View allAll Photos Tagged dramaticlighting
Elle ne pose pas vraiment. Elle tient le sabre comme on tient une position. Les mains sont fermes, le regard ne cherche pas à séduire et la lumière découpe le visage en laissant tout le reste dans l’ombre. Il y a quelque chose de presque brutal dans cette image. Pas à cause du sabre, mais à cause de cette impression qu’elle ne reculera pas. On peut lui demander beaucoup de chose, on peut essayer de la faire plier, mais pas de la faire céder!
EN She is not really posing. She holds the sword the way you hold your ground. Her hands are firm, her gaze is not trying to please, and the light cuts across her face while leaving almost everything else in darkness.
There is something almost brutal about this image. Not because of the sword, but because of the feeling that she simply will not step back. You can ask a lot from he, you can try to make her bend, but you cannot make her yield!
Summer Sunset ~ Florida Everglades U.S.A.
South Florida ~ Palm Beach County, Florida
6-Shot Summer Sun Set ~ Quarta Sunset 283
(five more photos of this night in the comments)
en.wikipedia.org/wiki/Everglades
"Blue Bayou" - Linda Ronstadt - Live 1977
In a break from my normal type of Imagery, I spent a few days out in London trying out some street photography.
FR Elle veille entre deux mondes, là où la lumière tremble sans jamais s’éteindre.
Une flamme fragile au creux des mains, comme un cœur battant dans l’obscurité.
Ses ailes ne sont plus que silence, et pourtant elles portent encore la clarté.
Dans la nuit qui l’entoure, elle n’éclaire pas. Elle se souvient de la lumière.
EN She lingers between two worlds, where light trembles but never fades.
A fragile flame rests in her hands, like a heartbeat within the dark.
Her wings have turned to silence, yet they still carry the glow.
In the night that surrounds her, she does not shine. She remembers the light.
...and I move about this world
with a healthy disbelief
and approach my days and my work
with vaporous consequence
a touch that is translucent
but can violate stone.
~J. Kilcher
343/366
HBW!
The Challenge Factory winner - LEAVES challenge.
This past weekend I was fortunate enough to attend a workshop put on by the Arizona Professional Photographer's Association at the Canyon Creek Ranch in Arizona. There were a series of workshops put on to teach us various techniques for lighting in different scenarios using all different methods of providing light. This workshop provided the models, the settings and the instructors to show us appropriate lighting for different scenarios.
This shot was from a lesson put on by one of the instructors, Bob Coates, who was demonstrating lighting using continuous LED lights and modifiers which were provided by Westcott Lighting. The model's name is Jerry Thomas. The advantages of LED lighting are that you see what you're getting in real time. The disadvantages are that the lights are not as strong as regular flashes, so you end up using higher iso's, but with today's camera sensors, higher ISO's are not so much of a problem as they used to be. In this shot a large softbox with a grid was positioned at camera left and above the model, but the participants could see what the lighting results were before taking the shot. I used NIK software's Silver Efex Pro 2 to convert my image to black and white.
Other images that I took during the day long workshop at Canyon Creek Ranch are in my Canyon Creek Ranch Album.
www.flickr.com/photos/9422878@N08/albums/72157659532479014
Other portraits that I've taken, either by design or by luck, are in my creatively titled Portrait album.
www.flickr.com/photos/9422878@N08/albums/72157661525864981
Other black and white images that I've attempted can be seen in my creatively named Black And White Album.
Le calme est souvent pris pour de l'absence.
Il est pourtant l'une des formes les plus exigeantes de la maîtrise. Certains élèvent la voix pour exister pendant que d'autres n'ont besoin que d'un regard pour rappeler que la véritable force ne cherche jamais à être démontrée.
EN Calm is often mistaken for absence.
Yet it may be the most demanding form of strength. Some people raise their voice to be noticed. Others only need a glance to remind us that real strength never feels the need to prove itself.
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Althought some people might be tired of sunrises/sunsets, I believe that it is the most dramatic part of the day, therefore I've decided to post another photo that was taken during this time of a day. Colors of this sunset remind me more of painting than photo. I've chosen this composition where the silhouette is very small and give lot of space to the sky/nature, which is exactly how it is in Mongolia - vast areas of nature and pure nothing.
