View allAll Photos Tagged Remote
Not as remote as some but remote enough.
'The Iron Pot is a small flat sandstone island with an area of 1.27 ha in south-eastern Australia. It is part of the Betsey Island Group, lying close to the south-eastern coast of Tasmania around the entrance to the River Derwent. It is the site of Iron Pot Lighthouse Tasmania's first lighthouse.' Wikipedia
This is the sum total of all buildings for the Nerlerit Inaat airport and all of the surroundings, with Hurry Inlet and the snow-covered mountains of Liverpool Land in the background, East Greenland. The nearest village for hundreds of miles around is Ittoqqortoormiit (population 450) at the bottom tip of Liverpool Land. iPhone photo.
03/01/2020 www.allenfotowild.com
Macro 1X (focus stacking)
Fondos MNCN-CSIC
Macro 1X con apilamiento de foco por control de anillo de enfoque
Macro 1X by focus stacking using the focus ring control
Ingredientes:
-Nikon D600 + Nikor 105mm macro 1X
-Helicon Remote para control automático de la pila de foco mediante el anillo de enfoque (por medio de USB)
-Helicon Soft para apilamiento de foco (36 shots, Method B, R=4, S=2)
-Helicon lo puedes bajar a prueba durante 1 mes gratis, o una licencia para un año por 50€, controla casi todas las Nikon y Canon mediante USB. Existen otros proveedores de soft para stacking (apilamiento), p. ej. Zerene, ControlMyNikon o Canon, Combine Z, etc
-Opcional: impresora 3D (Up Plus 2) para la fabricación de focos, soportes, mesa de trabajo, etc. Puedes utilizar el sencillo 123D Design (free soft) para diseñar las piezas.
Receta:
-Montamos el bodegón con sujeto y fondo
-Lo iluminamos con 4 o 5 micro-focos de leds. Los focos se pueden diseñar e imprimir utilizando una impresora 3D y después montar los leds (alta luminosidad y 5300K), la alimentación es de 12vdc para grupos de 3 o 4 leds. La ventaja frente al uso de flash, es que se pueden dirigir los focos y componer la iluminación antes del disparo, además del volumen que se consigue jugando con la iluminación.
-Disparamos las fotografías utilizando, p. ej., Helicon Remote: Helicon controla el enfoque con el movimiento del anillo de enfoque antes de disparar cada foto, todo el proceso de toma de fotos es automático, se pueden ver videos en youtube
-Para 1X se necesitan de 20 a 100 fotos, según valor de f, focal utilizada y profundidad de campo necesaria, lo calcula el soft automáticamente. Se suele utilizar el punto dulce de la lente (normalmente en el entorno de f5.6) para optimizar los resultados
-Apilamos el stack de n fotografías utilizando Helicon Soft
-Utilizamos Lightroom o similar para eliminar “halos” y “artefactos”
-Una vez se tiene práctica, todo el proceso puede durar 15 min
pepo
/ POOR ENGLISH
Macro 1X by focus stacking using the focus ring control
How do you can do it :
Ingredients:
-Nikon D600 + 105mm macro nikor 1X
-Helicon Remote control for automatic focus stack using the camera focus ring (using USB)
-Helicon Soft Focus Stacking (36 shots, Method B, R = 4, S = 2)
-Helicon You can download a free trial for 1 month, or a license for a year for € 50, it controls almost many Nikon and Canon via USB. There are other suppliers of soft for stacking, p. ex. Zerene, ControlMyNikon or Canon, Combine Z, etc.
-optional: 3D (Up Plus 2) printer to manufacture light bulbs, brackets, desk, etc. You can use the friendly 123D Design (free soft) for pieces designing.
Recipe:
-Ilumination with 4 or 5 micro-LED bulbs. The lighters can be designed and printed using a 3D printer and then mount the LED´s (high brightness and 5300K), the power is 12VDC for groups of 3 or 4 LEDs. The advantage over use of flash, is that you can positioning the lights and lighting make up before shooting, in addition to the volume to be achieved by playing with these lighting.
