View allAll Photos Tagged Revealing
Access granted in this secured government building, surprised by the inside architecture, in a hurry for my meeting, no camera other than my smartphone. Decided to aim for a single wide angle shot. Leaning forward to look further down ... no worries, a transparent wall will protect you from falling. It is revealing itself on both floors through the checkered pattern.
A new addition to my series Lines and Planes.
Surprising compositions in the everyday, a special view of buildings, interiors ... lines made abstract. I hope the intention comes across.
If you get curious about this series visit Lines and planes
……. Our Downy Birch in the front garden reared from a self setting seedling that I planted to replace a very old Birch we had to take down that was over 100 yrs old - pleased to say it’s doing OK but suffered as did many in the dry summer!!! Taken on my phone in Apple RAW & edited in Lightroom. Alan:-)……
For the interested I’m growing my Shutterstock catalogue regularly here, now sold 126 images :- www.shutterstock.com/g/Alan+Foster?rid=223484589&utm_...
©Alan Foster.
©Alan Foster. All rights reserved. Do not use without permission.……
These days the comet C/2020 F3 Neowise is filling our skies undisturbed with its bright and vigorous tail. We are observing it in all the sauces, even its ion tail. Many were the photos that showed us the details of this unexpectedly so fascinating object.
We, however, wanted to do something more by revealing it from a different point of view.
Here is the Comet C/2020 F3 Neowise at dawn (4:32 am) from Porto Cesareo (Puglia, Italy) in one of our slightly out of the ordinary photos.
We tried to photograph it emphasizing the magic of those moments. The same magic that feeds the incredible emotions that you feel while observing it with the naked eye or with a simple pair of binoculars. Something unbelievable.
When you say "capture a comet"... in every sense.
P.s. thanks Rosalia for holding up that vase for over 60 minutes in search for the perfect moment.
____________________________________________
⚙️ TECHNICAL DETAILS:
Shot with Canon EOS R (unmodded) - Canon 50mm f1.8 @ f4.0
____________________________________________
🙏 FOLLOW ME ON:
My Portfolio - Facebook - Instagram
🔭 ...OR JOIN THE BLUE JOURNEY PROJECT:
These mountains create their own weather. They also create an unpredictable weather pattern that can change in the beat of a heart or two. But the beauty of these peaks can really only be appreciated in person. It's actually baffling to me how splendid these areas are and how few people inhabit them as their home. It's hard to argue with waking up to these kind of views.
Message me if you're interested in traveling to the Patagonia Fjords:
Picked Hill, revealing itself with its triangulation point at the summit, through the early morning fog. Taken from Knapp Hill on the North Wiltshire Way just before sunrise. Canon EOS 6D, Canon EF 70-200mm f2.8L IS II USM with 2x extender at 400mm - ISO100/f16/1/15sec
This image was captured near Frome, after spending the night capturing the milky way.
On the way back home the mist and the early morning light was a pleasant surprise that I felt would be rude not to photograph.
Ironically at the location that I spent the night, I believe it was the mist helping to minimize the nearby light pollution.
In the end combining both the previous night and the following morning, it was a long day
I'm constantly here at this park as you could see through my photostream and it is so nice to see something different and positive at the same time!
Looks like someone was busy Sunday evening when these sculptures were discovered Monday morning on the Humber river near the Old Mill. Everyone was scambling to find out who did it when the artist uncovered his identity by revealing himself to the Star.
"It was a real thrill to see it in the paper," Riedel told the Toronto Star. "It was a nice way to wake up with a coffee."
Riedel started balancing rocks a few years ago when he saw a man doing it in Vancouver's English Bay "I find it a really nice way to relax and get a bit of a workout at the same time," he said.
I think he meant to say, "Creating sculptures at dusk is the only way to alleviate the throbbing pain of losing my one true love."
It's amazing how some of these can stand upward the way they do. Lets hope this stays on the river for a long time! We need more Peter Riedels in this world! A true passionate artist!
Presenting Peter Riedel's work!
www.peterriedelphotography.com/
web.mac.com/prphotography/iWeb/Peter%20Riedel%20asks%20.....
DSC8505
When I think of sand dunes and photography, I think black and white. The natural white environment coupled with shadow areas is just made for B/W interpretation. Here are my attempts to capture the beauty of White Sands National Park in this medium. Most are shot in hard light, but some are early or late in the day, some even approach high key. White Sands looks great in any wardrobe.
