View allAll Photos Tagged dramaticlighting
Layers of pine trees dissolve into soft morning fog, creating a calm and atmospheric woodland scene. Captured in August, 2025.
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The use of lavender has been recorded for more than 2,500 years. Egyptians, Phoenicians and the people of Arabia used lavender as a perfume -- and also for mummification, by wrapping the dead in lavender-dipped shrouds. In ancient Greece, lavender was called "nardus," "nard," or "spikenard" (named for the Syrian city of Naarda) and was used as a cure for everything from insomnia and aching backs to insanity. By Roman times, lavender had already become a prized commodity. Lavender flowers were sold to ancient Romans for 100 denarii per pound -- equivalent to a full month's wage for a farm laborer -- and were used to scent the water in Roman baths. In fact, the baths served as the root of the plant's current name. "Lavender" is derived from the Latin lavare, meaning, "to wash." Romans also used lavender as a perfume, insect repellent and flavoring. They even added dried lavender to their smoking mixtures.
Few plants are burdened with as much folklore and legend as lavender. Some of the stories are contradictory, or at least historically out of sync. One legend says the plant gained its perfume when the Virgin Mary dried the clothes of the baby Jesus on a bush, which from then on was aromatic. However, even before that, Cleopatra was said to use the scent to seduce Julius Caesar and Mark Antony. Another favorite piece of folklore is that if lavender flowers are placed between bed sheets, spouses will never quarrel.
Camera Model: Canon EOS 400D DIGITAL; Lens: 18.00 - 200.00 mm; Focal length: 200.00 mm; Aperture: 7.1; Exposure time: 1/250 s; ISO: 100
All rights reserved - Copyright © Lucie Debelkova - www.luciedebelkova.com
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
This was the last I saw of her (actually a woman clambering on rocks near the harbour entrance in Polperro, Cornwall)!
A cozy and atmospheric still life composition capturing a slice of the past. Resting on a rustic wooden table is a beautifully detailed, vintage 1950s Ducastel vacuum tube radio (TSF) with its classic illuminated glass dial.
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Glen Etive (Scottish Gaelic: Gleann Eite) is a glen in the Highlands of Scotland. The River Etive rises on the peaks surrounding Rannoch Moor, with several tributary streams coming together at the Kings House Hotel, an old inn on the A82 road at the head of Glen Coe. From the Kings House, the Etive flows for about 18 km, reaching the sea at the sea loch of Loch Etive. This river and its tributaries are hugely popular with whitewater kayakers and at high water levels it is a testpiece of the area and a classic run. At the north end of Glen Etive lie the two mountains known as the shepherds of Etive: Buachaille Etive Mòr and Buachaille Etive Beag. Other peaks accessible from the Glen include Ben Starav, located near the head of Loch Etive, and Beinn Fhionnlaidh on the northern side of the glen. A narrow road from the Kings House Hotel runs down the glen, serving several houses and farms. This road ends at the head of the loch, though rough tracks continue along both shores.
Same place but very different time of a day than this (currently my most interesting shot according to Flickr) www.flickr.com/photos/-lucie-/2820749004/ with deep colors that are created by late evening sun. It is quite incredible how same place can look so different. Photo taken in full color more.
Btw, I've just got to know the great news - this shot was shortlisted in Landscape Photographer of the Year 2009 (together with this one www.flickr.com/photos/-lucie-/3725688585/ ) Keep the fingers crossed for me !!
Camera Model: Canon EOS 5D Mark II, Lens: EF17-40mm f/4L USM, Photo Focal length: 40.00 mm, Aperture: 7.1, Exposure time: 1/100 s, ISO: 100
All rights reserved - Copyright © Lucie Debelkova - www.luciedebelkova.com
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
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Asia - Mongolia - Монгол улс - Gobi Gurvansaikhan National Park - Говь гурван сайхан байгалийн цогцолбор газар - Gobi three beauties nature complex - Gobi Desert - Endless Sea of Khongor Sand Dunes - Singing Dunes - Largest & most spectacular sand dunes in Mongolia - Up to 800 m high, 20 km wide & about 100 km long - Адуу - Mongolian Horses at Sunset time
Camera Model: Canon EOS 5D Mark II; Lens: EF70-200mm f/4L IS USM; Focal length: 180.00 mm; Aperture: 9.0; Exposure time: 1/160 s; ISO: 160
All rights reserved - Copyright © Lucie Debelkova www.luciedebelkova.com
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
When the last light of day kisses the coast of Galicia, silence speaks louder than words.
