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After a week when temperatures across the UK have hovered above a sweltering 30C/85F, I found myself longing for the chill and fog of early spring, and revisited a shot which I captured at the centre of Richmond Park in early April. On many mornings I'd hoped for calm conditions that would bring heavier fog, and before this particular sunrise the low wind speed and near-freezing temperature near the Pen Ponds created fog so dense that, for a couple of hours, visibility dropped to about 20 metres. As the sun finally crept above the woodland and created various shades of orange and pink on the horizon, I came across the bare branches of an oak tree, and next to it the remains of a broken tree trunk, part of which now lay on the ground. Something about this scene captivated me, so I stopped to capture it.
The image is a blend of seven bracketed exposures, and proved to be a fun editing project because of the contrast between intense foggy light around the sun and deep shadows covering the trees and foreground. I began by blending my exposures using luminosity masks, bringing up visibility of the tree trunks while toning down brightness around the sun. I then refined my own masks in order to select and intensify the fog in the background. This was achieved by duplicating the blue channel in the Channels Panel and using a Levels adjustment to increase the channel's contrast between Darks and Midtones, effectively removing the trees and grass from the selection. After extracting the highlights around the sun using a selection from my Brights luminosity masks, I was left with a selection of just the foggy background, where I blended in my brightest exposures using a combination of linear and reflective gradient masks.
Colour-grading the image was very straightforward, as the mixture of early-morning blues across the landscape and intense warm tones in the sky only needed a little emphasis. Using Colour Balance adjustments with Apply Image as a layer mask, I gave the midtones and shadows a colder finish, and targeted the brighter area around the sun to increase the reds and magentas in the highlights. Setting two low-opacity Colour Lookup adjustments to Soft Light, I then used the Foggy Night preset for the foreground and the Soft Warming preset for the sky.
Using Nik's Colour Efex Pro, I brought out a little of the tree trunks' texture using the Detail Extractor filter, and at the same time softened the detail in the sky using the Sunlight filter, which helped to bring out the hazy glow across the scene when I'd captured it. While I thought that viewers' eyes would gravitate to the sun emerging between the tree's branches, the tree and the trunks among the fog were what drew me to the scene, and I felt it was important to try to emphasise their weathered texture and, ultimately, their "character". There was something hopeful about the colour spreading across the horizon as the sun rose, but at the same time something poignant about a scene that seemed to tell a story of nature's brutality and illustrate how certain things, once broken, can't easily be healed or repaired.
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So far for peculiar titles in my Flickr pictures, as I wrote about in the previous photo. This time nothing bizarre, just a dull description of what can be seen in the image.
This is a picture taken more than three years ago. I don't happen to go much often in Richmond area, nowadays, and I definitely miss those walks, where something nice or stimulating would force me to trigger my camera.
This was one of hundred photos in the 'to do or not do?' list: once you look at it and you like it. Another time you have another look and start having doubt about the overall composition or sometimes just some details. You resize it a bit, adjust the light, try to get a bit more details if you can, and still the doubt lingers.
This time I decided to give it green light, though not sure yet it is a totally good idea :)
While at a roadside pullout along Tioga Road with a view looking to the west to ridges and peaks of the Sierra Nevada mountains in this part of Inyo National Forest. Given the haze present in the skies above from nearby wildfires, I decided to compose the image by focusing on the meadow to my front as it led up to ridges and more distant mountains. I later used the ClearView Plus tool in DxO PhotoLab 5 to bring out more of the details present, given that haze, and worked with control points in DxO PhotoLab 5 and to make some adjustments to bring out the contrast, saturation and brightness I wanted for the final image.
Rupit, Barcelona (Spain).
ENGLISH
Rupit and Pruit (in Catalan Rupit i Pruit) are a municipality of the region of Osona located to the northeast of the region and the east of the Sierra de Cabrera. It is integrated by two urban nuclei: Rupit and Pruit, that they were independent until year 1980. It is the last town of the province of Barcelona in the highway that unites the municipalities of Vic, capital of the region of Osona and Olot, capital of the region of the Garrotxa (Girona).
