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'wall shadow framed' - exploring design elements
image captured at the Hobby Lobby - Sheridan Mall
Lawton, OK
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A different angle on Optical photography, lol, my angle, this time seen from the back…
Do you also see Dali's moustache? LOL
In an ‘understated’ red.
Have a lovely day and thank you for viewing, M, (*_*)
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Anse Source d`Argent - La Digue Island - Seychelles 2014
Picture taken with:
Olympus DSLR E-3
Zuiko Digital 12-60mm & CL Polarizer
Panorama Maker 4 Pro & Lightroom 2.7
Panorama ( 3 Frames vertical)
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© 2014 by e t d j t™ pictures / P.Jaussi
A street vendor at Shimla,HP was wearing their Traditional Cap which identifies him from the district of the state (Himachal Pradesh) he belongs to.Each and every Himachali wears their traditional caps(of different colours) just like their pride of simplicity.
There are plenty of things I could tell you about this image but what I am going to relate tonight is only going to involve the mistake I made.
One of the risks to habits is that you can come to rely on them overly much. A case in point would be that by an unofficial rule I generally keep my Hasselblad backs loaded with 400 ISO film, one back for color and the other for b&w. When I do load a different speed film in one of my backs I try to make a note because I am so used to 400 speed film in them that I have mis-exposed film before because of mistaken assumption.
Before this latest trip up to the Olympic Peninsula I had been working a lot and photographing only a little. As such by the time I got up there my black and white back was halfway through a roll of film I could not remember loading and so I could not remember which film was in it. Normally no note would mean 400 speed but something in my brain was tickling away that this was not true, that I had loaded something out of the ordinary in terms of film speed in this back.
So what are my options at this point with about six frames left to expose? Well I could trust my habits and expose at 400. I could attempt to second guess motives and backtrack through memory to deduce which film I might have loaded. I could meter somewhere in between. This latter is what I did. I figured the only other speed I would have loaded would have been 100 ISO film. So if I metered at 200 then I would only be wrong by a stop. If it was 100, I would be a stop under and considering that I normally overexpose by habit anyway, all would be ok. If it was 400, then I would be a stop over (or two with my usual overexposure). and film so readily forgives overexposure. Seriously, you can get away with three or four stops over and still produce reasonable images. Additionally I was going to be a bit less choosy with those six frames and try to blow through them quickly so I could confirm the film and if necessary backtrack to re-expose any images.
Thus I set off. Unfortunately it was sunny and clear and conducive to heavy ND shooting so "blowing through" half a roll takes on a slightly different meaning when shooting through 18 stops of neutral density. It took a few hours but I managed, wound the roll and unloaded it... to find a roll of Rollei RPX 25. Umm yeah. So metering for 200, maybe overexposing by design by a stop I was still going to be two stops under. That was a bit disappointing. Usually I defer to the decisions that past-Zeb makes. He often seems to think of things that present-Zeb appreciates. But this time I was wondering what in the heck that past me was thinking by loading a roll of 25 speed film in a camera that usually uses 400 speed and not putting a note on it to warn present-Zeb how to expose it properly. Sheesh.
So I had a bit of a sinking feeling in my stomach, figuring not even the forgiveness of film was going to save me this time. Luckily I was still on the same beach and did backtrack to re-expose the images I felt most strongly about. I debated having the roll pushed when I got back but then the first half had theoretically been exposed accurately and I couldn't really remember what was on it, so I didn't want to push process that stuff, so I just let it go, morbidly curious to see how thin the negs would be. Imagine my surprise when the stuff that came back turned out to be fairly usable... at least some of it. This image for example was metered somewhere around 100 to 200 ISO, which means I probably overexposed it to begin with due to the deep shadows in the frame. But that is ok, I wanted the cliffs to be black anyway.
So what to take from all this? I guess mostly that we all make mistakes. In fact you ought to find opportunities to make mistakes. They keep us sharp, they are opportunities to learn, they sometimes show us things we may not have discovered on our own, they remind us that we are fallible in our decision-making. And I tell you about this one in particular so that you know that I am not above making such silly errors. I tend to curate out most of the images I don't consider worth the time to post or your time to see. I edit down to the good stuff, which really means the stuff that I like for one reason and another. And I think with practice and by limiting how much I post I tend to only share the stuff that is noteworthy for good reasons. But that can easily lead to the mistaken perception that maybe I don't make the same mistakes you make. That I don't screw up my calculations or forget something simple and obvious. Well trust me, I do. And sometimes it works out and sometimes it doesn't. On this case I got lucky, no thanks to my past self.
Hasselblad 500C
Rollei RPX 25
The photo is about lives in different frames. This photo was taken from a platform of a railway station. There are two people sitting in another train compartment and i took the photo through another train compartment's window.
Small sample of the prints ready to decorate my walls... bought so many frames lately. I love it!
A new addiction has begun ;)
22 January 2012
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Made from 13 light frames (captured with a Canon camera) by Starry Landscape Stacker 1.6.1. Algorithm: Mean, edited with Aurora HDR 2018 lens correction
Wilson deftly frames the view: the city is laid out before us, its most prominent landmark, the dome of Saint Peter’s, deliberately hidden behind the hill that shelters the Villa Madama. While topographically accurate, Wilson’s real interest lies in atmosphere – the light and colour of a late afternoon. His contemporaries prized this combination of truth to nature and artfulness, which won Wilson temporary fame. His career ended in failure, and the next generation of British artists saw in his life the story of a genius betrayed by his patrons’ ignorance, but who nonetheless had revitalized landscape painting.
Continuing with some of my early color negs. For pictorial images such as this, I'd many use slide film. Had a few frames of this early morning misty lake on negatives.
I have a passion for photography and I LOVE watches.
Capturing fleeting moments on a digital sensor - freezing photons from moments and events in visual imagery - is a near spiritual experience. In a way photography is a futile attempt at capturing time. The same is true about watches for me - we witness the seconds hand sweep around the dial, trying to capture a moment in time, only to see it slip away...
Halloween Photo Expressions single use camera is pre-exposed with the banners on the right. One ends up at the bottom of each exposure when developed. Expired in 2003.
Last night I decided to spend some time with Enif (Epsilon Pegasi), the brightest star in Pegasus. It's one of those stars that is easy to overlook when I'm concentrating on nebulae and galaxies, so I wanted to give it some attention on its own. The conditions in Ottawa were not especially good, with Bortle 7 skies, 3/5 seeing, and only 2/7 transparency, but the sky was clear enough to make the attempt worthwhile.
I used the DWARF Mini with the Astro Filter, shooting 15-second exposures at a gain of 60. I had planned for 225 frames and was able to collect 176, giving me 44 minutes of total integration time. The poor transparency kept me from completing the full run, but I was still able to get a reasonable amount of data.
Enif has a nice warm, yellow-orange appearance that makes it stand out from many of the other bright stars I've been observing lately. It's also a massive supergiant, which makes it hard not to think about the sheer scale of what I'm looking at. On the screen it is just a bright star, but knowing what is actually sitting out there makes it a much more interesting target.