-Shot photographs using, p. eg Helicon Remote. Helicon controls the approach to the movement of the focus ring before the photo shot, the whole process of taking pictures is automatic, you can watch videos on youtube
-For 1X do you needed 20-100 photos, depending on value of f, focal and deep of field needed, automatically calculated by the soft. Often used the sweet spot of the lens (usually in the vicinity of f5.6) to optimize results
-Now we stack of shots using Helicon Soft
-We can use Lightroom or the like to remove "halos" and "artifacts"
-Once you have practice, the whole process can take 15 min
-And sorry my English, please.
pepo
Climbing up from Aberglaslyn on an old miner's track through beautiful yellow and orange coloured autumn trees you eventually break out into the open of Cwm Bychan. And it is further up here that you are first met by the strange sight of "Transformer" style pylons leading up into the mountain. Apparently they date back to the start of the twentieth century and were built to exploit the workings of the old copper mine that was started in the early 18th century.
This shot shows the remains of the top station, the whole thing being very similar to a modern ski lift, but this one for carrying heavy copper ore and rock.
It's amazing what you discover in them thar hills of Snowdonia. In fact, it amazes me at the endeavour of mankind that they could find something like copper in such a remote and high place and then spend all that human effort carrying thousands of tons of raw rock down by hand for processing a couple of hundred years before they even built this ropeway. I just don't know what today's youth would even make of it. Far too much trouble. Far too much trouble to even learn about it!
visit: www.mitchellkphotos.com
The image was taken at a small village in East Kutch – a remote region of India. This area is very dry, the soil here is arid and the inhabitants have to be resilient. The girl truly seemed like a ‘diamond’ in the rough in such surroundings. When I asked if I could photograph her, she became very shy, but the local children and mothers encouraged her and so she got in front of the camera. Between her shy laughter and hesitant looks the wind played with her hair and she gave me that intense glance, mature beyond her years. I pressed the shutter.
The alps : probably the symbol of Switzerland !
Don't you find strange that when you have a photographic interest of any subject, the best solution is not to go directly to it, but to stay remote in order to have a global view ? For example, most of good pictures of castles are not taken from the castle, but precisely a few km away.
It's the same situation here : I am about 100 Km away of the Berner Oberland and the Alps, on another Mountain Range : the Jura. Between me and these mountains there's at least two lakes. However, it's probably one of the best place - better than the alps themselves - where you can see what alps really are : a chain crossing the horizon from east to west.
This place is absolutely beautiful in the morning when the air is clear. That day, it rained between me and the Alps, giving this graphic aspects for the clouds.
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This picture was published in the Nordic Magazine, n°16, October 2015, pp. 80-81. : Here is the result
Looking south to remote Loch Ghuilbinn, and the River Ossian flowing through the Strath of the same name.
This is the view from the track that heads cross-country from Luiblea nr Loch Laggan to (more or less) the bottom of NE Beinn na Lap’s NE ridge.
If I were forced by some imaginary omnipotence to pick just one location in which to spend the rest of my days pointing my camera towards the sea, I don't think I'd look beyond Porth Nanven. It's never been lost on me that growing up in Cornwall has spoiled me with a glut of local hotspots, several of which I happily return to time and time again. Some photographers choose not to return to places after a visit or two, while others are content to retread their steps over and over, learning a location under all of its aspects. There's room for all of us of course. Yesterday unexpectedly, there was room for Katie, a friend I haven't seen for a while who is a wild swimmer and takes some spectacular underwater photographs. She's as beautiful on the inside as she is on the outside and greeted me with the worst display of social distancing since it was invented by bounding towards me and wrapping me an enormous hug. I've missed hugs. It was a delight to see her. She's one of those people who make the world feel like a good place to be in. She'd been swimming of course, and was making ready to leave. time was moving on and she's an early riser who confesses to being no use whatsoever after 9pm. Sunset was due after 9:30.
In one of the more distant counties of our nation, this corner of delights is particularly remote even for those of us who live here, and the approach to it from the lonely windswept outpost of St Just is a descent into what feels like a primordial other world. It starts with a twisting drive on a narrow road flanked by high Cornish hedgerows adorned with foxgloves and campion, before a sharp descent takes you past the last few houses, one garden boasting enormous Canarian echiums covered in tiny spikes bearing thousands of purple blooms. A little further down on the final bend, a massive gunnera, leaves at least a metre wide spreads towards the road. The final drag down to the small car park is festooned with ferns and bracken. Finally you arrive on a beach consisting almost entirely of huge egg shaped chunks of granite, worn smooth by year upon year of Atlantic attrition. Hence the nickname, "Dinosaur Egg Beach." And then you look out to the ocean to witness the view, in this case with an ominous bank of threatening cloud that had the audacity to interrupt my sandwich and found me racing to set up the camera more quickly than I usually would. I'm pleased to report that I stayed dry, and it seemed from the wet roads that the cloud had instead dumped its contents 30 miles to the east over Redruth as I arrived at home later on after one of the most enjoyable evenings with the camera for quite some time.
