View allAll Photos Tagged adobecc
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Dati Tecnici
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a) Nikon D800E + Nikon MB-12 Battery Pack Impugnatura con impostazione live View;
b) Nikon AF-S Micro Nikkor 105mm f/2.8G ED N + filtro UV Nikon 62mm + paraluce;
c) Formato “24:36” – Dimensione Immagine Originale“L-7360x4912 Dpi” – Dimensione Originale File Mb 106 – Qualità “Raw” – Espsizione “SPOT” – I. Dinamico “HIGH” – Spazio Colore “S-RGB” – Stabilizzazione “VR-ON” – Messa a Fuoco “Auto” – Impostazione Iso “140” – Bilanciamento del Bianco “Auto 1” – Regolazione Immagine Colore “0-0-0-0” – NR su ISO Elevati (Moderata- Bassa);
d) Focale impiegata 105mm;
e) Rapporto di Riproduzione Ingrandimento 0,77/1,00;
f) Esposizione Tempo 1/125s con apertura a f.7,2 a Mano Libera;
g) Sono stati impiegati tre Flash: il primo di schiarita Nikon SB-900 Wireless montato sul supporto Cavalletto (su piccolo treppiede Optex) posizionato in alto a sinistra (quasi sopra la raganella) a circa 80cm programmato sul “Canale A” + diffusore a cupola SW-13H (Nikon) con inclinazione 50° parabola verso l'alto e riduzione del lampo di 2,5 stop + il secondo Flash Gruppo Nikon Kit Macro RiC1 con 4 Seedlight SB-200 pilotate in Wireless (I due inferiori a schermo libero i due superiori con applicato il Filtro diffusore Nikon SW-11) + (riduzione del lampo delle lampade superiori di – 2,5 stop, diminuzione della potenza del lampo delle lampade inferiori di +2/3 ) + Nikon Wireless Speedlight Commander SU-800 montato sulla slitta della macchina;
h) Sono stati utilizzati inoltre 2 Faretti Manfrotto ML-240 regolati rispettivamente a 1/3 e a 1/4 della potenza (luce 1900°/1200°Kelvin) posizionati il primo in basso a sinistra adiacente la scena all’altezza della foglia secca in basso posto con proiezione della luce sulla scena laterale per ravvivare e fare emergere i particolari della superficie delle foglie secche. Il secondo in basso a destra proiettato anteriormente sia sulla raganella che sulle foglie secche e in parte sugli elementi del fondo in modo da stabilizzare la differenza di luminosità fra il primo piano e la luce di fondo e dare maggiore tridimensionalità alla scena.
Inoltre per attutire le profonde ombre ed alzare la temperatura cromatica della scena di fondo nonché per vivacizzare i colori, le micro torce impiegate della ROHS sono servite a schiarire alcune parti della campo inquadrato per dare una maggiore lettura delle sfumature generali.
Tutto il lavoro è stato naturalmente effettuato in set autocostruito in un balcone nelle campagne di Altofonte in contrada Rebuttone;
h) Lettura Esposimetrica Spot con impostazione a priorità dei diaframmi;
I) Impostazione Asa 140/Asa;
l) Conversione del File Raw in Tiff con Nikon Capture NX 2;
m) Prima Post-Produzione Corel Photo-Paint X5 e Nikon Capture NX 2;
n) Seconda Post-Produzione con Adobe PhotoshopCC;
o) Post-Produzione di completamento con Nikon Capture NX 2.
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Mio breve Curriculum Vitae su LinkedIn: - My Brief Curriculum Vitae on LinkedIn:
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Visualizza il profilo di Luigi Mirto/ArchiMlFotoWord
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Tutti i diritti riservati © 2015 da ArchiMlFotoWord/Luigi Mirto/Photography
Nessuna immagine o parte di essa può essere riprodotta o trasmessa in qualsiasi forma e con qualsiasi mezzo senza preventiva autorizzazione.
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All rights reserved © 2015 by ArchiMlFotoWord/Luigi Mirto/Photography
No images or part thereof may be reproduced or transmitted in any form or by any means without prior permission.
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Raganella italica (Hyla intermedia Boulenger, 1882)
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“Hyla arborea” - dalla Rivista Online “Wikipendia”
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“La raganella italica Hyla intermedia” - dalla Rivista Online “Ittiofauna”
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“Raganella Hyla arborea” - dalla Rivista Online “Natura Mediterraneo”
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“Raganella italiana Hyla intermedia” - dalla Rivista Online “Natura Astolinto”
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Dark is my mood and
silence my speech.
Numbness is my feelings and
lonleness my friend.
A rainbow is my smile and
anger my tears.
Charles Welch 2020
The station was opened on 13 September 1926 as part of the Morden extension of the City & South London Railway south from Clapham Common.
