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Such a deliciously coloured clematis. I wanted to get right into the centre , the heart of this beautiful flower. I used a 36 mm extension tube on a 50 mm f1.8 Nikkor .
This picture was taken in Dayton, Ohio at Wegerzyn Gardens with my 180mm lens + 20mm Extension tube. The pedals closest to the back on top of each end are a hair out of focus on the edges do to the shallow Dof at F/2.8 aperture. I tried to get the same distance all the way around but failed. Better view in Light box. Click on image for 100% detail on pedals and organs..
As always thank you for your lovely comments.
The stigma, together with the style and ovary comprises the pistil, which in turn is part of the gynoecium or female reproductive organ of a plant. The stigma forms the distal portion of the style or stylodia. The stigma is composed of stigmatic papillae, the cells which are receptive to pollen. These may be restricted to the apex of the style or, especially in wind pollinated species, cover a wide surface.
The stigma receives pollen and it is on the stigma that the pollen grain germinates. Often sticky, the stigma is adapted in various ways to catch and trap pollen with various hairs, flaps, or sculpturings.
Bought a few "el cheapo" extension tubes on Ebay. The focusdepth becomes very thin, so there is a limited usage. But for 10 USD, i dont complain :) (Fujinon 27/2.8 with 21mm Extension tube).
"Y en la antena de la radio flotaba locamente la bandera con la cruz roja, y se corría a ochenta kilómetros por hora hacia las luces que crecían poco a poco, sin que ya se supiera bien por qué tanto apuro, por qué esa carrera en la noche entre autos desconocidos donde nadie sabía nada de los otros, donde todo el mundo miraba fijamente hacia adelante, exclusivamente hacia adelante."
J. Cortázar
Lens : m42 SMC Takumar 55mm f2 with extension tube
Pic info : f8 - 1/160s - ISO800
Info : I saw this beautiful flower on the way to the office in the morning. I could not resist one morning and took my dslr out and took a few shot of this beautiful flower. Although miniature, it looks striking. The sunlight was not strong and I am forced to use ISO800 at 1/160s. Using a extension tube I cannot afford to lower down the shutter speed futher to f11. The result is quite good as I need to crop the picture to highlight the subject that is in focus. Very colorful background bokeh because the background is fill with different color plant. No touch up, I like to share this to all flickr friends....Enjoy
I'm going to the UK on Thursday to have a course with Eddie Spence MBE! Sooooo excited... :)
It's a dream coming true!!!!
Héron cendré (Pyrénées-Atlantiques)
Un peu serré mais je ne vais pas me plaindre parce qu’il vient trop près.
This house has had an extension built and it has an interesting geometric shaped roof!
Our Daily Challenge ~ Geometry/Geometric ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
An interesting shot showing the different construction of the main mill building. The original stone building has been stretched with a brick extension. On the front and side these are lovely white bricks but on the rear they had gone with the cheap reds.
Interesting. Even under large sizes this looks fine in Lightroom. When you bring it up to a large size in Flickr, there are quality problems on the left edge.
Added to Explore at #281. Thanks all!
I'm reading a book on macro photography by Harold Davis called Creative Close-Ups: Digital Photography Tips and Techniques that's kind of inspired me to try some new things. For this shot, I added a 36mm Kenko extension tube to my macro lens so that I could get in really close, and then put some water drops on the flower. The author loves to use water drops, and I've always liked them, but I think I'll use them even more now.
Lighting info: I wanted side lighting for the shadows it creates that reveal textures and shapes. Lit with one YN560 in a 24 inch soft box camera left and in front at 8 o'clock. For fill light I hand held a small mirror camera right to bounce some light onto that side of the flower. The flash was in manual mode, and was triggered by a Yongnuo RF-603N.
Other plants, flowers, fruit or thingys that I've photographed using strobes can be seen in my Strobe Lit Plant set. In the description for that set, I list resources that I've used to learn how to light with off camera flash. www.flickr.com/photos/9422
A big 15th Century aisled church with a vaulted tower. It has contemporary wall paintings and an incised stone tomb-slab.