A small wild flower blooms in the foreground, while the Santuario da Virxe da Barca watches over the Atlantic — timeless, sacred, eternal.
This is a place where earth, ocean, and sky align… and where faith, nature, and light become one. 🌊✨
Sunsets here are not just seen — they are felt.
in the silence of midnight, porto holds its breath. a single bell tower looms against the void, its clock frozen like a heartbeat between dreams. the church rises from shadow like a relic of stillness, lit only by the reverence of light.
Prints and Canvasses Available
Yes its that waterfall again! Superb light conditions - sometimes you just get lucky
Lucky for me great light and double rainbow at the same time;
Tech:
Canon 5D mk1 "classic"
EF 28mm F/1.8
he doesn’t move. not because he can’t — but because there’s power in staying still. in the silence around him, the frame becomes a stage. his gaze cuts sideways, not to escape, but to measure. shadow swells at his feet, the chair holds him like an unspoken crown, and light brushes his face just enough to let you wonder what he sees — or what he’s waiting for.
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Petra (from πέτρα "petra", rock in Greek; Arabic: البتراء, Al-Butrā) is an archaeological site in southwestern Jordan, lying on the slope of Mount Hor in a basin among the mountains which form the eastern flank of Arabah (Wadi Araba), the large valley running from the Dead Sea to the Gulf of Aqaba. It is renowned for its rock-cut architecture.
The site remained unknown to the Western world until 1812, when it was discovered by Swiss explorer Johann Ludwig Burckhardt. It was famously described as "a rose-red city half as old as time" in a Newdigate prize-winning sonnet by John William Burgon. UNESCO has described it as "one of the most precious cultural properties of man's cultural heritage." In 1985, Petra was designated a World Heritage Site. It is one of the "New Seven Wonders of the World" as determined by the New Open World Corporation (not affiliated with UNESCO).
As it was not my first visit to this place I wanted to capture bit more unusual scene that would remind us of 'Indiana Jones and the last crusade'... or simply ancient times, however Petra is very touristic place and I had to wait for long time to capture such a timeless scene.
Camera Model: Canon EOS 400D DIGITAL; Lens: 18.00 - 200.00 mm; Focal length: 21.00 mm; Aperture: 5.0; Exposure time: 1/60 s; ISO: 200
All rights reserved - Copyright © Lucie Debelkova - www.luciedebelkova.com
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
A tall ship glides across shimmering waters, silhouetted in black against a pale sky. Subtle red and amber lens flares arc through the frame, adding a surreal glow. The monochrome treatment with color bursts lends a timeless, cinematic quality.
robinson and siena were siblings. i met them at palma fotográfica. they carried an old nikon, shooting film. i asked if i could take their portraits. they said yes. the light was right. the moment, too.
Lightning bolt over the dark stormy skies of Kansas with a passing truck turning right. Kansas, USA.
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Don't use without permission.
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she moved like the light had chosen her. a perfect angle, just for one breath, one frame. the city fell silent. shadows watched, but she didn’t break stride.
she walks beneath the lamp. the stone holds light. shadows consume everything else. what she waits for remains unspoken. palma, 2026.
Have you noticed how many parks have some sort of view area named Inspiration Point? Yellowstone National Park has one, Grand Teton National Park has one, and Bryce Canyon National Park, pictured here, has one.
This image was captured during my summer road trip move to Washington state. During the summer, the monsoon rains move into the West and Southwest. At Bryce Canyon, the clouds would start to rumble through between 10 a.m. and noon-ish and then remain for the rest of the day.
I hope this image gives you some inspiration to go out with your camera and capture the scene. I'm certainly hoping for inspiration for my upcoming Big Trip to three national parks I've never visited before. I'm ready and so are my cameras!
Copyright Rebecca L. Latson, all rights reserved.
Sponsored by Equal 10 / Villena / Hollow / MILKBATH
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Too pretty for you>?
