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A very blustery day with fleeting sunny spots and a stormy looking sky over Holwick as seen from Middle Side
A striking portrait featuring dramatic chiaroscuro lighting on a woman's face, captured by Stephane Mosse.
I wondered around yesterday evening looking for something interesting to photograph... Stumbled across this field full of milkweed and a few indian paintbrush blooms and believe it or not the light cooperated with me!!!! I thought it turned out kinda nice. Thanks for stopping by and hope you have a great week!........This is one of those shots that really does look better when viewed large!
Because it had been raining heavily all day and many photographic ideas simply did not work out as planned, I needed a plan B.
Rain, night and artificial light sources are an incredibly strong combination, so we went out again after dark and visited the small village center of Reine.
It actually took quite a bit of persuasion to head out into pouring rain. Not everyone thinks the way I do
I was shooting with the 28–70 mm wide open at f/2.0. ISO was around 3000 and the shutter speed was about 1/8 second.
I also used a mist filter, which gently diffuses the light and makes it softer. In Hollywood, filters like this are almost always used. They create a softer, more atmospheric, almost analog look.
Inside the glass are tiny particles that are invisible to the eye. They scatter the light within the lens and create that subtle glow around light sources.
I deliberately use only a very weak version. It should support the image, not draw attention to itself.
These kinds of filters work best at closer distances with visible light sources. For something like a large skyline five kilometers away at night, they would not be the right choice.
You might immediately see what I mean in the image.
That very fine, soft light that removes harshness and gives the scene a slightly analog feel.
Today’s lenses are technically perfect. Extremely sharp, extremely clean and in a way almost too perfect for scenes like this.
Sony states a surface precision of around 0.01 micrometers for their G Master lenses. That is several thousand times finer than a human hair. It is quite surreal when you think about it.
In the past, lenses had imperfections, but that is exactly what gave them character.
And that is precisely the character you can bring back with filters like this. Without them, many film productions in Hollywood would simply not look the way they do. Modern lenses have become too perfect for certain moods.
It is almost ironic. You buy the best lenses available and then intentionally make them just a little bit worse
In general, it is incredibly difficult to capture scenes that feel like they are taken from a film while still being completely unstaged.
The moment you start planning or thinking too much, it stops working.
It only works through intuition. Letting yourself drift. Immersing yourself in the atmosphere and reacting instinctively. The second you start overthinking, the moment is gone.
If I had said “stand right there,” the scene would have been ruined immediately. Body language changes, awareness changes, everything feels staged. And that is exactly what you want to avoid.
Years ago, I would not have been able to create images like this.
This is something that develops over a very long time.
Maybe it inspires some of you to try something different.
It does not always have to be sunshine and blue skies.
In the end, it is always about atmosphere, emotion and the things we often overlook in everyday life.
Technical Details
Camera: Sony Alpha 7R V
Lens: Sony FE 28–70mm f/2.0 GM
Focal Length: 28 mm
Aperture: f/2.0
ISO: 2500
Exposure: 1/8 s
Filter: Kase Magnetic System Mist Filter
A monochrome portrait shaped by darkness and a single candle flame.
I wanted this image to feel still and intimate — as if the silence itself became visible for a moment.
Black and white removes the noise and leaves only light, skin, shadow, and emotion.
Dedicated to the goddess of love Lelya.
Md: Tatyana
There is a kind of silence that only children know. The silence that asks them to be brave long before the world teaches them how. Wrapped in shadow, this young soul rests in the thin space between innocence and awareness, watching the world with an honesty adults often forget to carry.
In the softness of one eye, a quiet defiance lingers. In the darkness around them, the beginnings of a story wait for a voice. This portrait holds the moment before courage is named, the moment a child learns that even the smallest light can push back a very large night.
On ne sait pas vraiment ce qu’elle regarde. On ne sait pas non plus ce qu’elle attend. La lumière découpe son visage par fragments, tandis que le reste se perd dans l’ombre. Entre ses mains, le katana ressemble presque moins à une arme qu’à un avertissement. Il manque quelque chose à cette scène:
un geste, un mot, peut-être simplement la raison pour laquelle elle est là. Et c’est sans doute mieux ainsi. Certaines histoires sont plus intéressantes quand on ne connaît pas la fin...
EN We don't really know what she's looking at. We don't know what she's waiting for either. The light catches her face in fragments, while everything else disappears into the shadows. In her hands, the katana feels less like a weapon than a warning.
Something is missing from this scene: a gesture, a word, maybe simply the reason why she's there. And perhaps that's exactly how it should be. Some stories are better when you don't know how they end.
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The lower end of Lunedale briefly lit by a burst of sunshine as seen from Bail Hill. Mickleton. Kirkcarrion on the ridge towards the left of the picture; Holwick and Middleton-in-Teesdale in the distance becoming obscured by the next shower approaching.