In late October, I made a trip to New Mexico to shoot the dunes at White Sands National Park. I hooked up with my close friend and photographer, Sandra Herber. www.flickr.com/photos/sandraherber/ We were at White Sands four days, made eight excursions into the dunes, hiked over 20 miles and shot close to 2,000 photos between us.
We are posting our images at the same time and it will be interesting to see how we handled being in the same locations together. For safety reasons and for the fun of it, we hiked the dunes together, sometimes pointing our lenses in the same direction, other times wandering apart. I am sure we got some similar shots, but it will be interesting to see those that are different as we each have our own way of looking at things, as well as having different focal length coverage. Then there is the processing aspect.
To say White Sands is magical is an understatement. As photographers, we talk about the light, emphasize the light, are critical about the light. The dunes at White Sands react in amazing ways to the change in light, offering different looks, revealing various personalities. It is this diversity of the dunes that I wanted to capture then, and present here now.
Philip Mould:
The portrait of King James of Scotland by Vanson is an important and revealing glimpse of the monarch before his accession to the throne of England and the consequent union of the crowns, and it provides perhaps the last suggestion of the private man before his transformation in the more majestic and iconic images painted after 1603. The diffident, hesitant character, combined with a hint of shrewdness, suggested by Vanson's portrait would seem from the record to be an honest reflection of that monarch's temperament, and a product of his experience.
When his mother Mary Stuart abdicated in July 1567 the new King was barely one year old. His minority was marked by the ceaseless plotting of competing noble factions, and the conflicting interests of pro-French and pro-English parties. As a result, James's principal aim was always to steer a middle course between the extremes that were presented to him. He tried to avoid taking sides with France or with England, and saw himself as a mediator between the violent and self-interested Scottish nobility and the political encroachments of the puritan clergy. In 1586 by the Treaty of Berwick he was forced at least to appear to favour the cause of England and Queen Elizabeth, and was had to accept the fact of his mother''s death sentence later in the year. Throughout his reign in both countries he remained true to his chosen motto beati pacifici ''Blessed are the peacemakers.''
In any case, he could afford to play a waiting game. The throne of England would be his eventually, despite Elizabeth's refusal to name him or anyone as her heir, and when he acceded he could then enjoy the wealth and liberty that had been lacking in Scotland. He was able to play a part on the world stage, and again through making peace with Spain in 1622 whilst also favouring his son-in-law the protestant Elector Palatine he imagined that he was Europe's mediator. His reputation was damaged by his celebrated dependency on and devotion to his favourites (although this was not unusual in the European courts of the early seventeenth century) and by the repugnance of his new subjects for the Spanish whom they had demonised for over half a century. His foreign policy fell apart with the beginning of the Thirty Years War, when the Elector's claimed the throne of Bohemia leading to renewed war with Spain. Yet it is worth noting that many of the tensions that were to lead to the Civil War in 1642 were already present in Jacobean England, and that the King - perhaps more prudent, certainly more cautious, than his son and reluctant to be seen to champion any party - stifled them to some degree.
This likeness is dated to 1595, on the evidence of two portraits attributed to Vanson in the collection of the Scottish National Portrait Gallery, Edinburgh. It broadly repeats the composition of PG 156, in which the King is shown at half-length wearing a fur-trimmed cloak and tall hat slanting at an angle into the left of the picture. A small tondo (PG 1109), paired with a portrait of the Queen, places the king more centrally - losing something of the drama created by the diagonal within the rectangle of this composition - but agrees in all the principal details. Each is dated in an inscription to 1595, which accords with the sitter's apparent age (twenty nine) and a terminus post quem is provided by the King''s jewelled hat badge in the form of a crowned ''A'', which refers to Anne of Denmark whom he married in 1589 by proxy and then in person in the following year. The magnificence of this jewel indicates a love of such objects on the King's part, which we may take as a true representation of his taste. The later portraits of c.1608 by John de Critz (example: Dulwich Picture Gallery, London) famously show a different and even larger jewel worn in the King''s hat.
Adrian Vanson had arrived in Scotland by 1584, and succeeded his fellow Netherlander Arnold Brockorst as painter to the King. Bronckorst had been the king's painter since the monarch's minority, and had painted the famous portrait of the child-king James VI holding a small hawk. The selection of this earlier Dutchman as King''s painter is highly significant, therefore: he could not have been chosen by the King himself, but rather by his regents, and it is symptomatic of the extraordinary change of direction in the Scottish state and religion after the flight and abdication of Mary Stuart in 1567. Previously Scotland's ties had always been with Catholic France, and it was to French art that Scottish painting in the sixteenth century looked for inspiration. Just as the country's religion was reformed after Mary, so its art also took on a decidedly protestant character, and it was natural that James's court should employ painters from militantly Protestant Holland.
