View allAll Photos Tagged forestpath
Camera: Zeiss Ikon Super Ikonta III (531/16)
Lens: Carl Zeiss Tessar f/3.5 75 mm, yellow-green filter
Film: Ilford HP5 Plus 400
Exposure: 1/100 sec and f/5.6, tripod
Film developed and scanned by MeinFilmLab
Edited under Adobe Lightroom
Focusing at the trees on the left at f/5.6 results in limited sharpness in the focal plane, since at open apertures even Tessars are not pin-sharp at the borders but only across the center circle.
This hiking trail near Holzerath follows the route of a Roman road.
Most of the leaves here are gone now. This was taken a couple of weeks ago when there was actually some light! Since then we have been plunged into dreary darkness and constant rain. Today is the first day when there as been a tinge of light.
This one is for Rebecca and Emory who are celebrating their respective birthdays and who both enjoy walking in the countryside.
In the past I've found shooting into the light very challenging. But I guess this time it was late enough and overcast enough that glare/burn out was not a big issue.
Sunbeams fighting against early morning fog at Reinhardswald, Hesse, Germany.
A shot on my jogging track.
Auf einer morgendlichen Laufrunde durch den nordhessischen Reinhardswald: Die Sonne bekämpt hartnäckigen Morgennebel und siegt letztendlich.
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Camera: Agfa Isolette III MK II (6x6 cm)
Lens: Solinar f/3.5 75 mm
Film: Kodak Tri-X 400, rated @ ASA 200
Exposure: 1/100 sec and f/8, hand-held
Film developed and scanned by MeinFilmLab
Edited under Adobe Lightroom
Camera: Zeiss Ikon Super Ikonta III (531/16)
Lens: Novar Anastigmat f/3.5 75 mm
Film: Kodak Portra 160
Exposure: 1/100 sec and f/8, hand-held
Film developed and scanned by MeinFilmLab
Edited under Adobe Lightroom and Nik Silver Efex Pro
Taken a couple of weeks ago whilst away for a photography weekend in the Peak District National Park. Autumn may be the forerunner to winter but I love photography at this time of year. So many vibrant colours.
Camera: Zeiss Ikon Super Ikonta III (531/16)
Lens: Novar Anastigmat f/3.5 75 mm
Film: Ilford HP5 Plus 400
Exposure: 1/100 sec and f/11, hand-held
Film developed and scanned by MeinFilmLab
Edited under Adobe Lightroom
Daniel Boone Forest, Big South Fork National Recreation and River, Yahoo Falls, McCreary County, Kentucky
A quiet forest path disappearing into the morning fog. Soft light filtering through the trees creates a calm, moody atmosphere — a moment where the woods feel almost otherworldly.
Shot with Nikon Z6 • 24–70mm • natural fog.
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"Beyond the turning of the leaves and the hush of the forest, there lies a quiet promise — that every ending is but the beginning of another tale."
Camera: Agfa Record III (6x9 cm)
Lens: Apotar f/4.5 105 mm
Film: Ilford HP5 Plus 400
Exposure: 1/100 sec and f/11, hand-held
Film developed and scanned by MeinFilmLab
Edited under Adobe Lightroom
Just wanted to further explore the different look of analog versus digital photos of the same scenery. The pictures were taken on different days but under quite similar light conditions (about the same daytime in sunny weather). For the digital shots I used the Sigma DP2M camera with its foveon sensor, delivering extraordinary sharpness and micro contrast. For the analog shots I used one of my cameras with the largest negative format available to me: my Agfa Record III 6x9 cm format folder, which recently has been CLA’d by Hans Klinkhamer (Netherlands). Hans achieved his training as camera repairer at the Agfa Camerawerke Munich and did a very good job. At f-stops smaller than 5.6 the image quality of this Apotar triplet is indistinguishable from the renowned Tessar-type Solinar of my second Agfa Record folder.
The digital b&w veriants can be seen here:
www.flickr.com/photos/165607631@N07/49832209603/in/datepo...
www.flickr.com/photos/165607631@N07/49889517803/in/datepo...