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Villena - Yulani Set
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Dreadloom - Sage Denims
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RAMA.SALON - Aomi Hair
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MILKBATH - Necromancer Bra
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Hollow - Noctis set
I've been processing material out of my old hard drive lately. One of these days I will catch back up with 2016, but there is still so much to finish from the past....
I love this place... probably as magical a stretch of coastline as I've have ever witnessed
You stand on the hill and watch the sun hesitate, as if it knows you’re looking. The sky softens, the shadows grow taller, and for a few minutes the whole world feels like it’s holding its breath with you. The light doesn’t just fall on the land—it reaches for you, wrapping you in its last warmth before night takes over.
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the world outside the single spotlight ceased to exist. there was only the metal of the microphone, the worn leather of the bracelets, the cool glass of the sunglasses. his head was tilted back, his mouth slightly open, caught in the space between two notes. he was not a man in a room, but a conduit, a vessel for a sound that came from somewhere else. the music was a physical thing, and for that moment, he was its simple, willing instrument.
in the theatre of the street, he walks unseen — a lone figure lit by the digital glow of elsewhere. around him, the world collapses into shadow, silence, absence. the weight of disconnection is not loud; it hums quietly through the grid of our lives.
This bronze-toned equestrian figure represents a Spanish conquistador mounted on a armored, rearing warhorse—a central character motif from Virgil Ortiz’s futuristic Revolt 1680/2180 universe, which reinterprets the historical Pueblo Revolt of 1680 through a blend of history and speculative sci-fi.
Subject & Pose
The Rider: Clad in full 17th-century Spanish colonial armor complete with a broad-brimmed morion helmet, chest plate, cuisses, and a flowing cape. He holds a straight sword extended horizontally forward, positioned to strike.
The Mount: The horse is depicted rearing back dynamically with its forelegs lifted off the ground. The horse wears protective barding, including a crest along the mane and a geometric chamfron covering its head.
Form & Lighting
Texture & Material: The sculpture features a dark metallic, cast-bronze aesthetic with refined textural detailing across the chainmail, armor joints, and horse's mane.
Atmospheric Framing: Focused warm spotlighting catches the edges of the rider's helmet, cape, and sword, casting strong shadows against the dark display base, while a soft violet neon glow accentuates the background studio space.
The sculptor is Virgil Ortiz, an acclaimed Cochiti Pueblo artist, designer, and ceramicist.
While Ortiz is best known for his work rooted in traditional Cochiti figurative pottery (monos), he created this piece as part of his ongoing multi-media Revolt 1680/2180 storyline. In this sci-fi universe, historical Spanish colonizers and indigenous warriors are reimagined through a blend of history, futurism, and speculative fantasy.
www.nmartmuseum.org/exhitions/continuum-blindfall-first-s...
For more than twenty years, Virgil Ortiz (American, Cochiti Pueblo, b. 1969) has been developing Revolt 1680/2180, an expansive project that brings global attention to Po’pay, the Tewa leader who led the Pueblo Revolt of 1680 against Spanish occupation, and to the enduring strength of Pueblo culture.
Collaborating with lifelong friend Eric F. Garcia (American, b. 1968), the two artists spark a vital exchange: Pueblo and Spanish legacies weaving, colliding, and transforming through clay, imagery, and form—reclaiming the past and inviting us to witness the story reimagined, set ablaze with possibility. For the latest chapter, Continuum: Blindfall, First Strike, the two artists invite viewers into the epicenter of the Revolt.
www.wonderfulmuseums.com/museum/new-mexico-museum-of-art-...
The new mexico museum of art vladem contemporary, often just called the Vladem Contemporary by locals, stands as a vibrant, essential expansion of the New Mexico Museum of Art, offering Santa Fe and the wider Southwest a dedicated, state-of-the-art venue specifically designed to showcase the challenging, thought-provoking, and diverse world of contemporary art. It’s not just another gallery; it’s a dynamic cultural catalyst, firmly placing Santa Fe on the map as a serious destination for cutting-edge artistic expression, right alongside its historical charm.
