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Laying flat on a 45 degree slope is easier said than done. But I managed to stop slipping down the hillside long enough to frame in some shots like this.
'Nespresso' coffee capsule for the Strobist Cooking Light assignment. This is a small orange capsule with a silver foil cap. I wanted to try to play the complimentary blue off the orange capsule colour to get some dynamic play between the colours and create some depth/ drama.
Strobist info. The 'stage' is an inverted collander, with a SB-28 inside, set to about 1/8th power and a wide beam/zoom, with a PW Multi II to trigger. That gives the background and light/ reflections for the orange flares.
I then used a Canon 580EX with a blue gel to the camera right, with a grid over the front to direct the blue colour to just the foil. Had to play around a bit with the angles to ensure that the blue hit the foil only and reflected in to the camera, but that I wasn't getting a real strong direct reflection, so feathered it slightly and caught it more on the edge of the beam. Had originally tried to bounce some light from a blue card but the reflections were problematic. There is a small piece of putty just behind the coffee capsule to raise the face up from the silver background so that I can bounce the light in at the right angles from the flash.
Reading Light Science & Magic last night helped a lot with the discussions of families of angles and lighting surfaces independently.
Learn how to light at Strobist.
This impressive Miss Havisham style champagne glass fountain was one of the standout installations of the Rone "Empire" exhibition. Long after the champagne, and the love, has dried up, the glasses remain as a reminder of what once was.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Dining Room is one. The Study is the other. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Also, in this photo, I used my flash and a 400 ISO exposure to create a white light source. This made the background darker and made the headphones standout. After shooting with my flash, I found it gave my images a 3 dimensional feel, making the subject more prominent. My influence for this method of shooting was Nicholas Samaras, the underwater photographer.
Pineland Daisy (a.k.a. White Sunbonnet, Woolly Sunbonnet, Night Nodding Bog Dandelion; (Chaptalia tomentosa) - Tosohatchee Wildlife Management Area, 3365 Taylor Creek Road, Christmas, Florida
The white petals on these guys really stand out in the pineland understory environment they prefer.
Standard issue Daisies are just as bright,
but tend not to stand out as much in sunny fields
where you find them.
This was the best shot I got of this wonderful classic, but I didn't like the background. I made a few edits and, voila, here it is.
1976 Chevrolet Corvette Stingray, at Montrose Beach.
Uptown, Chicago, Illinois.
Friday, September 2, 2022.
Labor Day weekend.
A standout from my latest photoshoot with Mistress Faye. In net gloves and black lingerie, her authority fills the frame—every pose unmistakable, every look unyielding. Part of a new collection I’m sharing.
She is mistress faye latex on here - www.flickr.com/people/204337993@N08/
and you may also contact her at the following places
account.wire.com/user-profile/?id=ba2b5545-2898-4381-a91c...
Bathoney Hamilton
The world’s top female surfers proved by pairing up grace, strength and talent, that they are capable of taking the sport to new heights.
The 2nd SWATCH GIRLS PRO France 2011 in Hossegor delivered a firework of spectacular surfing! Moving through the rounds, the ladies faced strong currents and fast crashing waves. Heat after heat they tackled the rough challenge by laying down outstanding performances with technical, smooth and stylish surfing. Unfortunately last year’s winner and 4-time World Champion Stephanie Gilmore (AUS) and top favourite Coco Ho (HAW) were already eliminated in the early rounds.
In the end Sally Fitzgibbons (AUS) defeated Sage Erickson (USA) on an epic final day of competition to win the SWATCH GIRLS PRO France at Seignosse in Hossegor.
Both Fitzgibbons and Erickson surfed at their limit on the final day of competition in front of the packed holiday crowd who flocked to the beach to support some of the world’s finest women’s surfers, but it was Fitzgibbons who found the scores needed to take the victory over the American surfer.
Fitzgibbons, who is currently rated No. 2 on the elite ASP Women’s World Title Series, competed in her second consecutive SWATCH GIRLS PRO France event and her victory marks her third major ASP win this year.
Erickson was impressive throughout the entire competition, eventually defeating Sarah Baum (ZAF) in the Semifinals, but was unable to surpass Fitzgibbons for the win.
Sarah Mason Wins 2-Star Swatch Girls Pro Junior France
Sarah Mason (Gisbourne, NZL) 16, today took out the ASP 2-Star Swatch Girls Pro Junior France over Dimity Stoyle (Sunshine Coast QLD, AUS) 19, it a closely contested 35-minute final that went down to the wire in tricky 3ft (1m) waves at Les Bourdaines.
Europe’s finest under-21 athletes faced some of the world’s best up-and-comers in the Swatch Girls Pro Junior France in their attempt to qualify for the ASP World Junior Series which starts October 3, in Bali, Indonesia.
Mason, who impressed the entire event with her precise and stylish forehand attack, left little to chance in the 35-minute final getting off to a quick start to open her account and then built on her two-wave total to claim victory with 11.73 out of 20. The quietly spoken goofy-footer was a standout performer in the ASP 6-Star Swatch Girls Pro France and backed it up with a commanding performance against her fellow Pro Junior members.
“It is amazing. I am so happy and it is one of my best results for sure. It was tricky to try and pick the good ones but I picked a couple so it was great. All the girls are definitely ripping so you have to step up the level to get through your heats so I am stoked with the win. It has been super fun and I have enjoyed the entire event so to win is just amazing.”
