View allAll Photos Tagged layers
"Layers of Light" Great Smoky Mountains National Park.
Just wrapped up this years springtime Smoky Mountains Workshop this morning with a great group of photographers. Although spring came early to the mountains, we were able to still catch some Dogwoods in bloom, wildflowers in White Oak Sink, great light and cabins in Cades Cove as well a few sessions of sweet light up high and lots of streams and waterfalls.
I will be hanging around the park until the end of the weekend conducting a private tour for a few gentleman starting on Friday morning and then back home after that. I am just getting around to processing the images from the trip and thought I would share this one from our best sunrise over the workshop. This was shot at the Oconaluftee Overlook in North Carolina. An approaching storm and morning fog provided dramatic conditions as the sun broke through at first light.
Revisiting a set of pictures I took in an alley in Rapid City, SD last summer. This particular image is a pretty extreme crop from an ultra wide angle shot. I like both versions but for some reason this crop is really nice to my eye at the moment. One of the advantages of shooting high MP's, this crop is probably less than 1/4 of the original. I feel like it would make a very informative exercise to go back and crop lots of my old stuff, if I ever had the spare time…
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Spectators with an unusual vantage point. Annual Pride Parade in Vancouver. Canon Canonet QL-17 with Fujicolor Superia 200 film
four mile lake near coboconk, ontario. about 7 am, with a bit of a misty/foggy morning on the lake.
this was a wonderful place to spend a week before going back to teaching in just a few days...
a close up macro of a strange flower, looking at all the layers of this flower.
used 200mm bellow set at around 35mm with an off camera flash diffused set off by wireless trigger. and shutter remote . follow me at my website and blog @ www.lawsphotography.com
in the depths of central munich, karlsplatz subway station unfolds in layers of light and shadow. the world here is a tableau of passing figures, glimpsed through the linear haze of movement and stillness. golden light bathes the space, dividing the moment into slices of reality and reflection. travelers, transient ghosts in this subterranean ballet, move to the rhythm of the underground, their stories as fleeting as the trains that carry them away.
Believe it or not, this is in Southern California. Taken on our way home from Big Bear over Memorial Day Weekend. San Bernadino Mountians.
A vase made by presumably a Navajo potter (name unknown to me) somewhere in the Northern Arizona/Southern Utah reservation area, bought at Cow Canyon Trading Post in Bluff, Utah. The potter made the vessel by building up coils of clay, here without smoothening of the outer surface except the top (they are smoothed inside). The pot makes me think of geological layers or strata in an archaeological excavation - layers that represent time...
This image is the result of 13 shots combined by focus stacking for increased depth of field, using Lightroom and dedicated stacking software Helicon Focus. Nikkor 2.8/105mm macro lens at f5.6, D850. Jar height is c. 18 cm (7 1/2 inches). Ninth in series of shooting at home while in social distancing - welcome your comments and faves!
January 18, 2020
Newcomb Hollow Beach
Cape Cod National Seashore
Wellfleet, Massachusetts
Cape Cod - USA
Photo by brucetopher
© Bruce Christopher 2020
All Rights Reserved
...always learning - critiques welcome.
Tools: Canon 7D & iPhone 11.
No use without permission.
Please email for usage info.
Press "L". Hiiumaa island, Estonia.
Pentax 67ii, SMC 45mm f4, Heliopan sh-pmc + Lee Tobacco, Fujifilm Velvia 50 (RVP50) self-developed in Fuji Hunt Chrome 6X (6-bath) kit, IT8-calibrated + wet-mounted drumscan (through PhotoMultiplier Tubes - PMTs - no CCD nor CMOS involved in the digitizing process).
The desert gives you lots of texture and layers to work with. In many places such as the Grand Canyon, you can see the layers which make it up. I love the play of light and shadow.
The shapes and layers of this eroded granite on the Atlantic coast made me think of elephants. Is my imagination overly vivid?
I'm attending a workshop in February to learn how to add textures to layers to enhance my pics or turn them into more fine/visual art. My ARPS panel was succesful in the Visual Art category so I have texture experience, but not using them in layers. In preparation I'm starting a collection of texture and background images so I have some to play with when I'm on the workshop.
The workshop is with Viveca Koh FRPS:
I worked on my Christmas card for a few days now. I though that I'd pop up an image of the construction of the layers.
Construction:
There are some tricks on this digital Christmas card and I thought that I'd list the working layers by name (and function). Starting with the empty Background with my working masks stacks on top. The masks were the Emboss, gold Frame, Greeting and Signature masks. I used Quark to generate the greeting because of the breadth of controls including sizing, tracking and kerning. The mask layer view icons can be turned off because that is not necessary for selections to be made. The mask layers will never show underneath the paper anyway but they can't be accidentally edited if set as unviewable. I can re-select any unviewable mask at any time for more editing on another layer. The next layer up is the paper stock layer. The original one was not going to do the job so I called my cousin to scan a copy of one of his luscious card stocks from Nationwide paper. He picked Speckletone Sand, one of my favorites, and emailed his TIFF. That became my paper stock. On top of that, I placed and moved the Season's Greetings message to the chosen spot and filled it with red. Over that, I placed a couple of shadow effects. The first one was the general shading of the embossed rectangle. Next up was the thin shadow cast by the "printed" image atop the embossed rectangle. At this point, I added some various images from which to select; I chose the cottonwood cripple for this purely digital presentation. I have more now. Above the image, I placed the gold signature from my selected mask although I moved it to a spot where the Signature layer would "read" better. Obviously, I created my Gold Frame layer around the edges of the image. Almost done. Simply creating a slightly darker layer to signify the Indent shadow layer rectangle is not enough to really pop the emboss. I added the slight upper-left emboss shadow and last, the slight lower-right highlight to fake the emboss.
Layers, top down:
Emboss shadow
Emboss highlight
Gold image frame
Images stack
Image shadow
General indent shading
Seasons Greetings title
Speckletone sand paper
Signature mask
Greeting mask
Image frame mask
Emboss mask
Background
Thanks to: Lydia (Telzey) for the texture layer.
www.flickr.com/photos/telzey/1261200360/in/set-7215760365...
Travel back in time with Janis Joplin: Piece of My Heart
www.youtube.com/watch?v=tenV9Din7K4&feature=related
Thank you for your comments and good cheer...and for Explore.