Iruya - Salta - Argentina.
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ScotRail 156446 & 153380 head away from the very remote station of Corrour across Rannoch Moor with 1Y42, the 06:03 Mallaig – Glasgow Queen Street on 19th April 2023.
There’s been times over the past few years when I have had a photo I simply HAD to get and when the opportunity to shoot it came along I took it with both hands.
This is one of them.
Many years ago I watched a documentary on traditional cormorant fishing in the Li River of China and thought “wow – what a window into the past that is” and decided that if ever the opportunity came along I WOULD photograph a traditional cormorant fisherman.
Myself and 20 others from the University of Sydney are spending a few months working in China for a subject in International Strategy,
So I started the research, and I researched more, and more. It was NOT going to be easy.
Eventually I stumbled upon Jack from Yangshuo – Jack is a terrific English speaking tour guide in the Guilin area and once I explained what it was I wanted to do he was able to help me make it happen.
So I arrived in Guilin late at night, raining and extremely hot after almost 24hours of travelling from Sydney. My driver was waiting for me at the airport and drove me to the XingPing area where we would meet the fisherman the next morning.
4am came and Jack and I were on a Bamboo raft going downstream on the Li river, incredible karst peaks all around me were slowly showing their silhouettes against the night sky.
Jack asks “where is your tripod?”
Leading up to this shot I had been thinking how I would go about shooting it – how would I make sure, in a small amount of time, that I could nail this once in a lifetime opportunity. My flaw when it comes to photography is that I often give myself too many options and I waste time experimenting so I decided I would eliminate the variables and focus on the shot. I took with me a light stand, a small Profoto RFi 1 ,3x2” softbox, 1 speed light, 2 pocket wizards, 1 camera and 1 lens.
Should I have bought my tripod? It was very dark – now I was worried.
We got to our location on the river bank and everything started to happen pretty quickly – before I knew it, in front of me, in this amazing wilderness was a traditional cormorant fisherman. Luckily my plan worked and I didn’t need a tripod. The morning light was illuminating the sky exactly as I had planned for and the softbox was throwing out the beautiful fill light just as intended. I reeled off shot after shot after shot and than it was over.
This is a single frame taken just after sunrise.
I’m sitting in my hotel room in Beijing and just going through my bag of shots from the past 2 weeks of trekking through rural China. From fisherman to remote villages to the Great Wall – it’s been an incredible journey and one I won’t forget in a long time.
I’ll be meeting up with the rest of the crew in Shanghai tomorrow and won’t have a chance to post many more shots until I arrive back in Australia but stay tuned. –there’s a lot to come ;)
The Ardnamurchan peninsula is a wild, remote yet beautiful place full of wonderful scenery situated on the west coast of Scotland.
One of the many wooden staircases that function as roads and sidewalks in the coastal village of Tortel, built on steep hills. The rains brought out highlights in the wooden stairs and rails that made an effective B&W composition.
06/04/2021 www.allenfotowild.com
Remote times books lighted with a remote flash
Strobist Info:
One single flash @1/128 power. 12 O'clock High.
Radio remote controller.
Some find the road out west on Ardnamurchan pretty intimidating. But turn on to the little roads that lead out to the lighthouse at the end, or to the heavenly white sand beach at Sanna, and the road becomes even more of an adventure. However park your car at the side of the road and head off into the crater of the ancient Ardnamurchan volcano and things become a whole lot more desolate and remote. Over a hill and far away, where there has never been electricity or a road, and you find a place called Glendrian, Glendryen, Glendrain....all of them, where there was once a thriving crofting community. And it's site is now a Scheduled Monument giving Guardian readers and amazing insight into what post-Brexit Britain would look like.
Glendrian is a depopulated settlement of post-medieval date. It is located on the Ardnamurchan Peninsular on the West Coast of Scotland, situated within a ring of hills forming the caldera of the former volcanic crater of Ben Hiant. The exceptional preservation of the settlement remains, including cruck-slots within house walls, led to the scheduling of the settlement, which is considered to be of regional and national importance.
Settlement at Glendrian was first documented in the early 17th century, in 1618, when 8 families were recorded living there. From 1723, the population grew, jumping from 29 people to 39 in 1841 and 47 in 1861. The census records show a decrease in the population after this however, and it was during the mid-19th century that the smaller townships on the Ardnamurchan peninsular, including Glendrian, were cleared for larger sheep farms. The population fell to 20 in 1881 and 11 in 1901. By the 1930s, only two houses were occupied, and by the 1940s, the settlement was completely deserted.