All Saints stands east of the castle hill and reconstruction after the raid of 1377, probably on the previous site, was leisurely, for a will of 1436 speaks of it as ‘new’ (VCH 9 p21) and it does not follow that it was finished even then. Built of local stone, some of it greensand, it forms a single whole. Re-used stones, some carved with chevrons, suggest its predecessor contained C12 work. In the early C19 the south porch is said to have had a rounded arch (Horsfield I p252), but it can hardly have survived from this earlier church, though some foundations of uncertain purpose and date found nearby (VCH ibid) might have.
The nave arcades of the present church confirm that the rebuilding was mainly in the early C15, for the heads of two moulded orders spring from upward extensions of the octagonal piers, a device more common in the C14. The aisle windows are renewed and with the exception of the east window in the north aisle their tracery was missing when Sir Stephen Glynne first visited the church before1840 (SRS 101 p141), but the Sharpe Collection drawing (1797) shows similar openings and the complete original east window in the north aisle shows the renewal of the tracery was accurately done. The rood-stair at the east end of the south aisle is contained in what looks like a big buttress. There is space for a clerestory but no windows and though there is flint and stone chequerwork decoration on the south side, the roof on the north side in 1797 was continuous, so this may not be original. Only the north aisle retains some old roof timbers.
The chancel, like the nave, has three-light side windows with panelled tracery. The chancel arch has thin abaci, chamfered responds and a head of two wave mouldings. All north windows except one are concealed by C19 vestries, entered by an original four-centred doorway that formerly led to the outside. The five-light C19 east window differs from the three-light one in the Sharpe drawing, which was not original as it had wooden mullions.
The tower was almost certainly built last, possibly as an afterthought or at least after a gap, for its north and south walls incorporate large buttresses belonging to the west end of the nave. Despite much restoration, it is massively handsome with a north east stair turret, a four-light west window with a castellated transom and a doorway with shields in the spandrels. Window and doorway are contained in a single arch, separated by a quatrefoil-frieze. The tower arch has a head of two moulded orders and in the tower space is a star-vault (cf St Clement), springing from grotesque corbels. The large central opening, surrounded by the signs of the zodiac, allowed the bells to be hoisted up. The two-light windows with ogee heads and finials of the second stage are doubtfully C15 and may be C19, but cannot be seen on the Sharpe drawing. Beneath them to north and south are big flintwork crosses. The third stage has chequered battlements above carved grotesques that include what looks like a cat, a tiled cap and square, uncusped bell-openings divided by transoms, which look later C15.
Changes to town churches after the Reformation were frequent, particularly in prosperous times, as the C18 was in Hastings. All but one window had been altered by the time of the Sharpe drawing (see above) and this was still the case at the time of Nibbs’s engraving (1851). The south porch noted by Horsfield probably dated from this period, though a predecessor, probably C15, in so large a church is likely. The Sharpe drawing also shows a dormer at the north west corner of the nave, which would have lit a gallery. Restoration started in the chancel and though no date is known, Sir Stephen Glynne on his second visit in 1868 (SRS 101 ibid) noted its windows had been restored and the roof is probably contemporary. The presence of C A Gibbs‘s glass of 1865 in the east window (see below) probably provides an approximate date and it is conceivable that W Butterfield did this earlier work, though of the Gibbs family it was A Gibbs with whom he usually worked. Butterfield certainly undertook the rest in 1869-70 (B 27 p421). In 1869 his work was already controversial and in reviewing his work here The Architect (1 p158) hoped he would not introduce any painted decoration. In fact, at All Saints he respected the existing fabric and his work did not extend beyond accurately replacing the tracery in the aisle windows and also most roofs and the south porch. The main later alteration was a north vestry and organ chamber by A J Style in 1894 (CDG 4 p62). The organ was placed behind one of the retained windows of the chancel.
B C G Shore was responsible for repairs between 1954 and 1958 (ICBS).
Fittings and monuments
Brasses: (South aisle) Thomas Goodenough (c1520) and his wife. Small figures with the popping eyes common at the time.
Carving: Adoration of the Magi, undated in yewwood by J Reid (inscription).
Chancel fittings: (Pulpit and altar rails) Designed by Butterfield, 1888-89 (Thompson p447).
