View allAll Photos Tagged lowangle
Taken beside one of the many rocky areas on the River Massan in Argyll.
Highest position: 134 on Thursday, March 19, 2020
The frame is divided by a shadowed upper portion, creating a unique perspective as if the viewer is observing from beneath a structure or vehicle. In the background, several individuals, partially silhouetted by soft light, are sitting or standing near a public transportation station, their activities subtle and understated. The concrete building behind them, with large windows reflecting the outside world, adds an industrial feel, while the interplay of light and shadow evokes a sense of calm anticipation within the city’s otherwise busy environment.
Pine tree, cone, needles. Having that Piney feeling in the Withlacoochee State Forest, Citrus County, Fl
Morning dew on the tip of each leaf. The 'behind the scenes' of this shot is far less glamorous - imagine me still in my PJ's going out in the garden, kneeling down in the most awkward angles to get this ground level perspective. I received the good old eye-roll from my wife for doing this :-P
Madison Ave, New York City, 2017
Street Photography Category Winner @ Siena International Photo Awards 2022.
A narrow gauge steam locomotive at the entrance to the Connecticut Antique Machinery Association Museum ~ Kent, CT
Lately, I've started to slowly go through some of the photos I took along the way to California in December of 2015 starting with the small batch shot between the DC to New Orleans leg of the journey. The first part of the trip was a little chaotic and Scotch and I had to make one last detour to the Washington D.C. Court of Appeals for a filing on the way out of town. It was the start of rush hour by the time I got back in and began the real journey. Rain and extremely slow moving traffic (what a surprise) had me wondering if I should just drive to my mom's hour about 2 hours away and try again in the morning. With no real plan other than going to Hollywood at some point, time wasn't as important though I really didn't want to spend hours trying to exit the city and waste money on a hotel so close to home.
When the traffic began to clear, I decided to continue on and into the night, finally stopping around 4am for a quick rest in Bristol, Virginia. I kept trying to push further but by that point, I was just concerned with finding a reasonably safe, dog friendly hotel and figured I'd get an early start the following morning. From there, we tried exploring a bit though I it was hard to find interesting areas off the beaten path that wouldn't take me too far out of the way. A month of shooting tucked away waterfalls in Maryland and Pennsylvania had me obsessed with them and I kept hoping a random road off the highway would lead somewhere interesting. For the most part, that was incorrect and with a completely blank sky, I didn't find much to shoot though I did explore for a few hours in the more rural parts of Tennessee since we got off the highway and headed towards the mountains off in the distance. It was certainly beautiful, just nothing exciting to photograph and as it got later and later, we continued on towards Knoxville which is where I had stayed in the past when I was helping my dad move some of his stuff from DC to New Orleans.
A quick google search from the phone had me intrigued by a place called Mead's Quarry and I also wanted to give Scotch the opportunity to go for a real walk on a trail or at least somewhere quiet and peaceful. The Ijam Nature center was a little confusing to find and but we finally found the quarry in the very late afternoon and it was quite a sight. I took scotch down the embankment to the water's edge and spent about 15 minutes trying to squeeze as much into 18mm as I could, including a few accidental panoramas I could stitch. This was a 2 shot horizontal panorama (and I'll eventually post a larger panorama as well) that shows the incredible patterns and reflections from the still waters. I guess this place is fairly popular for swimming and recreational activities in the summer but in the dead of winter, no one disturbed the water and only a few hikers/tourists were around.
I'll spare you the full wikipedia history, but Tennessee marble is actually a pink crystalline limestone used for buildings and monuments (including a few places in DC near the courthouse we began our trip from) though interest in the material declined heavily after WWII when much cheaper options became available and popular. I'm glad I revisited the group of shots from here and discovered a few of the better frames matched for panoramas (this was WELL before I ever considered actively trying them) and also happy that my current editing style provided much more favorable results than when I first reviewed these shots over a year ago. We didn't stay here long and stopped at a hotel in Meridian, Mississippi for the night before arriving in New Orleans by dinner time the following day.
LOCATION
Mead's Quarry
Ijams Nature Center
Knoxville, Tennessee
December 15th, 2015
SETTINGS
2 frame horizontal panorama
18mm
ISO 100
f/14
0.3 seconds
CPL
All rights reserved - Tous droits réservés
Place : Cathédrale Saint Étienne, Limoges, France
christinelebrasseur.blogspot.com/
Darckr by Laurent Henocque - More photos - DNA - Ipernity - MySpace - YouTube - Twitter - JPGMag - Facebook - Google
Sculpture "De Bok" (the buck) by the Dutch sculptor Piet Killaars , seen in the city Valkenburg (province Limburg) , the Netherlands .
For "Crazy Tuesday" ; theme : "low angle"
A striking black and white image shot from a low angle, capturing the bold contrast between the rough, textured brick of an old building and the sleek modern sign adorned with the letter "H".
This limited view encourages you to ponder the essence of this urban structure: the meaning of the sign, the building’s purpose and history, or perhaps what the surrounding cityscape may look like.