The establishment of the new mexico museum of art vladem contemporary represents a pivotal moment for the New Mexico Museum of Art (NMMOA) and for Santa Fe itself. For decades, the NMMOA, housed in its iconic 1917 Pueblo Revival building on the Plaza, has been a beloved institution, a veritable treasure trove of New Mexico’s artistic legacy, stretching from the early 20th century to mid-century modernism. But, let’s be real, its historical architecture, while charming and significant, wasn’t exactly built for the scale, technology, or often unconventional demands of contemporary art. Think about it: massive installations, video art, performance pieces – they often need sprawling, adaptable spaces with high ceilings, controlled environments, and a certain industrial flexibility that a historic building just can’t easily provide. This was the fundamental “problem” that the Vladem Contemporary was designed to solve.
www.abqjournal.com/lifestyles/virgil-ortizs-continuum-exa...
www.newmexicomagazine.org/blog/post/cochiti-pueblo-artist...
New Mexico 2026
Santa Fe Museum
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Rannoch Moor as a place of wonder, one of the last really wild places in Scotland. Imagine a triangular area, stood on its apex, about 10 miles across its base and about 10 miles from top to bottom. Imagine that this 50 square mile inverted triangle is a roughly level plateau that sits at an altitude of a little over 1000ft. Imagine that its surface is dotted with innumerable lochs, lochans, peat bogs, and streams; that it is surrounded by mountains that rise to over 3000ft to the south-east and the west and to over 2000ft in the north. And, finally, imagine that this area is crossed by a railway line, running a little inside the south-east side of the triangle, and a single road, running a little inside the south-west side of the triangle. Congratulations: you've just invented Rannoch Moor.
Most people first see Rannoch Moor when driving north from Bridge of Orchy. Near Achallader the main road and the railway line diverge and the road makes a sweeping climb up to the Rannoch Moor plateau. What you find there can be a glory of heather and lochan surrounded by distant mountains. Or it can be a grey cloud-shrouded landscape through which you catch occasional glimpses of an other-worldly landscape. If Achallader marks the southern apex of Rannoch Moor's triangle, then the other two are equally distinctive. In the north-east lies Rannoch Station and the end of the public road in from Pitlochry, 40 miles to the east.
Camera Model: Canon EOS 5D Mark II, Lens: EF17-40mm f/4L USM, Photo Focal length: 22.00 mm, Aperture: 20, Exposure time: 15.0 s, ISO: 100
All rights reserved - Copyright © Lucie Debelkova www.luciedebelkova.com
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
One more from Montreal comic con - holiday edition
this one is about color matching.
Strobe info: keylight from camera left, rimlight camera right from the back. All AD600 and AD200 in umbrellas.
J’aime la façon dont Maëva se laisse deviner derrière ce voile. Un regard, quelques plis de tissu, une lumière qui dessine les mains et s’arrête juste avant de tout révéler. Rien à ajouter, finalement. Le noir et blanc, la douceur du geste et ce regard qui s’échappe suffisent.
EN I like the way Maëva lets herself be glimpsed behind the veil. A look, a few folds of fabric, light tracing her hands before stopping just short of revealing everything. Nothing more is really needed. The black and white, the softness of the gesture, and that elusive gaze are enough.
I was photographing the surf at Praia da Luz, in Foz do Douro, Porto, when this young woman climbed onto the rocks to pose for her boyfriend.
She waited there for the waves to break around her, letting the Atlantic spray explode over the rocks.
For me, the scene simply appeared. I had not planned it, directed it or asked for it. I was already photographing the sea, and suddenly there was a human figure inside the frame that gave the violence of the water scale and contrast.
One of those moments photography sometimes gives you for free.
I only wish I knew who she was. I would love to send her this photograph.
Prints and Canvasses Available
Slightly different viewpoint as the other one, but created as a vertical pano to provide more foregorund and sky (2 x shots on 10-22mm at 10mm stitched)
This life-sized figurative work by Virgil Ortiz represents one of the futuristic time-traveling characters from his Revolt 1680/2180 universe, showcasing his blend of Indigenous iconography, haute couture, and speculative science fiction.
Mask & Headpiece
The Mask: The figure wears a pale gold, serene mask featuring hollowed eyes, smooth facial contours, and raised geometric line work framing the cheeks and chin.