Along with the other stations on the Morden extension, the building was designed by architect Charles Holden. They were Holden's first major project for the Underground. He was selected by Frank Pick, general manager of the Underground Electric Railways Company of London (UERL), to design the stations after he was dissatisfied with designs produced by the UERL's own architect, Stanley Heaps. Built with a shop to each side, the modernist design takes the form of a double-height three-sided box clad in white Portland stone with a three-part glazed screen on the front façade divided by columns of which the capitals are three-dimensional versions of the Underground roundel. The central panel of the screen contains a large version of the roundel. The station is a Grade II listed building.
The station is close to Merton Bus garage which opened in 1913. The public house across the road is named "The Charles Holden" in honour of the station's architect.
Probably the most dramatic conditions I've ever witnessed, at one of the most beautiful locations I know of.
The official temperature when this shot was taken was -9F. The amount of mist pouring off the water was unbelievable. On the drive down, you could see the sea smoke from miles away, as columns drifted probably 80 ft. in the air around Portland. When we arrived at Fort Williams Park, home of Portland Head Light, we were amazed to see large breakers rolling in from the recent storm, with mist coming from each one. What an incredible effect!
Photographers, this is an 8 image panorama. I framed each shot vertically to include the amount of sky and foreground I wanted, then panned from right to left to make this exposure. The light was very even and no filters or exposure bracketing was needed to capture the full range of lights and darks here. I tweaked this a little in Lightroom, but tried to keep it as natural as possible. My new favorite image? Possibly.
This young lady caught my attention when she kept passing our living room window. At first I thought she might be wearing blades.
The flightless ostrich is the world's largest bird. They roam African savanna and desert lands and get most of their water from the plants they eat.
Though they cannot fly, ostriches are fleet, strong runners. They can sprint up to 43 miles an hour and run over distance at 31 miles an hour. They may use their wings as "rudders" to help them change direction while running. An ostrich's powerful, long legs can cover 10 to 16 feet in a single stride. These legs can also be formidable weapons. Ostrich kicks can kill a human or a potential predator like a lion. Each two-toed foot has a long, sharp claw.
Ostriches live in small herds that typically contain less than a dozen birds. Alpha males maintain these herds, and mate with the group's dominant hen. The male sometimes mates with others in the group, and wandering males may also mate with lesser hens. All of the group's hens place their eggs in the dominant hen's nest—though her own are given the prominent center place. The dominant hen and male take turns incubating the giant eggs, each one of which weighs as much as two dozen chicken eggs.
Contrary to popular belief, ostriches do not bury their heads in the sand. The old saw probably originates with one of the bird's defensive behaviors. At the approach of trouble, ostriches will lie low and press their long necks to the ground in an attempt to become less visible. Their plumage blends well with sandy soil and, from a distance, gives the appearance that they have buried their heads in the sand.
Ostriches typically eat plants, roots, and seeds but will also eat insects, lizards, or other creatures available in their sometimes harsh habitat.
Re working of an old shot taken in Hampshire woodland at dawn. Shot was handheld with an ND8 filter so the movement is intentional / unavoidable.
The Rollei magic is a medium format TLR camera manufactured by Franke & Heidecke, Braunschweig, Germany.
It was Rolleis answer to the desire at that point in time for a TLR with an automated exposure control. Rollei could achieve this when the shutter company Prontor designed a new shutter for just that purpose, the Prontormat-S.
The Rollei magic uses 120 type Rollfilm. 12 6x6cm square images can be captured for each roll of 120 film.
By using a special mask set the camera can be adapted to shoot 16 images 4x4 or 4x5.5cm on a roll. The mask put into the filmgate does automaticly change the frame counter from 12 to 16 exposures.
A big difference with the Rolleiflex is the fact that the Rollei magic uses front-cell focusing instead of moving the whole lens board.
Because many after-sales complaints were received about the lack of a proper manual speed control Rollei came up with a second model, the Rollei magic II to rectify this.
Damselflies are insects of the suborder Zygoptera in the order Odonata. They are similar to dragonflies, which constitute the other odonatan suborder, Anisoptera, but are smaller and have slimmer bodies. Most species fold the wings along the body when at rest, unlike dragonflies which hold the wings flat and away from the body. An ancient group, damselflies have existed since at least the Lower Permian, and are found on every continent except Antarctica.
All damselflies are predatory; both nymphs and adults eat other insects. The nymphs are aquatic, with different species living in a variety of freshwater habitats including acid bogs, ponds, lakes and rivers. The nymphs moult repeatedly, at the last moult climbing out of the water to undergo metamorphosis. The skin splits down the back, they emerge and inflate their wings and abdomen to gain their adult form. Their presence on a body of water indicates that it is relatively unpolluted, but their dependence on freshwater makes them vulnerable to damage to their wetland habitats.
Some species of damselfly have elaborate courtship behaviours. Many species are sexually dimorphic, the males often being more brightly coloured than the females. Like dragonflies, they reproduce using indirect insemination and delayed fertilisation. A mating pair form a shape known as a "heart" or "wheel", the male clasping the female at the back of the head, the female curling her abdomen down to pick up sperm from secondary genitalia at the base of the male's abdomen. The pair often remain together with the male still clasping the female while she lays eggs within the tissue of plants in or near water using a robust ovipositor.