The origin of the town we found in the castle that was constructed around year 1000, replacing the one of Fàbregues, where they went constructing houses around.
In 14th century the population underwent a reduction but it recovered, arriving in 17th and 18th centuries at the maximum splendor that has never had the town. The church was possibly built between 13th and 14th centuries, and it was dedicated to San Miguel Arcángel.
Pruit already names in year 955, when it belonged to viscounts of Osona. Always there is been united to the castle and jurisdiction of Rupit.
Sources: es.wikipedia.org/wiki/Rupit_y_Pruit and pieraedicions.com/rupitpruitbreuhistoria.htm.
-------------------------------------
CASTELLANO
Rupit y Pruit (en catalán Rupit i Pruit) es un municipio de la comarca de Osona situado al noreste de la comarca y al este de la Sierra de Cabrera. Está integrado por dos núcleos urbanos: Rupit y Pruit, que fueron independientes hasta el año 1977. Es el último pueblo de la provincia de Barcelona en la carretera que une los municipios de Vic, capital de la comarca de Osona y Olot, capital de la comarca de La Garrotxa (Gerona).
La iglesia de Sant Joan de Fàbregues y su castillo están documentados desde el año 968. Hacia el siglo XII surgió el pueblo de Rupit habitado por familias nobles. En 1878, la iglesia de Rupit dejó de depender de Sant Joan de Fàbregues y en 1959 el municipio pasó a llamarse Rupit. En 1977 se unieron los municipios de Rupit y Pruit.
Más info: es.wikipedia.org/wiki/Rupit_i_Pruit
in
Spring comes (no-
one
asks his name)
a mender
of things
with eager
fingers (with
patient
eyes) re
-new-
ing remaking what
other
-wise we should
have
thrown a-
way (and whose
brook
-bright flower-
soft bird
-quick voice loves
e.e.cummings
An indigenous mother (or maybe grandmother) makes a slight adjustment to her child's costume in the children's parade for the Dias de Loco (Crazy Days).
In Ecuador, instead of carnival they have the crazy days, Dias de Loco, where it's okay to dress up and act a little crazy which usually means spraying soap foam at each other or anybody who gets caught. In this indigenous village between Cuenca and Riobamba, we ran into this parade with kids in costumes, making noise and spraying foam on everybody.
With his trusty “shifter”, he’ll not be beaten by any seized nuts and bolts on the loco as he makes his rounds with the oil can. This was a crew change on the Jixi mine railway at Hangshan.
Jixi, Heilongjiang Province, northern China.
November 2006 . © David Hill
Melrose Trading Post, Los Angeles, California
Song of Songs 4:9
You have stolen my heart, my sister, my bride; you have stolen my heart with one glance of your eyes, with one jewel of your necklace.
Rusty, crusty details of a vintage treadle operated drill press. Legends Motorcycle Emporium, Springville, Utah.
Another macro of the wood plane. Gone for a digital lith print look.
Lenababy Composer, Sweet 35 Optic, 12mm Extension Tube, probably f/5.6
I spent some time this past summer trying to learn how better to secure images of pollinators of all kinds. That project was motivated by my sunrise walks down an abandoned road southeast of Ottawa, where overgrown wildflowers grew in thick and deep bunches on the sides of the road, and where butterflies and moths and bees and wasps spent the first light re-energizing for the new day.
The subjects of the photographs had a lot more freedom to drift away from the road to the wild meadows than I had - old fences and thick vegetation kept me pretty hemmed in. That meant having to get creative in most cases, which was part of learning how to manage the situation. I really liked this image, shot through a wall of vegetation to find the Skipper - not an especially exotic one for people who know these creatures - who was drinking from the wildflower.
This activity and the many early mornings it entailed was a response to the impact of the pandemic on birding and bird photography. Most of my usual places had not adjusted particularly well to the changed circumstances, and so the solitary mornings were just what the public health officials ordered.