The Headdress: Surmounting the head is a complex crown layering stylized botanical or flame-like petals, topped with a circular sun-halo structure studded with spiked points around its perimeter.
Hooding: A textured, cowl-like collar wraps around the neck and frames the mask, bridging the ceramic or sculpted headpiece with the fabric regalia.
Costume & Garments
Metallic Textiles: The figure is draped in structured, metallic gold fabric with a shimmering cross-hatched weave that catches the gallery lighting.
Drapery: Layered robes fall diagonally across the torso, combining sleek modern tailoring with traditional ceremonial mantle draping.
Exhibition Staging
Multimedia Backdrop: The mannequin stands directly in front of a high-resolution projection wall displaying scene stills from the Revolt 1680/2180 film installation, showing other atmospheric, masked figures in a snowy/chalky landscape.
Lighting: Warm gallery illumination focuses on the central figure’s gold regalia, making it pop against the deep blues, cool whites, and dark tones of the video screen behind it.
In Virgil Ortiz’s futuristic Revolt 1680/2180 storyline, this figure represents a high-ranking spiritual commander—often aligned with the Aeronauts, Sirens, or the Spirit World Army.
Key Narrative Roles
Time-Traveling High Priest/Priestess: Draped in ceremonial gold robes with a sun-halo headdress, this character acts as a bridge between the spiritual and physical realms. In the Blindfall narrative, these high-level figures open time-portals to channel ancestral power and futuristic technology back to the 1680 Pueblo freedom fighters.
Guardian of Sacred Knowledge: The character's gold regalia and serene, mask-like visage signify leadership within the Pueblo resistance. They are responsible for protecting sacred clay, language, and cultural traditions from extinction across centuries.
High-Level Commander Staging: In the exhibit's immersive installation, these shrouded leaders oversee field units like the Blind Archers, Recon Watchmen, and Gliders as they maneuver through atmospheric battlegrounds.
The figure blends ceremonial Indigenism with high-fashion sci-fi, standing as a symbol of resilience, foresight, and sovereign power.
www.nmartmuseum.org/exhitions/continuum-blindfall-first-s...
For more than twenty years, Virgil Ortiz (American, Cochiti Pueblo, b. 1969) has been developing Revolt 1680/2180, an expansive project that brings global attention to Po’pay, the Tewa leader who led the Pueblo Revolt of 1680 against Spanish occupation, and to the enduring strength of Pueblo culture.
Collaborating with lifelong friend Eric F. Garcia (American, b. 1968), the two artists spark a vital exchange: Pueblo and Spanish legacies weaving, colliding, and transforming through clay, imagery, and form—reclaiming the past and inviting us to witness the story reimagined, set ablaze with possibility. For the latest chapter, Continuum: Blindfall, First Strike, the two artists invite viewers into the epicenter of the Revolt.
www.wonderfulmuseums.com/museum/new-mexico-museum-of-art-...
The new mexico museum of art vladem contemporary, often just called the Vladem Contemporary by locals, stands as a vibrant, essential expansion of the New Mexico Museum of Art, offering Santa Fe and the wider Southwest a dedicated, state-of-the-art venue specifically designed to showcase the challenging, thought-provoking, and diverse world of contemporary art. It’s not just another gallery; it’s a dynamic cultural catalyst, firmly placing Santa Fe on the map as a serious destination for cutting-edge artistic expression, right alongside its historical charm.
The establishment of the new mexico museum of art vladem contemporary represents a pivotal moment for the New Mexico Museum of Art (NMMOA) and for Santa Fe itself. For decades, the NMMOA, housed in its iconic 1917 Pueblo Revival building on the Plaza, has been a beloved institution, a veritable treasure trove of New Mexico’s artistic legacy, stretching from the early 20th century to mid-century modernism. But, let’s be real, its historical architecture, while charming and significant, wasn’t exactly built for the scale, technology, or often unconventional demands of contemporary art. Think about it: massive installations, video art, performance pieces – they often need sprawling, adaptable spaces with high ceilings, controlled environments, and a certain industrial flexibility that a historic building just can’t easily provide. This was the fundamental “problem” that the Vladem Contemporary was designed to solve.
www.abqjournal.com/lifestyles/virgil-ortizs-continuum-exa...
www.newmexicomagazine.org/blog/post/cochiti-pueblo-artist...