As summer ends I'm working hard on filming new episodes of my miniseries "Summer Stories." Click here to see the first six episodes: bit.ly/312v7Sq
There is a moment in adolescence where silence becomes louder than words. Where the instinct is to hide, not because of fear, but because the world feels unfinished and the self even more so. The hands rise as a shield, not to block the gaze, but to negotiate it, to decide how much of the truth is allowed through.
This portrait sits in that fragile space between exposure and protection. The eyes remain steady, carrying questions that have not yet learned their language. It is the tension of becoming: caught between who you were yesterday and who you are struggling to imagine tomorrow.
PopSpot Ultra Fresnel-style lights from Fotodiox are an excellent way to add dramatic lighting to your photo or video shoot!
Click here to learn more: fotodioxpro.com/collections/popspot
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Sinister lighting conditions on the remains of the now derelict High Stonygill Farm, also marked on a 1964 Ordnance Survey map as Stony Gill High House, near Middleton in Teesdale.
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Ortaköy (literally Middle Village in Turkish) is a neighbourhood, formerly a small village, within the Beşiktaş district of Istanbul, located in the middle of the European bank of the Bosphorus. Ortaköy is a cosmopolitan area, with communities of Turks, Greeks, Armenians and Jews. The neighbourhood hosts many different religious (Muslim, Jewish, Orthodox, and other Christian) structures. It is also a popular spot for locals and tourists alike, with its art galleries, night clubs, cafés, bars, and restaurants.
Ortaköy's most famous landmark is the Büyük Mecidiye Camii (Grand Imperial Mosque of Sultan Abdülmecid), usually called simply the Ortaköy Camii (Ortaköy Mosque), almost in the water on the Bosphorus European shore. It was originally built in the 18th century. Later, in the 19th century, the current mosque, ordered by Sultan Abdülmecid and designed by architects (father and son) Garabet Amira Balyan and Nigoğayos Balyan in Neo-Baroque style, was edificed between 1854 and 1856. The Neo-Baroque style Ortaköy Mosque is a beautifully ornate structure, right on the jetty of Ortaköy, bordering the waters of the Bosphorus, and thus highly visible from the passing boats.
Camera Model: Canon EOS 5D Mark II; Lens: EF17-40mm f/4L USM; Focal length: 33.00 mm; Aperture: 22; 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.
A purple coneflower photographed side-on against a black background. A few petals have already started to wilt.
I have taken this photograph in early July in the botanic garden at the Ruhr University. Actually, this is my last summerlike flower photo I had in the store to post.
Lighting: 1'x5' stripbank with an egg crate grid on AB1600 (left behind the model), 22x90 cm stripbank on AB1600 (right), 22" beauty dish with a 30° grid on AB1600 (top right), SB900 with a gridded snoot (by the camera top right).
— All triggered by Radiopopper JrX system
Model: Lili Tee, MM#1395782
© 2014 Thousand Word Images by Dustin Abbott
There are few more enchanting places than the boardwalk along the citadel in Quebec City. There are few buildings that I have ever seen with the charm of the Chateau Frontenac. It is known as the most photographed hotel in the world...and hopefully you can see why here. We were blessed with wonderful light after a thunderstorm that made for a magical scene.
Technical information Canon EOS 6D, Tamron 28-300mm f/3.5-6.3 Di VC PZD, Processed in Adobe Lightroom 5 and Photoshop CC, Alien Skin Exposure 6
Want to know more about me or make contact? Take a look at my website and find a lot of ways to connect and view my work.
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Rain clouds moving in creating some dramatic lighting on Force Garth Quarry and Cronkley Scar with Meldon Hill rising behind it. East Friars and Friar House farms in the foreground, East and West Force Garth farms in the middle distance and Widdybank Farm in the distance far right.
In creating this panoramic view of the Aiguilles d'Arves, I wanted to capture the powerful, almost architectural quality of these iconic peaks rising from the winter landscape. The choice of black and white was deliberate to emphasize the graphic interplay between light and shadow across the snow-covered slopes and the harsh, jagged summits that pierce the sky.
I was particularly drawn to the rhythm created by the series of peaks – how they create a natural composition that draws the eye across the frame from left to right. By photographing in the clear winter light, I aimed to reveal the intricate textures and details in both the snow fields and the exposed rock formations.
The simplicity of the dark sky creates a stage for these mountains to display their full grandeur. I wanted viewers to feel the silence and solitude of this high-altitude environment – a place where nature's sculptural forces have been at work for millions of years. Through this panoramic format, I hoped to convey not just a single mountain, but the relationship between these peaks and the sweeping landscape they command, inviting the viewer to experience the vastness and majesty of the French Alps in their winter splendor.
This image captures a quiet, intimate moment — a pair of everyday slippers resting on tiled flooring under a single, directional light source. Shot late at night (18 Jan 2026, 23:51), the composition uses strong contrast between light and shadow to transform a simple domestic object into a minimal, almost cinematic scene.
