View allAll Photos Tagged PERSPECTIVE
Fratton station, Portsmouth UK. The construction of the
bridge that connects the platforms - it has a lift to facilitate
luggage carrying and disabled access.
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Global Perspectives 2016
'The Future of Civic Space' was the theme for this year's Global Perspectives - our annual conference that brings together civil society leaders, activists, and trend-setters to discuss, debate, and collaborate on some of the biggest issues affecting the sector. The 8th annual Global perspectives was held at the Heinrich Böll Stiftung in Berlin (Germany) on 26 - 28 October 2016. Participants and speakers came from across the globe.
Taken from the Stone Arch Bridge in Minneapolis.
A similar photo of Minneapolis in perspective taken in the winter:
Old bridges are so cool. I love the details---the arches, the design... They have so much personality.
Throughout the book, we were asked to keep in mind the perspective of the author. This picture perfectly illustrates how depending on perspective, things could be really different.
For the second perspective image, I used the perspective of a fallen tree. This helps gradually guide the eyes along the image and gives a closer to the ground perspective.
Grand Teton - Yellowstone - Glacier trip
Shot at Old Faithful of Yellowstone
Leason : Marco-len should be used.
As we left Ellis Island, I walked to the back of the ferry and caught a great view of the Statue of Liberty in the distance with the American flag in the foreground. It was such a beautiful day and the bright red, white, and blue of the flag stood out so boldly against the sky. The silhouette of the statue in the background gives the picture "perspective".
My photo walk of Saturday, September 14, 2024 in Lyon, France by a clear refreshed weather.
I used my Hasselblad 500 C/M camera loaded with an Ilford FP4+ film. The Carl Zeiss normal lens Planar CF 1:2.8 f=80mm was equipped with a 67mm screw-on filter Dark Yellow x3 B+W 023 adapted to the Hasselblad bayonet filter mount with a specific adaptor. The Zenza Bronica metal shade hood designed for the 75mm Nikkor-P lens was mounted additionally to the filter to its 67mm thread.
The film was exposed for 50 ISO in compensation of the filter light absorptionusing a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's or by measuring the incident light with the opalescent dome.
View Nr. 10: 1/125s f/8 focusing @ 50m
Place des Tapis, September 14, 2024
69004 Lyon
France
After the view #12 exposed, the film was fully rolled to the taking spool and was developed in a Paterson tank with a spiral adapted to the 70mm large film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+50 and the film processed for 15min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm film.
The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
About my Hasselblad 500C/M:
I remember that somewhere around 2002, I considered to buy a Hasselblad camera. I gave up because I had no more access to a darkroom and I found too complicated to recreate one or to delegate the processing to a service lab. Afterward, I started digital photography that distracted me to operate again with films until more recently. It is only when I could manage in 2022 a reliable and quality way to exploit my negatives in a reasonable time, that I really could enjoy again of analog photography.
On July 17, 2024, I decided to buy "my" Hasselblad in a very traditional way, almost as I could in the 90’s, in a local real photographic store, Lyon, France. The store « Carré Couleur » of Jacques Larger, rue Servient, Lyon, France, is a long-time specialist of professional medium-format camera’s including Hasselblad ones. They had on display several revised and 6-month guaranteed camera’s and a large choice of lenses and accessories.`
I choose a 500 C/M year 1978 and a Carl Zeiss lens Planar T* 1:2.8 f=80mm of the CF series year 1986, plus a small set of little Hasselblad goodies. The 500 C/M is totally mechanical without any electrical nor electronic circuitry. The 500 C/M's were produced in Göteborg, Sweden, from year 1970 to 1994. They followed the production of the 500C camera’s (1957-1970). The latest V-series camera (503 CX, CW, CWI etc) ceased in 2006 and Hasselblad then produced only digital camera’s but also digital camera backs that could fit to the V-series includingbthis 500 C/M (www.hasselbladhistorical.eu/HS/HSTable.aspx)
This CF lens series has central shutter Prontor (Synchro-Compur for the earlier Zeiss series). They are more cylindrical than earlier series and equipped of the proprietary bayonet filter mount B60. The delayed shutter realease was also abandoned. The focusing screen is the « Bright » series with the Dodin stigmometer in the screen centrer and the squared cross-ruling lines. Later 501 and 503 were basically equipped with an even more brighter screen called « Acute-mat ». The camera back could dated from year 1977 is an « A-12 » back « A » standing for « Automatic ». The film advance automatically stops at view 1 with view counter on the right camera side.
After a complete demo by Jacques Larger, I studied the camera manipulation at home with the user manual in hand (an original edition of 1980) before doing the decisive « film d’essai » (test film) on a sunny morning of July 20, 2024.
The results show very high-quality, highly-contrasted negative views, perfectly exposed and spaced proving the good technical state of the camera, film magazine, and the lens/shutter.
On sept. 2, 2024, I received from a French specialist of collection camera's, a second film magazine Hasselblad "A12". This back is in a pristine condition and matches the production year 1978 (Hasselblad letter coding "UR") of the 500 C/M body.
The camera back is like a new with almost no signs of use. It arrived in its original Hasselblad box including the original user manual too. The film insert has latest 3 digits matching the film magazine serial number, that is not the case of the other magazine. Unmatched magazines and inserts, are very common and assumed not to be a technical problem, but Hasselblad maintained the pairing of the insert magazine to ensure to the customers of the best attention to the precision of the film plane.
These are for a tutorial on perspective I'm doing for our Wiki. They didn't really turn out anything like as well as I wanted, but if I try to wait until I redo them, I'll never get it done.
These are for a tutorial on perspective I'm doing for our Wiki. They didn't really turn out anything like as well as I wanted, but if I try to wait until I redo them, I'll never get it done.
One of the things that I like about this picture is the perspective. Being very low to the ground when photographing this shot hopefully helps to lead your eyes from the closest object, the gravel, and extends to the main object. This helps to have that 3-dimensional feeling on a 2-dimensional plane. Also being so low makes the car look very low which adds aggressiveness to the car.