This photo with amazing sky was taken in Ongiin Khiid monastery. The ruined monastery lies in two halfs on the banks of the Ongiin river. It was destroyed by the communist purges of the thirties and is being restored by a number of monks. It is an amazing site and stretches across the valley in the mountainous area around the river. There is not much left from the original place therefore I was happy to capture that beautiful sunset with the silhouette of pavilion.
Canon EOS 350D DIGITAL, f/8, 0.008 sec (1/125), ISO 400, 59 mm
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
That waterfall again! Rained all day the previous day and swollen the beck.
Prints and Canvasses Available
Strong winter sunshine lights up a large part of Ettersgill under a dark sky.
Elle ne tient pas l’épée pour faire peur. Elle la tient comme on tient une décision. Le visage est calme, presque tranquille. Mais dans le regard, quelque chose ne cède pas. La lumière rouge durcit les contours, les ombres passent sur son visage comme des barreaux, et l’épée devient une ligne qui sépare le doute du reste. Il y a des combats qui ne font aucun bruit.
Pas de cris, pas de victoire à célébrer. Seulement cette force intérieure qui dit : je suis encore là.
EN She does not hold the sword to frighten anyone. She holds it like a decision. Her face is calm, almost quiet. But there is something in her eyes that refuses to give way. The red light sharpens the image, shadows cross her face like bars, and the sword becomes a line between doubt and everything that comes after. Some battles make no noise. No shouting, no victory to celebrate. Just that quiet strength that says: I am still here.
Smoldering - Chromatic Study: A technical exploration of color layering. Utilizing a red-gelled AD200 on a black panel for a moody background and yellow gels for a soft, golden fill, blending high-energy studio lighting with a candid, editorial presence.
Prints and Canvasses Available
Talk about a day of contrasts! One minute its bright, next minute its chucking it down. Some quite spectacular lighting created by this bright interval even as the heavy rain falls.
Hi I met Esmee as part of this project recently at Hyde Park as she was walking to Art Gallery. She is hailed from Holland and came to Australia for her studies. We talked about her life, upbringing, likes and dislikes, work etc. It was long fun encounter where I tried different aspects as composition background.
If you are interested about the whole episode, please head over to my website following this link as it contains much more information and many more images.
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(Constructive) Criticism is welcome as usual
This picture is #39 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
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Still working on this nice sunset... incorporated many different foreground elements and angles... was a fun summer night.
South Florida ~ Palm Beach County ~ Florida Everglades U.S.A.
(five more photos from 'this night' in the comments)
en.wikipedia.org/wiki/Everglades
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"It's Five O'clock Somewhere" - Alan Jackson, Jimmy Buffett
www.youtube.com/watch?v=BPCjC543llU
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I really thought a reddish background against the reddish outfit would be a mistake. Well, with processing in Lightroom, the colors blend quite well.
There are moments when a face tries to disappear, yet the truth refuses to hide. In this frame, a single eye breaks through the shelter of folded hands, holding a quiet storm of fear, strength, and unspoken thought. It is the look of someone caught between shielding themselves from the world and needing the world to understand. A portrait shaped by shadow, colour, and silence, a reminder that even when we cover our face, the soul still asks to be seen.
I caught a 5:30 AM flight from Seattle to Houston. I was feeling sorry for myself because I had to be at SeaTac at 4:30 for the 5:30 flight. That meant I had to leave Oak Harbor on Whidbey Island at 2:30 AM. Of course, that meant no sleep the night before.
It was eerie driving across Deception Pass at that hour - no cars and a wispy ground fog filling the valleys. I really started to enjoy the drive. It was so different in the dark and at that very early hour. Getting through Seattle was easy and that was a pleasant change.
The first gray light of dawn happened sometime while I was going through security. Another nice surprise - security was not a problem, no lines and pleasant exchanges.
I watched the dim gray light slowly brighten while I sat at the gate. I could see a light ground fog drifting over the airport as dawn intensified. The sky changed from black to deep ink blue.
We boarded and taxied to the end of the runway, again, without any delay. As the colors of the day started to appear, I could tell there was a high cirrus layer but it looked clear above the lacey ground fog.
With a roar, we were hurtling down the runway. By now, I could see lights blinking on in the homes - Seattle was waking up. We took off to the North and were soon banking to the right to turn back to the Southeast.
