View allAll Photos Tagged halftone
#macromondays
#card
Well, indeed. Because this chip has in fact never seen me typing a PIN number at an Automated Teller Machine (and neither has it seen such a machine from the inside). My bank had accidentally issued that debit card, so I only ever got as far as signing it. I'd decided to keep the card for a possible future use for a Macro Monday theme, however, and that future is now.
At first I went for the chip's frontside. I'd noticed that the lines on the chip are actually kind of engraved, so I held a torch right behind the chip to see if backlighting would achieve anything. It did, the lines were glowing in a lovely electric blue tone, and I'd also discovered that there were some letters printed on the chip, like a secret message (that, so far, I've failed to decipher). So I took a few nicely abstract images of the chip's front side, but then I started wondering if backlighting the back side of the chip might yield an even more interesting result. I think it did, and this is what you can see here. The glow pattern that emerged looks like a graphic character to me, and I wish it would mean Peace.
The setup was really simple, card fixated with two clamps, put on a weighty tome to achieve the right shooting position, camera placed directly in front of it, torch held directly behind the chip, one soft light placed right above the tome and card. I've taken images both with the 60mm macro lens plus extension tubes and the 30 mm macro lens without extension tubes (as it has a 2,5x magnification). The images turned out all very similar, only the amount of glow of the lines varied due to the angle of the handheld torch, and this photo had the best colours and contrast. Processed in DXO PL5 and Lightroom where I've slightly enhanced the colours (namely with LR's Primary sliders for red, green and blue).
HMM Everyone, and let us pray for peace for the Ukrainians and for the World.
I'll catch up with you tonight!
I've always loved watching the sunset.
The sun spreads its colors across the sky.
Today, as it has been for many years,
I'm once again immersed in this fairy tale.
Surrendering to the warmth of the halftones,
I revel in the beauty and happiness once again.
And as I shed the weight of my earthly shackles,
I spread my wings in an instant.
Closing my eyes, I soar effortlessly into the sky
And in the clouds, blissfully, I bathe.
Fear whispers to me: “Enough! Come back!”
But, forgetting everything, I rise.
Breathing hard, I fly there,
Where the stars begin to light up,
Where time is dust, where sorrows are water,
Where nothing seems serious.
And my heart beats loudly in my chest,
And, anticipating sweet freedom,
Hurry to find out what lies ahead,
Hurry to soar higher and higher into the sky
As this baby Hibiscus peeks out to discover the new day, the morning sunshine is just starting to explore all the joy the day will bring.
Today, I want to thank everyone who visited my stream yesterday. I really enjoyed all the different languages and regional dialects you included in your wonderful comments!
I'm happy we can have such fun together! :)))
Please!! NO Awards or Large Graphics...Buddy Icons are OK. Thank You!
Model : Lottie
Visit The Carbone Gallery
Art gallery & café
Read Milena Carbone's Second Life stories on Medium
Visit The Carbone Gallery
Art gallery & café
... It's not so much that everything's already been done before as it is - that certain elements have been defined !!!!
Explored: 2006-09-19 #391
Outfit: Marrakesh dress (red collar/Chartreuse dress) by BYRNE *Get this item at the S.O.S event!* www.flickr.com/photos/byrnedarkly/
Glasses: X Sighted by NEUTRA www.flickr.com/photos/189126960@N06/
Wednesday Adamms Original Image added from the web, Composed using windows paint, processed using Jasc paint shop pro 9
Great to view on BLACK !!
Gray on gray halftones.
This photo has been in Explore on November 20, 2023. Highest position = #61, This is my 202nd photo in Explore.
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Back in February as I was almost done with covid, I had been experimenting with Photoshop's artistic filter gallery. I had found something called halftone. it creates a pattern similar to what would be printed with the halftone process in newspapers and pulp magazines. I had created a monochrome image of it. Then I played with adding back the color image, but set to Multiply blend mode. This resulted. I really like the gradients of tone that the dots created.
This was in the same time frame in which I was playing and created the one in the first comment box.
Excerpt from www.cbc.ca/arts/a-kind-of-order-band-gallery-union-statio...:
A new public art exhibition is inviting commuters in Toronto’s busiest train station to slow down and reflect.
A Kind of Order is part of Union Station’s year-long commitment to promote BIPOC creatives and to accessible public art. Presented in partnership with BAND Gallery, the exhibition features four contemporary artists — three local, one international — whose collage art embodies themes of movement and transformation.
These words came to mind when Joséphine Denis, BAND’s Director of Curatorial Initiatives, thought of the type of art she’d like to see in a station like Union. “[Union Station] is a place of coming and going that promises beginnings and marks the ending of journeys and of relationships,” says Denis, “I take that train a lot and it's been a sort of symbolic meaning of a lot of things in my life… but it's also a marker of these very daily quotidian lifestyles and rhythms.”
The art is spread throughout the station, ensuring that commuters can engage with the art no matter where they’re headed, even if it’s just a passing glimpse. “This is not a white box where people come and sit and look, [we had to think about] what people are able to get out of just a glimpse… just walking and turning their head and seeing something.”