I really hope everyone is safe and has a great holiday break. I now know people (healthcare workers) who are scheduled to be vaccinated shortly in Ottawa so things are slowly moving forward - please take care.
And many sincere thanks to the people who look at, like and/or comment on my images. I really appreciate the connection. I spend a lot of my free time looking at and learning from others, but this is an amazing community, and it offers a lot to me in different ways - especially with the superb images people are posting. So: many thanks, and stay safe.
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Another shot of Manarola, the second smallest of the famous Cinque Terre towns.
Nikon D5000 18-105mm f/3.5-5.6 VR
EXIF: 1/40 sec • f/7.1 • 18 mm • ISO 400
Pseudo-Hdr from a single RAW file, edited with Photomatix 4.0.1
JPEG file edited with PS CS4 and Topaz Adjust.
Explore: #261 11-01-2011
...at Bryce Canyon National Park, Utah USA.
An old image, JPEG additional adjustments to local tone mapping in Corel Paintshop Pro added today.
Caly faces the office, adjusts the backpack slung over her shoulder, and
Darren drives away.
Cut to Mateo Lopez, expertly waterskiing on the lake.
Mateo: (shouts to Sienna Dane at the wheel) Take me in! (as the boat
approaches the dock, he spots Caly coming out of the office, dressed in
her park uniform) Nice!
(Staring at her, Mateo releases the drag line, allowing momentum to
carry him onto the beach. But his expertise goes unnoticed by Caly as
she is joined by Camp Director Wilson, who is apparently giving her the
orientation tour of the RV park.)
(Sienna secures the boat before walking down the short dock, stepping
over Mateo's skis to stand beside him, following his line of sight.)
Sienna: Must be the new girl.
Mateo: There's a new girl?
Sienna: Remember? Last meeting? Director Wilson said Jerry was
graduating and going to work for his dad's company.
Mateo: I have a blind spot regarding anything about Jerry.
Sienna: Because he beat your War Wolf high score?
Mateo: Because he was a boring cheater. What's her name?
(They begin strolling toward the main lodge.)
Sienna: What do I get out of it?
Mateo: You're bargaining for a name?
Sienna: I've seen her file. I can tell you more than her name.
Mateo: (looks impressed) What do you want?
Sienna: I've got kitchen clean-up duty tonight. You cover and I will
spill the tea.
Mateo: I hate clean-up.
Sienna: She's seventeen. That info's free. The rest will cost you
clean-up duty.
Mateo: Oo, nice safety. Thanks for the warning. Gentlemanly approach,
nothing freaky. Okay, I'll cover clean-up. (they enter a side door
marked, "Employees Only."
(To be continued...)
(Sienna: Bailey
Mateo: BSM)
Public domain photo of farmers with cattle in the late nineteenth century that was altered with the Perfect Exposure plug-in (dehaze effect), then the Topaz DeJPEG plug-in, then the Alien Skin Exposure X2 plug-in (noise reduction adjustment), then the Topaz DeNoise plug-in, then the Photoshop paintbrush, then the Topaz ReStyle plug-in (bleached warmth effect; base image), then the AKVIS Sketch plug-in on the base image (soft stumping effect; soft stumping image), then the Topaz Impression plug-in on the base image (color sketch 1 type 14 effect; color sketch image), then the soft stumping image was overlaid and merged with the color sketch image, then the Alien Skin Exposure X2 plug-in (clarity and vibrance adjustments and vignette effect), then DxO Optics Pro (ligating, luminance, and chrominance adjustments), then the Topaz Adjust plug-in (burning), then the Topaz ReStyle plug-in (warm desaturated grey effect), then the Topaz Impression plug-in on the base image (custom chalk and charcoal preset type 8), then the Photoshop paintbrush, then the Topaz Adjust plug-in (dodging), then the Perfect Exposure plug-in (night effect), then the Topaz Glow plug-in (wanderlust effect), then the Alien Skin Exposure X2 plug-in (clarity and vibrance adjustments and vignette effect), and then the Photoshop paintbrush. Public domain image by Robert S. Redfield courtesy of the Getty's Open Content Program.