Font: C15 octagonal. On the bowl blank shields in quatrefoils and trefoiled arcading alternate. The stem is also arcaded.
Glass:
1. (East window) C A Gibbs, Crucifixion, 1865 (BN 12 p91). This is presumably the glass that Sir George G Scott had in mind when he criticised the east window in his Recollections vehemently, using such terms as ‘mawkish’. It is brightly coloured and pictorial in nature, and by 1865 must have seemed very old-fashioned.
2. (South aisle, east window) H Hughes, 1880 (signed).
3. (South aisle, first and second windows) Lavers and Barraud, 1883 (CDK 1882 Pt 2 p142) (Rev Webster Whistler).
4. (West window of tower) Heaton and Co (i e Heaton, Butler and Bayne), 1886 (Stubbs/saints) (CDK 1886 pt 2 p146).
5. (North aisle, first and second windows) J Powell and Sons, (G A Foyster/Christ in the Temple), 1897 (CDG 49 p11) and 1912, designed by E Penwarden (Hadley list).
6. (South aisle, west window) Centre light by J Powell and Sons, 1908 (Order book) and side lights by P W Cole, 1958 (www.stainedglassrecords.org retrieved on 4/3/2013). This is now largely concealed by a children’s room.
Monuments:
1. (North aisle) Black marble slab to John atte Clyve, one-time Member of Parliament (Bertram p389), and his wife. It is of Flemish workmanship and the figures are clear, though the inscription is mostly illegible, including the date of death, said to be 1458 (VCH 9 p22).
2. (North aisle) Eliza Beazeley (d1823) signed Winter and Co of Hastings.
3. (South aisle) James Alderson (d1823) signed Winter (clearly the same as the last).
4. (North aisle) Elizabeth Barnouin (d1826) tablet by M Vidler (Roscoe p1314).
5. (North aisle) Sarah Thompson (d1826) signed W Vennall of Hastings. The one nearby to Eliza Brown (d1823) is by the same hand, though unsigned.
6. John Edmonds (d1847) by W H Burke and Co (ibid p167).
7. (Churchyard) Lady Harriet Paget (d1855) by E Richardson (ibid p1035).
8. (Churchyard) Tombstone by J Harmer. The terra cotta plaque is unmistakable, but Hastings is unusually far east for Harmer which perhaps explains why it was not recorded by G L Remnant.
Painting and decoration:
1. (Over chancel arch) C15 Doom, found in 1870 (2 p292). Christ is seated on a double rainbow with the damned on the right (one is shown being hanged) and the redeemed on the left. The central part is well preserved.
2. (North aisle) Paintings dated to the C16 with rhyming inscriptions were found in 1870, but not preserved (ibid p194).
3. (Chancel east wall decoration) E R Frampton junior, 1907 (CDG 165 p142). This perhaps contradicts the hope expressed in The Architect (see above), but is more subdued than anything by Butterfield. Their setting looks oddly truncated and not all of this may survive. It may belong to a decorative scheme which W H Romayne-Walker is said to have designed at an unknown date (BAL Biog file).
Piscinae:
1. (South chancel) C15 trefoil-headed, much restored.
2. (Reset in south porch) C15 pillar-piscina.
Reredos: Butterfield, 1888-89 (Thompson ibid). It was painted by Frampton in 1907 as part of his scheme of decoration (BE(E) p425).
Royal arms: (North aisle) George II.
Sedilia: (South chancel) C15 triple with cusped heads and traceried spandrels.
I thought I would repeat yesterday's effort, but using ISO 800 instead of 1600, because there was a little more light, and a couple of extension tubes to get in tighter, with the same 70-200 F4 Canon lens. Also with the red and yellow segments transposed, from cussedness, I guess. One thing I have proved to my satisfaction is that my Canon 650D can handle ISO up to 800 but not beyond, whereas the 350D it replaced was only good up to ISO 400.
The extension to Kingsgate Shopping Centre will feature a six cinema complex operated by The Light, a nine-lane bowling alley a climbing wall and Laser Quest. Opening this Easter.
More information here :- huddersfieldhub.co.uk/inside-kingsgate-leisure-as-countdo...