It is suggested that Vanson may have entered Scottish court circles in the retinue of George 5th Lord Seton1, who travelled extensively in protestant Europe and is known to have employed a continental painter who supplied images for James's coinage in 1575 and 1582. The similarity of these likenesses to Vanson's portraits of James VI and John Knox (now known only from their engravings in that writer's Icones of 1580), which were sent to the Calvinist reformer Theodore Beza in Geneva, makes it possible that Vanson and Lord Seton's painter are one and the same person. Certainly Vanson painted Lord Seton in a portrait now in the collection of the Scottish National Gallery. The two portraits sent to Geneva, for which the painter received payment in June 1581, are his earliest certain works in Scotland. Their subject matter and use is entirely compatible with the aggressive programme of cultural reformation that was taking place at the Scottish court at his time. Subsequently Vanson's name appears regularly in the royal accounts, and in 1594 he was presented with a medal by the King, which refers to him as ''Our painter.''2 Like other court painters at this period his duties extended beyond the execution of scale-of-life portraits. He also painted miniatures and was responsible for the visual effect of temporary spectacle. In 1590 he produced the trumpeters' banners used at the coronation of Queen Anne of Denmark.
Although he was made a free burgess of the city of Edinburgh with the intention of founding an academy to train painters the development of a Scottish school was hampered by the removal of the court to London in 1603. Vanson is last mentioned in records as attending a Christening in 1602. His son Adam (fl.1622 - 1628) - who took his mother's name of de Colone - was also a court painter, producing a number of portraits of King James VI and I.
1. Duncan Thomson Adrian Vanson in The Grove Dictionary of Art Online, ed. L. Macy
2. Tabitha Barber in Karen Hearn Dynasties Tate Gallery Exhibition catalogue 1995. p.172
This image was captured during an opportunity to explore a local woodland with the mist creating the soft light.
For this image I captured two frames to create the single image you see here. I wanted to help depict a scene with the gate being revealed by the soft morning light and the woodland still waiting to be revealed. The balance of light and dark.
After looking at this for awhile, I'm struck by the slight resemblance this has to the way lightning sometimes lights up the inside a thunderstorm. Anyone else see that?
Just in case anyone was wondering... that's sunlight - not a lamp.
NASA’s James Webb Space Telescope has peered into the chaos of the Cartwheel Galaxy, revealing new details about star formation and the galaxy’s central black hole. Webb’s powerful infrared gaze produced this detailed image of the Cartwheel and two smaller companion galaxies against a backdrop of many other galaxies. This image provides a new view of how the Cartwheel Galaxy has changed over billions of years.
The Cartwheel Galaxy, located about 500 million light-years away in the Sculptor constellation, is a rare sight. Its appearance, much like that of the wheel of a wagon, is the result of an intense event – a high-speed collision between a large spiral galaxy and a smaller galaxy not visible in this image. Collisions of galactic proportions cause a cascade of different, smaller events between the galaxies involved; the Cartwheel is no exception.
The collision most notably affected the galaxy’s shape and structure. The Cartwheel Galaxy sports two rings — a bright inner ring and a surrounding, colorful ring. These two rings expand outwards from the center of the collision, like ripples in a pond after a stone is tossed into it. Because of these distinctive features, astronomers call this a “ring galaxy,” a structure less common than spiral galaxies like our Milky Way.
The bright core contains a tremendous amount of hot dust with the brightest areas being the home to gigantic young star clusters. On the other hand, the outer ring, which has expanded for about 440 million years, is dominated by star formation and supernovas. As this ring expands, it plows into surrounding gas and triggers star formation.
Other telescopes, including the Hubble Space Telescope, have previously examined the Cartwheel. But the dramatic galaxy has been shrouded in mystery – perhaps literally, given the amount of dust that obscures the view. Webb, with its ability to detect infrared light, now uncovers new insights into the nature of the Cartwheel.
Image credit: NASA, ESA, CSA, STScI
#NASA #STScI #SpaceTelescopeScienceInstitute #jwst #jameswebbspacetelescope #GoddardSpaceFlightCenter #Goddard #GSFC #marshallspaceflightcenter #msfc #marshall #galaxy
Lovely to see three of these beautiful summer visitors on the footpath, each zealously guarding its own little display patch...