Generated By Midjourney V6
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### 🎬 Prompt (FR)
Ange déchu à genoux au centre d’un champ de bataille apocalyptique, femme aux longs cheveux argentés soyeux flottant dans le vent, ailes immenses déployées partiellement brûlées et scintillantes de particules dorées, halo lumineux fissuré au-dessus de sa tête, posture accablée exprimant douleur et sacrifice, armure noire et or finement ciselée, textures métalliques réalistes, peau pâle marquée de cendres et de lumière.
Sol fracturé, cratère incandescent sous ses mains, braises rougeoyantes et étincelles flottant dans l’air, atmosphère chargée de poussière et de particules volumétriques, éclairage dramatique avec rayons divins perçant un ciel orageux dense, contraste élevé entre lumière céleste chaude et environnement sombre.
Arrière-plan : foule floue de silhouettes observant la scène, ambiance de chaos urbain détruit, bâtiments en ruine, fumée épaisse, profondeur de champ cinématographique.
Trois entités féminines en arrière-plan :
– une silhouette lumineuse éthérée avec halo, robe blanche translucide, aura divine
– deux figures démoniaques élégantes avec cornes, robes sombres, regard intense, présence menaçante
composition triangulaire symbolique (bien vs mal vs chute)
Style visuel : hyperréalisme, rendu 8K, détails extrêmes, cinematic lighting, volumetric lighting, subsurface scattering, global illumination, depth of field, film grain subtil, color grading dramatique (or, ambre, noir, gris), style dark fantasy épique, inspiration peinture numérique haut de gamme + photographie cinématographique
Caméra : plan moyen rapproché, angle légèrement plongé, focale 50mm, netteté sur l’ange, arrière-plan légèrement flou (bokeh), composition centrée émotionnelle
Ambiance : tragédie sacrée, tension mythologique, chute d’un être céleste, contraste entre pureté et corruption
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### 🎬 Prompt (EN)
Fallen angel kneeling at the center of an apocalyptic battlefield, female figure with long flowing silver hair moving in the wind, massive wings partially spread, scorched yet shimmering with golden particles, a cracked glowing halo hovering above her head, posture heavy with pain, grief, and sacrifice.
She wears intricately engraved black and gold armor with ultra-realistic metallic textures, pale skin dusted with ash and illuminated by warm divine light. Her hand touches a fractured ground, forming a glowing crater beneath her fingers, embers and sparks drifting upward, the air thick with dust, smoke, and volumetric particles.
Dramatic lighting with divine sun rays piercing through dense storm clouds, creating a powerful contrast between heavenly golden light and the dark, ruined environment.
Background: a blurred crowd of distant silhouettes watching, a devastated urban landscape with crumbling buildings, heavy smoke, and cinematic depth of field.
Three female entities standing behind her:
– one ethereal glowing figure with a halo, wearing a translucent white dress, radiating divine energy
– two elegant demonic women with horns, dressed in dark flowing garments, intense gaze, ominous presence
Symbolic triangular composition (heaven vs hell vs fallen grace).
Style: hyperrealism, ultra-detailed, 8K resolution, cinematic lighting, volumetric lighting, global illumination, subsurface scattering, realistic textures, subtle film grain, dramatic color grading (gold, amber, black, gray), epic dark fantasy, high-end digital painting meets cinematic photography.
Camera: medium close shot, slightly high angle, 50mm lens, sharp focus on the angel, background softly blurred with bokeh, emotionally centered composition.
Mood: sacred tragedy, mythological tension, the fall of a celestial being, contrast between purity and corruption, divine sorrow captured in a single moment.
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--ar 16:9 --v 6 --style raw --q 2 --s 750 --chaos 8 --seed 1234
The Pisa Cathedral and Leaning Tower of Pisa stand out against a dramatic dawn sky.
The Square of Miracles is a wide walled area located in Pisa, Tuscany, Italy, recognized as an important center of European medieval art and one of the finest architectural complexes in the world.
Prints and Canvasses Available
The River Tees upstream from Demesnes Mill, Barnard Castle in late spring sunshine with a heavy shower approaching.