Dimity Stoyle was unable to bridge the gap over her opponent in the final finishing second despite holding priority several times in the later stages of the encounter. The Swatch Girls Pro Junior France has proved the perfect training ground for Stoyle to continue with her excellent results already obtained this season on the ASP Australasia Pro Junior series where she is currently ranked nº2.
“I am still happy with second and I really wanted to win here but I tried my best. This is the best event I have been in so far it is really good the set up, the waves and everyone loves it. I can’t believe how good the French crowd are. They love surfing and they love us all so I am definitely going to come back.”
Felicity Palmateer (Perth WA, AUS) 18, ranked nº9 on the ASP Women’s Star Tour, finished equal 3rd in a low scoring tactical heat against Stoyle where positioning and priority tactics towards the final part played a major role as the frequency of set waves dropped.
“When I first paddled out I thought it was breaking more out the back but as the tide started to change it moved in and became a little inconsistent. At the start of the heat there were heaps of waves but then it went slow and priority came into play and I kept trying to get one. I am not really fussed because I am travelling with Dimity (Stoyle) and stoked that she has made the final.”
Palmateer has used the Swatch Girls Pro Junior France as a building block towards her ultimate goal of being full-time on the ASP Women’s World Tour. Her objectives are clear and 2011 is an extremely important year.
“I would love to get a World Junior title but at the moment my goal is to qualify for the World Tour through the Star events. If I can get more practice without that much pressure on me like this year and then if I qualify it will be even better for 2012.”
Bianca Buitendag (ZAF) 17, placed 3rd in the Swatch Girls Pro Junior France after failing to oust eventual event winner Sarah Mason in semi-final nº1. Buitendag looked dangerous throughout the final day of competition and was unlucky not to find any quality scoring waves in a slow heat. Trailing for the majority of the encounter, Buitendag secured her best ride in the final moments which proved not enough to advance.
“The swell definitely dropped and although the conditions were quite nice I didn’t get any good scoring waves. I have a Pro Junior event coming up in South Africa and it is very important to get a result there to qualify for the World Juniors.”
Maud Le Car (St Martin, FRA) 19, claimed the best result of the European contingent finishing equal 5th to jump to nº1 position on the ASP Women’s European Pro Junior series. Le Car led a low scoring quarter-final bout against Bianca Buitendag until losing priority in a tactical error which allowed her opponent to sneak under her guard and claim the modest score required to win.
“I didn’t surf really well in that heat and I am a little bit disappointed because it is for the selection to the World Juniors with the other European girls. The waves were not the best and it was difficult to catch some good waves and unfortunately I didn’t make it. It is really good to be at the top but I have some other contests to improve and to do some good results and to make it to the World Juniors.”
The Swatch Time to Tear Expression Session was won by the team composed of Swatch Girls Pro France finalists Sally Fitzgibbons (AUS), Sage Erickson (USA) and equal 3rd placed Courtney Conlogue (USA) in a dynamic display of modern progressive surfing in the punchy 3ft peaks in front of a packed surf hungry audience lining the shore.
The Swatch Girls Pro is webcast LIVE on www.swatchgirlspro.com
For all results, videos, daily highlights, photos and news log-on to www.swatchgirlsproor www.aspeurope.com
Swatch Girls Pro Junior France Final Result
Sarah Mason (NZL) 11.73 Def. Dimity Stoyle (AUS) 10.27
Swatch Girls Pro Junior France Semi-Final Results
Heat 1: Sarah Mason (NZL) 14.00 Def. Bianca Buitendag (ZAF) 9.60
Heat 2: Dimity Stoyle (AUS) 10.67 Def. Felicity Palmateer (AUS) 9.57
Swatch Girls Pro Junior France Quarter-Final Results
Heat 1: Sarah Mason (NZL) 12.75 Def. Lakey Peterson (USA) 6.25
Heat 2: Bianca Buitendag (ZAF) 8.95 Def. Maud Le Car (FRA) 8.50
Heat 3: Dimity Stoyle (AUS) 11.00 Def. Georgia Fish (AUS) 4.50
Heat 4: Felicity Palmateer (AUS) 17.00 Def. Nao Omura (JPN) 8.75
Swatch Girls Pro Junior France Round Three Results
Heat 1: Sarah Mason (NZL) 15.25, Maud Le Car (FRA) 11.00, Marie Dejean (FRA) 9.35, Camille Davila (FRA) 4.90
Heat 2: Bianca Buitendag (ZAF) 14.50, Lakey Peterson (USA) 11.50, Justine Dupont (FRA) 10.75, Phillipa Anderson (AUS) 5.10
Heat 3: Georgia Fish (AUS) 12.50, Felicity Palmateer (AUS) 9.15, Joanne Defay (FRA) 7.15, Loiola Canales (EUK) 2.90
Heat 4: Nao Omura (JPN) 10.00, Dimity Stoyle (AUS) 9.50, Barbara Segatto (BRA) 3.90, Ana Morau (FRA) 3.05
Photos Aquashot/ASPEurope - Swatch
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study is one. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
From a trip to the Rose Garden awhile back. There weren't many blooms that caught my eye, but this one did.