshine!!
I'm so stir crazy right now. I want out of this house!! I want to go out and shoot! I have TONS of ideas in my head right now and I can't wait to get out there and see them through my camera.
I'm doing a bit better today. I was able to get up and do these shots, along with make dinner last night!! YAY!! Baby steps to feeling normal again. Thank you again for all the love and positive thoughts that you guys keep sending! They do help! I promise!!
Oh, and my new Macbook should be here today or tomorrow!! I can't wait!!! Yipeee!!
xoxo
Looking Out
Martin Beek:
The paintings, drawings and digital works that form my contribution to this exhibition result from my residency at Camp Walden, Michigan during this summer. With the exception of the Simon’s Wood series of iPad drawings (no. 14), all the work was conceived, painted and drawn in the USA. It has come from a relatively small area of woodland no more than one hundred metres from my cabin studio.
In 2013 I exhibited my ‘plein air’ oils of rural locations in Ipsden and Longworth in a show called ‘The Pace of Nature’. These smaller paintings were a direct response to places that I had come to know well. Each work reflected the changing weather conditions that characterise the British climate; they were about the immediate moment. I did not retouch any of them in the studio.
In Looking Out my approach has slightly altered in that, whilst each work results from many hours’ direct work outside, certain passages and responses to the forest were repainted or reworked under studio conditions as a result of further consideration. This series was also painted as a body of work with several being developed simultaneously, rather than each being a record of a particular day.
Possibly the most difficult thing to do as a painter is not to mimic someone else’s paintings or style. I therefore find that my unique choice of location, which has no immediate association with other artists, is a really helpful move as it gives me a clearer sense of vision. Walden fulfils that for me, as it has done for many years.
This is the first time that I have exhibited in the UK a complete series of American works painted in situ. With the opportunity to spend seven or more hours painting each day, without having to travel any distance, I seem to find I can paint more fluently and the sense of involvement is all the deeper. America during the summer months, with its extreme heat and strong light and shadows, injects a kind of excitement into my work that I don’t often achieve in Britain. I find drawing trees both challenging and rewarding, not at all predictable if one is serious about the task. Here in the heart of the forest new opportunities present themselves. I suppose one of the ‘rules’ of modern painting, if such exist, is to think about the surface and not go for illusionistic tropes. So, as with all my work since 2012, I’ve made it quite specific in its intentions, without labouring or overworking. This results in an effort to create a lively surface.
The paintings are considerably larger than the 150 works of ‘The Pace of Nature’ series. The larger scale involves different approaches, and a lot more physical movement in order to judge the effect of distance and overall optical colour mixtures and relationships.
The acrylic paintings (‘Woodnotes’ I–III) were influenced by my iPad drawings, utilising the possibilities of multiple layers of line and overlapping colour. These works pull away from their motif and are a more personal statement about the forest and capture a fleeting sensation. They are characterised by loose areas of random marks against areas of control, held in the geometry created by the pine trees.
Formally, the works stress verticality and height, looking out and upwards, strong contrasts and spatial division. It was also rewarding to make a number of large charcoal drawings (nos. 11–13) to convey strong areas of light and shade.
Each morning began with an iPad drawing, some of which form Walden Suite (no. 2), a response to the daily variations of light and colour. The iPad drawings echo the Simon’s Wood piece (no. 14) which I began in January 2016 and finished just before my June departure for USA.
Not having enough time to make it back to Grand Rapids, D707's crew tied their train down at the east end of Fox siding. Power on this day was an NS SD70ACU, a UP SD70M, and a TORC SD40.
Interested in purchasing a high-quality digital download of this photo, suitable for printing and framing? Let me know and I will add it to my Etsy Shop, MittenRailandMarine! Follow this link to see what images are currently listed for sale: www.etsy.com/shop/MittenRailandMarine
If you are interested in specific locomotives, trains, or freighters, please contact me. I have been photographing trains and ships for over 15 years and have accumulated an extensive library!