As we climbed, I could see the orange of the sun begin to near the rapidly dropping horizon. I looked to the right and Mount Rainier was quickly approaching as we accelerated to the Southeast. I grabbed my camera bag from under the seat and as soon as I pulled my camera out and looked through the viewfinder, the first direct rays from the sun flooded across western Washington and spot-lighted Rainier.
I was mesmerized. It somehow felt primitive, like I was witnessing the first light to ever fall on Rainier.
It is funny, I will always treasure and never forget that early morning that I was dreading. I doubt that I will ever learn...
S0A6566
I saw this flower outside the photo arts building in Balboa Park in San Diego, so I picked it, and brought it home to exploit. I'm told that it is a Cup Of Gold (Solandra maxima).
I lit it with a SB600 in a snoot to illuminate the flower parts that look as if they're blowing in the wind and two softboxes with strobes to take care of the overall lighting. The snoot was positioned camera left at about 8 o'clock, one softbox was at camera left at 11 o'clock and the other at camera right at 5 o'clock. I set the strobes on manual power and adjusted until I got the look that I wanted. The strobes were triggered by the pop up flash on my D90 in commander mode.
Other plants and flowers that I've photographed using strobes can be seen in my strobe lit plant set. In the description, I list resources that I've used to learn how to do this. www.flickr.com/photos/9422878@N08/sets/72157628079460544/...
Sara photographed by Italian fine-art photographer Kevin Feriani in an intense close-up where her eyes emerge through white fabric and darkness. A distinctive example of contemporary fine-art portrait photography from the States of Light project. Discover Kevin Feriani’s dramatic light, artistic portraits and fine-art photography as his work reaches toward collectors, galleries and audiences in the United States: www.kevinferiani.com
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This is a the view we had when we woke up on the roof of a hotel in Seef in the Wadi Dawan. The Wadi Dawan is located roughly halfay between Sayun and Al Mukhla on the coast.
Canon EOS 400D DIGITAL, f/16, 0.002 sec (1/640), ISO 200, 72 mm
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.
Strobist ~ One Light ~ AB800 ~ 50" Westcott Apollo Softbox ~ Triggered Pocketwizards Plus II
Website ~ www.jorgemorenojr.com
Prints and Canvasses Available
Arguably the best view in Teesdale, this is looking north from Harker Hill. Strong winter sunshine on the landscape with the east end of of Middle Side above Middleton centre left, and part of Snaisgill centre right. Staight ahead is the Hudes Hope valley with Club Gill farm at the head of it standing out nicely. A dark grey sky as the overnight mist and fog lifts creates a dramatically lit scene. Boxing Day 2024.
Prints and Canvasses Available
The briefest of bright intervals highlights autumn tints starting to form on the riverbanks in this view of the River Tees, looking upstream from Demesnes Mill at Barnard Castle, Teesdale under a menacing dark sky.
1 month earlier (scorching hot bank holiday weekend):
Organization: Tim Engle
Photography and Editing: Dirk Dreyer.
Hi-Res pictures and prints available at galleries.dreyerpictures.com
Il existe des instants où le corps ne danse plus pour être regardé.
Il danse pour résister.
Chaque mouvement devient une réponse au chaos, une lutte silencieuse contre ce qui cherche à nous faire vaciller. Suspendue entre équilibre et chute, la danseuse trace dans l'espace une géographie fragile faite de courage, de tension et d'abandon.
Les lumières semblent l'encercler comme autant de présences invisibles, mais elle continue d'avancer, portée par une force intérieure que rien ne peut éteindre.
Dans cette posture incertaine réside toute la beauté de la danse : accepter le déséquilibre pour mieux trouver sa vérité.
Parce que parfois, la grâce ne naît pas de la perfection.
Elle naît du combat.
EN There are moments when the body no longer dances to be seen.
It dances to endure.
Every movement becomes an answer to chaos, a silent struggle against whatever seeks to make us fall. Suspended between balance and collapse, the dancer draws a fragile map through space, shaped by courage, tension, and surrender.
The lights seem to surround her like unseen presences, yet she keeps moving forward, carried by an inner force that refuses to fade.
Within this uncertain posture lies the true beauty of dance: embracing imbalance in order to find truth.
Because sometimes grace is not born from perfection.
It is born from the struggle.