Personally, I prefer the film version because of its more pictorial look, resulting from the softer contours of the leaves and the fine grain, accentuating the texture of the barks. For me, the sharpness of the folder lens is absolutely sufficient even for larger prints. In my opinion, the highly resolved pictures of modern digital cameras tend to produce some kind of stimulus satiation. In many cases, the viewer doesn’t want to see so many details but only the decisive elements of a composition. Otherwise, using 35mm film cameras or even pin hole cameras would make no sense anymore.
Lane through the beech trees in a forest in autumn colors with fallen leaves on the ground.
A view from forest path in Soukka
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Six photographs were combined to get a full view of the tree leaning over the trail. The day that I shot this, I was looking for forest mist and fog. Unfortunately the mist stayed in the nearby meadow and wetlands and did not penetrate the forest except on the edges. There is just a hint of the softening mist in the background.
Woodland photography is about light, multiple visits and seeing composition in chaotic forest. At its best, woodland photography offers beauty and emotion as well as forest detail. This goal that is not a hardship as many visits to forests and woodlands are required,
This is an informational picture of this trail and a distinctive leaning tree marker. The additional qualities that make for a fine art style woodland pictures will take some more time and effort. Still - it is a nice trail and a great woodland walk through second a second growth West Coast forest.
Morning light drifting through the forest,
quiet and patient, touching every leaf like a promise of peace.
Início do trilho para a Fervenza de Augacaída, junto à aldeia de Marce, no concelho de Pantón, província de Lugo, este percurso pedestre desce por um bosque atlântico de carvalhos e castanheiros até um vale encaixado. “Fervenza”, termo galego para cascata, designa aqui uma queda de água alimentada por linhas de drenagem sazonais, mais expressiva após as chuvas e no final do inverno. A paisagem integra a Ribeira Sacra, território marcado por encostas de xisto, socalcos e viticultura heroica, nas proximidades dos vales do Minho e do Sil, bem como por uma densa rede de mosteiros românicos que historicamente estruturaram o uso agrícola e florestal. A sinalética, simples e resistente, orienta o visitante num troço de declive acentuado e piso irregular, onde a conservação do solo e o controlo da erosão são essenciais para preservar o trilho e a vegetação ribeirinha.
The trail to the Fervenza de Augacaída begins near the village of Marce, in the municipality of Pantón, province of Lugo. This hiking route descends through an Atlantic forest of oak and chestnut trees to a deep valley. “Fervenza,” the Galician term for waterfall, refers here to a waterfall fed by seasonal drainage channels, which is most impressive after rains and in late winter. The landscape is part of the Ribeira Sacra, a region characterized by schist slopes, terraced fields, and “heroic” viticulture, near the Minho and Sil valleys, as well as by a dense network of Romanesque monasteries that historically shaped agricultural and forestry practices. The simple, durable signage guides visitors along a section with a steep incline and uneven terrain, where soil conservation and erosion control are essential to preserving the trail and the riparian vegetation.
Un torii es una puerta japonesa tradicional, que suele hallarse a la entrada de un santuario sintoísta. Simbólicamente marca la transición de lo mundano a lo sagrado, por ello también se encuentran dentro del mismo.
La primera aparición de puertas torii en Japón se puede localizar de manera confiable al menos en el período medio de Heian; se mencionan en un texto escrito en 922. El torii de piedra más antiguo existente fue construido en el siglo XII y pertenece a un santuario Hachiman en la prefectura de Yamagata. El torii de madera más antiguo existente es un ryōbu torii en el santuario Kubō Hachiman en la prefectura de Yamanashi construido en 1535.
Las puertas Torii se hacían tradicionalmente de madera o piedra, pero hoy en día también pueden estar hechas de hormigón armado, cobre, acero inoxidable u otros materiales. Por lo general, son bermellones sin pintar o pintados con un dintel superior negro. Los santuarios de Inari suelen tener muchos torii porque aquellos que han tenido éxito en los negocios a menudo donan en agradecimiento un torii a Inari, kami de la fertilidad y la industria. Fushimi Inari-taisha en Kioto tiene miles de tales torii, cada uno con el nombre del donante.