View allAll Photos Tagged Out
On the wall of the railway tunnel behind the Nomadic Community Garden, Shoreditch, London August 2016
It's not ass day, but whatever...
It's a good thing my camera has a "2 picture timer" (one shot at 10 seconds, another shot at 20 seconds).
Thanks for stopping by and view this photo. The reason for posting this photo on Flickr is to learn so if you have constructive feedback regarding what I could do better and / or what should I try, drop me a note I would love to hear your input.
View on Black the way it should be seen!
-- Let the sound of the shutter always guide you to new ventures.
© 2022 Winkler
Remember to follow me on Social Media Facebook: Bjarne Winkler, We Capture Your Business, or Twitter @Bjarne Winkler, @CaptureWe, @NewTeamSoftware
IAPP Member: US#12002
cybershutterbug.com/wordpress/?p=6415
Hanging Out Together - © 2016 – Robert N. Clinton (aka CyberShutterbug)
© 2016 by Wil Wardle.
Do not use this or any of my images without my permission.
Please also find me Me on facebook, 500px , Ipernity and flickr:
www.facebook.com/pages/Wil-Wardle-Photography/13877641613...
This is a photo I took on my last night in Dubai, during the trip I took for my birthday this past February. Gorgeous to say the least.
I can always rely on my trusty tilt shift to capture the mood of a place and time.
Like my Facebook Page
Follow me on Twitter
Check out my Website
Instagram: @colorcult
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.
Lady kittens , the new kid on the block is here ;-)
Sorry my dear and faithful Flickr friends if i dont go to your stream today ..i will catch up
Christmas day picnic with cruising boats
American boats were there, and so somehow a baseball game broke out (the original plan was cricket!)
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
A shot done a million times but one that I needed to put right! I over processed my original and wanted to make it look like I saw it on the day. Whitby's West Pier Extension with frosty boards and a pretty sky! You're lucky to catch this pier empty in good light, this was just after dawn on a freezing morning. I did toy with changing the lighthouse to the vivid red but thought better of it!
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.
a german soldier of the
Neo-war was cought in
a white out and he could only see
10 feet away when out of the snow
he saw a dark figure, he thought that it
could be bear or a large wolf.
He fired off a shot from his gun,
but what he hit was not a animal
nor human.To his suprise it was a
zombie, he couldn't tell were it came from but he new one thing for sure
he needed to make a fire.
he used he lit some cloth
that he had riped off the zombies suit
luckly he killed a chicken with the shot he fired trew the zombie.
Kamera: Zenza Bronica SQ-Ai
Linse: Zenzanon PS 80mm
Film: Lomography Earl Grey B&W 100
Kjemi: Rodinal (Stand 1:100 / 60 min. @ 20°C)
A small edge crop, no post-processing, film has not been pushed or pulled. No alterations, no bullshit.
- This house reminded me of that scene in The Amityville Horror ...