Excerpt from the plaque:
A Kind of Order, Cross Section by Timothy Yanick Hunter
Cross Section (2026) looks downward to the subsurface as a shared field of circulation, where what is treated as extractable keeps rerouting relations. Across six prints and a monitor, the image field is built from magnified soil, larvae, pebbles, and cropped fragments of scientific language. Halftone grain and visible seams make the surface feel reproduced, sampled, and reassembled, like knowledge that arrives in pieces. Pixelation suggests the work is constantly re-tuning its own frequency to the motion it tracks. The grain reads like recalibration: information coming into focus, slipping out again, brewing in motion rather than settling into certainty. What appears as life and death here is not an event but a remainder, the visible residue of cycles: metabolism, labour, decay, renewal. Rectangular insertions behave like core samples or windows of study, while page margins and white gaps read as a refusal of total access, a reminder that extraction can measure, classify, and remove, but it cannot take hold of the whole field.
Across the series, the ground is not a backdrop but a system: brood chambers, pebble collections, bundled cables, and clipped captions offering different languages for how matter is organized and made to travel. Timothy Yanick Hunter’s ongoing research treats migration as more than the movement of bodies. Migration appears as ongoing circulation: fragments carried forward, reassembled, and re-tuned, moving through archives, infrastructures, and informal networks of passage. Extending from projects first developed for exhibitions at Cooper Cole Gallery and Bradley Ertaskiran, Cross Section asks what becomes legible as “resource” and what kinds of relation keep gathering at the edges of extraction. It asks not simply what lies beneath, but who gets to name what is underneath, and what refuses to be given over to ownership, enclosure, or the “complete” account.
shot with a fujifilm x-s10 and a venus optics laowa 65mm f/2.8 2x macro lens--with a raynox dcr-250 close-focusing diopter
Excerpt from www.cbc.ca/arts/a-kind-of-order-band-gallery-union-statio...:
A new public art exhibition is inviting commuters in Toronto’s busiest train station to slow down and reflect.
A Kind of Order is part of Union Station’s year-long commitment to promote BIPOC creatives and to accessible public art. Presented in partnership with BAND Gallery, the exhibition features four contemporary artists — three local, one international — whose collage art embodies themes of movement and transformation.
These words came to mind when Joséphine Denis, BAND’s Director of Curatorial Initiatives, thought of the type of art she’d like to see in a station like Union. “[Union Station] is a place of coming and going that promises beginnings and marks the ending of journeys and of relationships,” says Denis, “I take that train a lot and it's been a sort of symbolic meaning of a lot of things in my life… but it's also a marker of these very daily quotidian lifestyles and rhythms.”
The art is spread throughout the station, ensuring that commuters can engage with the art no matter where they’re headed, even if it’s just a passing glimpse. “This is not a white box where people come and sit and look, [we had to think about] what people are able to get out of just a glimpse… just walking and turning their head and seeing something.”
Excerpt from the plaque:
A Kind of Order, Cross Section by Timothy Yanick Hunter
Cross Section (2026) looks downward to the subsurface as a shared field of circulation, where what is treated as extractable keeps rerouting relations. Across six prints and a monitor, the image field is built from magnified soil, larvae, pebbles, and cropped fragments of scientific language. Halftone grain and visible seams make the surface feel reproduced, sampled, and reassembled, like knowledge that arrives in pieces. Pixelation suggests the work is constantly re-tuning its own frequency to the motion it tracks. The grain reads like recalibration: information coming into focus, slipping out again, brewing in motion rather than settling into certainty. What appears as life and death here is not an event but a remainder, the visible residue of cycles: metabolism, labour, decay, renewal. Rectangular insertions behave like core samples or windows of study, while page margins and white gaps read as a refusal of total access, a reminder that extraction can measure, classify, and remove, but it cannot take hold of the whole field.
Across the series, the ground is not a backdrop but a system: brood chambers, pebble collections, bundled cables, and clipped captions offering different languages for how matter is organized and made to travel. Timothy Yanick Hunter’s ongoing research treats migration as more than the movement of bodies. Migration appears as ongoing circulation: fragments carried forward, reassembled, and re-tuned, moving through archives, infrastructures, and informal networks of passage. Extending from projects first developed for exhibitions at Cooper Cole Gallery and Bradley Ertaskiran, Cross Section asks what becomes legible as “resource” and what kinds of relation keep gathering at the edges of extraction. It asks not simply what lies beneath, but who gets to name what is underneath, and what refuses to be given over to ownership, enclosure, or the “complete” account.
Eyes: Rhys Collection (Bloody) by Gloom www.flickr.com/photos/dahviegloom
Makeup: Halftone Frecks (black) by The Lillypad *Possibly coming soon...* www.flickr.com/photos/lillycross/
Lips: BAKA Lipstick by The Lillypad *Possibly coming soon...* www.flickr.com/photos/lillycross/
Proudly adorning Jim's Coffee Shop. Gum over cyanotype, using color halftone separations as in the previous posts, but this time using a color photo as the source. Image is 7in (18cm) square. The overall color is a bit pink for my taste, but I still like the halftone effects, and I'm not really trying for a perfect rendition of the original. There's also a small blue mark caused by an imperfection in the blue negative.
Some more progress for my little two-color book. I just found out we´re also allowed to use halftones, which makes it a lot more enjoyable for me to work.
You can check out some of my colleagues work for this series here:
UK duo SNIK bring their ethereal portraiture and signature halftone style to South East London with their first new work on the street in over 2 years – ‘While The World Decays’ (streetartnews.net)
Ahsoka Tano reacts badly to the sudden appearance of the Shark People's senate representative, sparking four years of bitter conflict within the Mattel Star Wars division.
We're Here & although we're only twelve inches tall we're mad!
Tripod-mounted & filter free & manually triggered shutter with remote triggered stobe, modified by barndoors. Lightsaber enhanced in Photoshop & the whole treated to a halftone & green wash, to compliment the yellow of Ms Tano's sabre. HSS!