Photographed with a mobile device (M2103K19I) at 1/33 sec, f/1.79, ISO 156, 4.70mm, the low-light conditions and angled illumination create deep shadows and textured highlights across the tiles. The placement of light draws attention to the geometric lines and negative space, while the slippers subtly anchor the frame — suggesting presence without a person.
Creative intent:
The goal was to explore minimalism, solitude, and quiet human presence through everyday objects. By isolating the subject in darkness and allowing light to reveal only part of the scene, the image invites interpretation — between stillness and story.
📍 Technical Details:
Camera: M2103K19I
Aperture: f/1.79
Shutter Speed: 1/33 sec
ISO: 156
Focal Length: 4.70mm
Lighting: Single-source artificial light
📌 Location: Indoor home environment
#LIGHTCAMACT
Serene Sunset ~ Boca Raton, Florida
South Florida ~ Florida Everglades U.S.A.
Spring 2016 ~ Palm Beach County, Florida
[See the curved light-river? Love when that happens.]
(three more photos 'from this night' in the comments)
A lone barn and tree stand against the rolling hills, as dark clouds gather and a curtain of rain sweeps across the valley. In this fleeting moment, light and shadow collide — a landscape caught between calm and the full breath of the storm.
Tomba Famiglia Manzi‑Bernocco — Scultore A. Scotto - Cimitero Monumentale di Staglieno - Genova , Italia
Sulla Tomba Manzi‑Bernocco, A. Scotto scolpisce un silenzio che abbraccia.
La madre stringe il figlio come un ricordo che non vuole svanire,
e il marmo, nella sua calma, custodisce l’eco di un amore che resiste al tempo.
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Il Cimitero di Staglieno è uno dei più grandi musei a cielo aperto d’Europa, inaugurato nel 1851. Le sue sculture, come questa, incarnano la spiritualità borghese genovese e la ricerca di umanità nel lutto.
L’opera si inserisce nel filone delle tombe simboliste che esplorano la trascendenza attraverso l’amore materno,
La scultura trasmette un senso di protezione e abbandono, con linee fluide che uniscono i corpi in un’unica forma. La madre china il capo sul figlio, in un gesto che richiama la Pietà michelangiolesca, ma con una sensibilità più moderna e intima.
Family Tomb Manzi‑Bernocco - Monumental Cemetery of Staglieno - Genoa, Italy
On the Manzi‑Bernocco Tomb, A. Scotto carves a silence that embraces.
A mother holds her child like a memory refusing to fade,
and the marble, in its quietness, keeps the echo of a love enduring time.
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The Staglieno Cemetery is one of Europe's largest open-air museums, inaugurated in 1851. Its sculptures, like this one, embody bourgeois Genoese spirituality and the search for humanity in mourning.
The work is part of the trend of Symbolist tombs that explore transcendence through maternal love.
The sculpture conveys a sense of protection and abandonment, with flowing lines that unite the bodies into a single form. The mother bows her head over her son, in a gesture reminiscent of Michelangelo's Pietà, but with a more modern and intimate sensibility.
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9454 HDR
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you can see my other images of the following cemeteries
and special set:
Sunset ~ Florida Everglades U.S.A.
South Florida ~ Palm Beach County
Fire Light Sunset ~ Summer 2015
(two more photos in the comments)
Il fallait bien que ça arrive. Les vacances se terminent, le réveil va bientôt sonner beaucoup trop tôt, et quelqu’un a eu la brillante idée de remettre le travail au programme. Alors forcément… il y a de la fumée. Et quelques cris.
Rassurez-vous, personne n’a été blessé. Enfin, pas encore. 😏
EN It had to happen eventually. The holidays are coming to an end, the alarm clock will soon be ringing far too early, and someone had the brilliant idea of putting work back on the schedule. So naturally… there is smoke. And a little screaming.
Don't worry, nobody was harmed.
Yet. 😏
Photography and Editing: Dirk Dreyer. Hi-Res pictures and prints available at galleries.dreyerpictures.com
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Europe - UK - Scotland - Inner Hebrides - Isle of Skye - Elgol - Ealaghol - Crofting & fishing Village on the shores of Loch Scavaig towards the end of the Strathaird peninsula with stunning view over Cuillin Hills at moody misty weather
Camera Model: Canon EOS 5D Mark III; Lens: EF16-35mm f/2.8L II USM; Focal length: 23.00 mm; Aperture: 18; Exposure time: 30.0 s; ISO: 50
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.
Prints and Canvasses Available
A patch of strong autumn sunshine falls on these three farms in Ettersgill. Ash Dub furthest away, Dirt Pit (wonderful name!) centre right, and a barn belonging to Friar House center left. Taken from across the valley at Hield House.