Fishing flies that mimic damselfly nymphs are used in wet-fly fishing. Damselflies sometimes provide the subject for personal jewellery such as brooches.
Model: Andresa Alves
Photography and Retouch: Jackson Carvalho
Make and Hair: joaquim Jr.
Fashion Production: Diego Viana
Photo Assistance: Jonathan Albuquerque
Executive Production: Danilo Nunes
© 2013, All Rights Reserved
- Canon 60D
- Rokinion 8mm f3.5 Fisheye
- Canon 430ex II Flash
- Yongnuo YN 568ex Flash
- Yongnuo 622c Triggers ( 3 of those )
Editing / RAW Process:
- Adobe Lightroom 5.7
- NIK Collection - Analog EFX Pro 2
Strobist / Flash info:
- Canon 430ex II Flash set on low tripod on the Left of the camera pointing 45 degrees upwards…
- Yongnuo YN 568ex Flash set on a tripod at top of stairs pointing towards the skater…
Here's my 'first draft' of this morning's ridiculous sunrise at Owls Head. 13 vertical exposures, f/11, 1/6 sec. 18mm lens on my crop sensor, and I still couldn't reach the coverage of the wonderful cotton candy clouds overhead. I am going to go back and work on blending exposures so that I can bring out more details in the lighthouse and the holiday decorations.
Story behind the photo:
I snuck out of bed at 3:30 AM and considered my options. My planning these days is almost always based on what the satellite looks like. Clouds above with a window for the sun to rise is generally what I'm after. I was originally going to hike up Mount Megunticook in Camden Hills for sunrise, but when I got there I realized I didn't bring my headlamp and it would be too tough trying to hike it in the pitch dark, which was necessary in order to get up there by sunrise. So I had to come up with another plan...
Camden Harbor was my next option, but the bare trees, empty harbor, and lack of snowfall bummed me out. Onward to Owls Head! I arrived in the parking lot around 6:15, and starting walking around to find the best vantage point. Shooting up the stairs really wasn't an option. I had to get something original and besides, the light was going to be a lot better looking over the water right up beside the lighthouse.
The problem I encountered when I found my spot was that there was very little room to move back and include the lighthouse in the frame. I don't have a real wide angle lens or a full-frame camera, so my reach was seriously limited. To compensate, I propped my tripod as far back as I possibly could, which was on about a 30 degree slope with trees touching my back, and considered something Christopher O'Donnell has done to overcome similar frame limitations, panorama stitching. I started making horizontal frames, but the scene was just too tall, so I switched to vertical. Sweeping from left to right, I wanted to include the full structure of the lighthouse along with what was turning out to be a spectacular sunrise. I judged my metering from the bars on the back of the camera and exposed 3 times in 1 1/2 stop increments.
Looking back, I wish I had paid closer attention to the top of the frame, maybe I could have captured more of the sky above by taking two verticals instead of one for each area. I could also have paid closer attention to my histogram, but I think experience paid off here, I had a good enough idea by judging the meter on the camera to know that I wasn't overexposing on this, my shortest exposure.
Haha, I realize I just wrote a friggin' essay, but I wanted to share some of what went into this photo and what I've been learning lately... Thanks!
You can purchase this image here: fineartamerica.com/featured/owls-head-sunrise-benjamin-wi...
And don't forget to follow me on Facebook!
Santa and the Boy, are wishing everyone a Merry Christmas this year.
“Adobe CC” "NIK Color Efex Pro 4" "Topaz Impressions 7" "Diana F+ 38mm"
© 2015 Doug Miller Photography - www.dougmillerphotos.com
Speed Vision of MD - www.svomd.com
13 vertical exposures were stitched in Photoshop to create this sweeping panorama of Owls Head, near Rockland, Maine.
- Canon 7D Mark 2
- Canon 50mm f1.4
- Canon 430ex II Flash
Editing / RAW Process:
- Adobe Lightroom 5.7
- NIK Collection - Analog EFX Pro 2
Today was my first real day out with my new D600 and 15mm lens, I ventured down to the beach for sunrise, unusual I know. As most people who know me the majority of my recent work has been done on my iPhone as my old D90 had issues.
This image I call The nicest looking public toilet in the shire.
I took a few pointers from +Trey Ratcliff book on HDR photography and edited this set of three images in #photomatixpro then did a little #AdaptiveWideAngle adjusting in +Adobe Photoshop thanks to a tutorial I recently watched by +Adobe +Russell Preston Brown then I took the final image into +onOne Software and did a little glow effect, cropped the image then this was the final result.
I don't usually use #Photoshop to edit my photos but after recently acquiring an annual subscription to #AdobeCC I feel I need to start attempting to use it more. I hope you like the final result.
#TheRealShire #Cronulla #OakParkPavilion #CaptureTheCover +Yellow Pages Australia