Glendrian does not appear on Roy’s Military Maps of 1747-55, but it does appear on Bald’s map of 1806, on which it comprised 17 buildings, two enclosures, fields and walls. By the time of the 1st Edition OS 6 Inch map of 1876, three unroofed buildings, 17 roofed buildings, 6 enclosures and field systems were present. More buildings were depicted as unroofed on the 1896 2nd Edition OS 6 inch map, with only 8 roofed. A walkover survey was undertaken in 2011 in advance of a bracken control programme and this revealed many more features than mapped however, including previously unrecorded shielings, enclosures and boundaries. A total of 43 individual features were identified; more than half of these related to use of the landscape and transhumance including areas of rig and furrow cultivation and boundary walls, but the rest were structures and features associated directly with the post-medieval settlement, including houses, a revetted spring, a sheep fank and numerous enclosures.
Although a walkover survey does not record sufficient detail for a full assessment and discussion of sites, at Glendrian, it did discover clear evidence of modification and development through time to the settlement. Houses were of varied style and contained evidence for different phases. For example, some buildings had clearly had extensions and additional rooms attached to the pre-existing structures, and the construction of fireplaces within some of the houses were likely related to the latest phase of use. Additionally, the boundary walls and enclosures were all of drystone construction, but these construction techniques varied and these structures also exhibited characteristics of modification.
The level of preservation at Glendrian is considered to be exceptional, especially when compared to similar types of settlements in the Highlands, as most do not usually preserve evidence of modification and phasing through time. In light of this, the site represents a valuable resource into understanding the changes that took place in post-medieval settlement and economy in the Highlands during the 18th and 19th centuries, and a closer study of the architecture of Glendrian would allow for an interesting study into vernacular Highland settlements.
Its the road where I stood and took this shot. No approach roads, high in Himalayas, an absolute treat to watch this remote region of the Changpa tribe.
It would be true to say this small waterfall was in the middle of nowhere. It was lovely to stop and find this waterfall away from the main road.
A shot taken near Nenthead last December. I have managed to miss nearly all of the snow this winter due to work or lockdown. This is one of the few images that I have managed to get with snow in.
Death Valley National Park, California
Camera: Pentax 645z (Medium format digital)
Lens: HD Pentax-DA 645 28-45mm F4.5ED AW SR
I think this was an image from the east side of Iceland but I doubt I could find it again. One of those places you stop for a brew & then travel on.
This milky panorama was taken in Chile, in a remote place, at 2 000 meters altitude, may 2018.
The clearest and darkest sky I have never seen in my life !
The orange color is neither caused by clouds nor light pollution. This is an entirely natural (and rare) phenomenon called : Airglow.
Airglow is similar to the aurorae, but with a lower intensity. Solar particles are hitting our atmosphere and excite oxygen atoms contain in the upper layers. This matter interaction releases faint light , green or orange.
The orange airglow is very typical from Chile and southern sky whereas the green airglow is more commonly found in the northern night sky.
Canon Rebel T5i + Sigma Art 18-35mm f/1.8 lens +Star Adventurer MINI (SAM)
→ 30 seconds exposure
→ ISO 3200
→ 18 mm
→ f/1.8
→ 3 pictures stitched (panorama)
DxO Optics Pro + Lightroom editing + Microsoft ICE
Location : Valle del Elqui, Coquimbo region
Here is my Instagram : www.instagram.com/astroguigeek
As the stars whirl the trees mark time and wait for the sun to rise once again.
We're Here and are one with the trees.
Tripod-mounted & filter-free & remote triggered in Bulb in the lane outside of the house...
Remote Froglet (Crinia remota)
I wish I could have got a more artistic looking picture of him doing something, but these fellas are tiny and very flighty.
It doesn't need the text like my previous picture, and arguably it detracts from the picture; however I'm in the mood for hover text.
Hopefully my ID is right, while I'm interested in them, frogs aren't exactly my forte haha
Blue Heron looking toward rising sun on Richter Lake at Muscatatuck National Wildlife Refuge - Indiana.
Loriga is a village and parish in the municipality of Seia, Guarda district (Portugal). It has 36.52 square kilometers area, 1053 residents and population density of 28.8 hab./km². It has a village attached, Fontão. It is part of the Natural Park of "Serra da Estrela"
l'improbable toucher
Dernières nouvelles de l'Éther La Panacée - Montpellier 2014
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