View allAll Photos Tagged blurring
01/25/10
Caught this leaf floating in a shallow water fountain. It looked as if it were floating down to the ground.
A long exposure calms the waves on Nolton Haven.
Tripod-mounted. Delay triggered. Lee polariser & Big Stopper.
More to see at Pelcomb Portraits.
I couldn't resist posting this bear image. I thought the blur really made it look unique! Of course I wasn't trying for the blur. I hurried and set my ISO at 640 thinking that would give me a quicker shutter speed in Aperture Mode. Ha! NOT! I had one shot and the bear hurried off into the forest. You know, I remember a time when I was a child and we drove through Yellowstone Park and the bears would come right up to the car and eat out of our hands! I'm glad this bear didn't try and do that.
If you want to see some great bear shots, go see David Cross's photostream: www.flickr.com/photos/buffdawgus/
Motion blur of iconic tussock grass in the Ashburton Lakes region of New Zealand. (Oct. 26, 2022)
Photo © 2022 Marcie Heacox, all rights reserved. For use by permission only. Contact mheacox87 [at] hotmail.com .
Macro Monday Theme - Intentional Blur - The wind did the work
Pretty hard theme this week. The idea about wind swinging leaves was present in my mind quick. The shooting depended on the weather and lasted a few days.
The idea with the leaves might not be new and maybe there are a lot more leaves like that in the group this time, but it was a real big challenge for me, so I didn't want to switch to another idea just to have an unique idea.
Another photo from Clear Creek along the Clarion River, this one has a bit more color than just plain yellow. There is a pop of orange in the middle, and the greens of the unchanged leaves also add to the notion that this was still fairly early in the fall. I love the reflection on the water here because it makes all the colors run together and forms a bit of a gradient as they bleed into each other.
it's times like this you wish you had faster film in your camera... luckily I did, but in a different camera, and that roll isn't finished yet.. :(
This is the carousel at the Dom fair in Hamburg - blurry, but I still quite like it
Wisborough Green
The first try out with a homemade 4x5 cigar box pinhole camera that I made on Christmas day. The focal length is 59mm which is about 19mm equivalent to 35mm film, pinhole size is 0.35mm, I used Shanghai GP3 100 film and stand developed in Rodinal 1+100 for 1 hour.
Sade: Soldier of Love Live!! 2010 [HQ]
She's wonderful, beautiful and sends shivers up my back with her voice..........
Blur
Primavera Sound Festival 2013.
24th May 2013,
El Forum,
Barcelona.
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Pentax Spotmatic (borrowed from friend L), Kodak Colorplus 200 (probably expired for a few years)
This is a self- portrait in the bathroom, aka narcissism at my very best. Weird color and my awful hair. I went to salon few hours after i took this shot today.
The photogrrls went to the Getty at night and went on a shooting spree. All the blurred effects were done in-camera, not afterwards.
Hit 'L' to view on large.
Battersea Power Station is a decommissioned coal-fired power station located on the south bank of the River Thames, in Battersea, an inner-city district of South West London. It comprises two individual power stations, built in two stages in the form of a single building. Battersea A Power Station was built in the 1930s, with Battersea B Power Station to its east in the 1950s. The two stations were built to an identical design, providing the well known four-chimney layout.
The station ceased generating electricity in 1983, but over the past 50 years it has become one of the best known landmarks in London and is Grade II* listed. The station's celebrity owes much to numerous cultural appearances, which include a shot in The Beatles' 1965 movie Help!, appearing in the video for the 1982 hit single "Another Thing Comin´" by heavy metal band Judas Priest and being used in the cover art of Pink Floyd's 1977 album Animals, as well as a cameo appearance in Take That's music video "The Flood."
In addition, a photograph of the plant's control room was used as cover art on Hawkwind's 1977 album Quark, Strangeness and Charm.
The station is the largest brick building in Europe and is notable for its original, lavish Art Deco interior fittings and decor. However, the building's condition has been described as "very bad" by English Heritage and is included in its Buildings at Risk Register. In 2004, while the redevelopment project was stalled, and the building remained derelict, the site was listed on the 2004 World Monuments Watch by the World Monuments Fund. The combination of an existing debt burden of some £750 million, the need to make a £200 million contribution to a proposed extension to the London Underground, requirements to fund conservation of the derelict power station shell and the presence of a waste transfer station and cement plant on the river frontage make a commercial development of the site a significant challenge. In December 2011, the latest plans to develop the site collapsed with the debt called in by the creditors. In February 2012, the site was placed on sale on the open property market
through commercial estate agent Knight Frank. It has received interest from a variety of overseas consortia, most seeking to demolish or part-demolish the structure.
Built in the early 1930s, this iconic structure, with its four distinctive chimneys, was created to meet the energy demands of the new age. Sir Giles Gilbert Scott – the man who also designed what is now Tate Modern and brought the red telephone box to London – was hired by the London Power Company to create this first of a new generation of ‘superstations’, with the building beginning to produce power for the capital in 1933.
With dimensions of 160 m x 170 m, the roof of the boiler house 50 m tall, and its four 103 m tall, tapering chimneys, it is a truly massive structure. The building in fact comprised two stations – Battersea ‘A’ and Battersea ‘B’, which were conjoined when the identical B section was completed in the 1950s, and it was the world’s most thermally efficient building when it opened.
But Battersea Power Station was – and is – so much more besides. Gilbert Scott lifted it from the prosaic into the sublime by incorporating lavish touches such as the building’s majestic bronze doors and impressive wrought-iron staircase leading to the art deco control room. Here, amongst the controls which are still in situ today, those in charge of London’s electricity supply could enjoy the marble-lined walls and polished parquet flooring. Down in the turbine hall below, meanwhile, the station’s giant walls of polished marble would later prompt observers to liken the building to a Greek temple devoted to energy.
Over the course of its life, Battersea Power Station has been instilled in the public consciousness, not least when Pink Floyd famously adopted it for its Animals album cover and launch in 1977. As a result of its popularity, a great deal of energy has been expended in protecting this landmark.
Following the decommissioning of the ‘A’ station in 1975, the whole structure was listed at Grade II in 1980 before, in 1983, the B station was also closed. Since that time, and following the listing being upgraded to a Grade II* status in 2007, Battersea Power Station has become almost as famous for plans heralding its future as for its past. Until now, that is.
The transformation of Battersea Power Station – this familiar and much-loved silhouette on the London skyline – is set to arrive, along with the regeneration and revitalisation of this forgotten corner of central London. History is about to be made once more.
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