View allAll Photos Tagged foregrounding
Old cemetery in Fredicksburg, Texas.
I had stopped at the post office to ask directions and a middle age woman with a thick German accent who had lived in Fredricksburg all her life gave me directions.
This cemetery is behind the post office. Have never seen such an old cemetery so well cared for. All the people at rest here have family in the area that still visit their graves.
It was rather touching to see this.
This photo satisfies requirement 2, blur foreground. For this photo, I went over to a bridge that looks over Montlake Blvd NE around 9:30 pm. I set up a tripod in the middle of the bridge and tried my best to make it level with the road, although the tripod I had was having trouble keeping the camera looking forward. I set the shutter speed down to 20 seconds so that I could get a long exposure photo of the light from the passing cars. Because there was a streetlight right ahead, I set the aperture to f/29 to make the photo have a more natural lighting. The ISO was set to 100 for low noise and I zoomed in a bit to make the road take up more of the view. The slow shutter speed creates a motion blur of the light from the cars. In Photoshop, I adjusted the tone and contrast to make the red light trails more vibrant and dark.
I blurred the tire on the bike to show that it is spinning and just an fyi we are on a closed road. iso 200 f4.5 1/80
My mum in the foreground and my wandering hubby Chris is the distance.
My mum loved it at Frampton Marsh, and successfully twitched a fair old list of birds that she had never seen before. We were also lucky enough to get close views of 3 different barn owls hunting, which was lovely!
Foreground - Stromness (Population 2,500) then Stenness Loch & Harray Loch with Westray faint in the distance. Taken from Ward Hill, Hoy - 1500 feet up.
A delightful surprise visit by a wave during an auto-bracket. There's a boat back there, somewhere...
Same deal as with the mountains. Here I could be a little more fanciful (some might say psychedelic) with my fabric choices. I wanted to suggest meadows with grass and wildflowers. The real inspiration in this piece -- the "aha!" moment -- came to me in the early design stages, when I realized I wanted a shaft of sunlight slanting down from the sky, over the face of the mountains, and out over the fields in the foreground. It would be a strong vertical element to balance the major horizontal of the mountain range. In doing this, I set up a real challenge for myself in terms of selecting fabrics with the right light-and-dark values, while maintaining structural continuity across the piece. Yee haw. A few of my own graduated-value hand-dyes came in handy here.