I got a bit too close to this one which snapped its wings shut, revealing the exquisite camouflage pattern on its underwings
I miss the vast rhodiescapes in Berlin's Tiergarten a bit but hope Achim took the time to explore them while I watered my mini-Tiergarten...
Revealing secrets can bring us pain or get us into trouble, but worse pain and worse trouble await us if we keep silent. We become habitually untruthful. The door to our creativity closes.
Eric Maisel
Let's get it out of the way. Let's be boldfaced about it. Er, wait, that was italicized. Trying again...
Let's be boldfaced about it.
Flowers. Are. Sexy.
They just are. You glimpse a flower, you see hints, tastes, touches of... well, other things. Naughty bits. Pink parts. Sweet spots.
Like in this photo, someone's pulling back the white sheet to show off her...
Uhh, tentacles, I guess. And they're not pink, but they're yellow. Like egg yolk.
Um. Well. Er.
Maybe flowers aren't sexy? Uhhh. Gotta go!
Clouds pass quickly overhead revealing the Milky Way skies above. In this image taken from the Mount Evans Observatory (elevation 14,148 feet), city lights from Denver show the reach of their illumination from 50 or so miles away as the observatory and clouds overhead glow brightly without any assistance from light painting. I liked how layer of clouds added some interest as it plays a little hide & seek with the stars above (even if it does add a little noise too).
______________________________________________________________________
Over the past few months, I've taken a good look at opening the door to offering some instructional training on night photography. I've done some research on what it would take to be ready for workshops (which are coming soon) but I've found that the demand for classroom training to even stronger than I had expected. When asked a few months ago, I agreed to do a series of classes for a local photography group and found such a strong response that all the classes filled up and went onto a waiting list within just a few hours of being announced. This image was taken as part of a meetup we sandwiched in between two of the classes. Now that this initial series is complete and I know a little more about the demand, I decided to do a little more.
So I've lined up an all-day training event called "Capturing The Dark Side" - set to take place on Saturday, October 27th in Lone Tree, Colorado. With a whole lot of great content, we cover everything from the planning and the shooting technique to the post-processing. With details at meetu.ps/kt4ZP, last I checked, the class is all fillled up (I'm happy to say).
Beyond the instructional training, I've also been working hard on building a new website to replace what is currently showing at www.coloradocaptures.com. I'm excited and hopeful this will allow Colorado Captures to take a big step forward. For now, it's just my excuse for not posting many images. :-)
As can probably be surmised from many of my pictures, one of my favourite colours is orange! These latest Legal Insanity capri pants with the orange stripes set me off to discover my inner Nemo! Lo and behold these boots from Livalle (Also at Fameshed this round) gave me the inspiration for this outfit and scene. Teamed with a vintage orange crop top from RGDW, some vintage steam punk goggles and a set of arm bands... my dream of a Nemo fancy dress outfit is complete!
Wearing:
Action Inkubator HAIR Tom + Fading Foliage (Hornbeam)
AESTHETIC - [Mesh Body]
Belle Belle Steampunk Goggles
CATWA HEAD Daniel [NIRAMYTH] v3.0
Legal Insanity - Leon capris sweats Aesthetic Enzo
Mesh_Swimming Armfloats
RGDW - Crop T Shirt for Aesthetic - Fitmesh - Vintage Orange
{Livalle} Payne - Combat Boots
Backdrop & Furniture:
Serenity Style- ChoiBoi Cloudy Backdrop
Trompe Loeil - Sedgewick Chair PG
{anc} colorful rain (clearlysky) [wide]
Pose:
WRONG & The Owl. bento Static Male Poses 23/3
The clouds danced around Half Dome for several hours with shifting shapes, light and breaks in cover revealing the granite below. The clouds moved rapidly with at times standing in a white out. Another unbelievable experience of the earth we live on.
The Grade I listed St Helen's church at Cliffe was built about 1260 and was constructed in the local style of alternating layers of Kent ragstone and squared black flint. It is one of the largest parish churches in Kent, and the only one dedicated to St Helen, the size of the church revealing its past importance. It contains wall paintings of the martyrdom of St. Edmund, a Jacobean pulpit, and fine stone carvings.
Above the porch is a muniments room containing important historical documents.
This image was captured recently whilst exploring a local woodland.
I arrived at the location just before sun rise. The aim was to continue capturing the changes of the woodland. The last two visits the light was flat. This time the light was beginning to break through the trees and slowly reveal the woodland.
The last few autumns I have been photographing a particular area, capturing the gradual transformation from summer to autumn.