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Developed with Darktable 4.8.0.
When photographing this building in La Grande Motte, I sought to extract a pure graphic composition from its characteristic architecture. Post-processing in black and white allowed me to sculpt the contrasts to emphasize the rhythm of the arches and the geometry of the facade. The low-angle view creates an upward dynamic, and the dark sky reinforces the visual impact of the composition. My intention was to transcend the documentary aspect to create a graphic image where the repetition of forms and the interplay of lines become an architectural abstraction.
Scotch is sound asleep now but I'm going to take him and my brother to the specialty vet as soon as an appointment is available to see if surgery is still a possibility. The heavy panting has in part been replaced by quiet gasping the last week which is far more disturbing. We live as close to the entrance of the dog run at the building as possible and right next to the elevator which means he doesn't need to take the flight of stairs down if he's already worked up. For the last few months, he'll go to that side yard 3 or 4x a day off leash and then i'd walk him around the block once per day if the temperature is cool enough or he drags me off in that direction. He'd still prefer to spend hours playing outside if I let him, even with his current condition. Hard to slow a hunting dog down. His walk on monday was fine until the last few minutes when his gasping made walking difficult. he just wanted to lie down and concentrate on getting calm so it's been all dog run since.
Oddly, he's physically much better now than he was in the summer when he wasn't moving well at all and seemed much much older. That he's still panic-free when he's trying to recover his breath and otherwise really active, mobile and alert for such an old guy gives me a little hope that the surgery could give him another year or so of happiness. I know it would for me. He's already outlived the average expectancy of his breed and having very little money after the long trip here made the $4,000+ surgery and accompanying risks something I simply couldn't afford. It took almost 10 months, but my brother finally said out loud that Scotch is his favorite dog. I told him it would happen and it finally did...even if poor, deaf Scotch couldn't hear it. He'd also like to see him around another year or so and can help with the cost which would be a tremendous relief for me. I'm not going to be overly optimistic since it's quite possible it's too late or too risky at this stage in the illness for surgery to fix it at this point. But we will explore the options and my fingers are crossed. I'm not ready to say goodbye just yet and he still acts like he's desperate to do the things he's used to doing, not that he's ready to throw in the towel. Anyway...that's my Scotch update for the day. Thank you for listening.
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This is a 2 photo panorama which is slowly becoming one of my favorite ways to present a fuller picture of what I'm seeing than 18mm can offer. It gives the scene a more vast feeling and the gentleman on the right next to the rocks helps provide a powerful scale. It rained the previous night and into the morning that Sunday I headed to Venice and I was hopeful I'd luck out and see no more rain despite bringing 2 umbrellas just in case and my 1 non dry clean only hoodie. While it never rained another drop in the few hours I was there, it definitely felt like it would. I could see rain clouds and parts of storms way off in the distance and the clouds on the right were hovering just about the Santa Monica Mountains creating an almost misty fog.
For the most part, the sky remained primarily dark blue, even an hour before sundown when I first arrived. It was one of those gloomy autumn days that's just much darker than others from start to finish and in my opinion, one of the more interesting weather days I've encountered here. It was incredible dark other than the few spots where the sun was exposed and it made it a little tricky when gauging exposure. Too dark took all the detail from those moody blue clouds and foreground but too light overexposed the bright areas badly. This is only a 2 part panorama and i obviously used the same settings for both frames but the scale is even more tremendous on the 4 panel panorama I'll post later. That overexposed area by the sun is huge by itself, smaller in this shot and almost insignificant in the larger panorama. it's quite a treat when I view the 3 images together. In that 4 panel pano, the man by the rocks would be a tiny little speck and the bright sunny spot on the left is a small detail in the middle of the larger panorama.
It's quite surreal, in fact, to see the changes in scale in those images, though it's much more difficult to get waves to match right when adding more panels. Originally when I first would attempt a few panoramas after I arrived here 10 months ago, I'd literally just set up the first shot, pan a third of so to the side, shoot again and go back to the long exposures or whatever I was shooting at the time. When a few started to turn out well, I spent more time trying to compose the image. I'd find a shutter speed that allowed me to fire off one shot after another, hoping to get about 3 or 4 at each position in the panorama and then reverse back to where I started doing the same thing at each point. The goal for me was to shoot fast enough for the clouds to remain mostly static for purposes of merging and then have 1 image from each position mostly match up to the waves. Unlike a traditional panorama where clouds might be the only moving piece, I'm dealing with clouds, waves and the accompanying surf and reflection. Sometimes the 15-20 shots just don't match which is often quite frustrating, but so far, it's mostly worked out. I try the combinations in lightroom photomerge until one is either way better visually than the other versions or one simply is closer to matching the waves and then I use the heal and stamp brush to just smooth out the joints. This pano only required about 30 seconds to match, since it was one tiny section of wave that needed adjusting and honestly at this size, no one would've noticed it other than me unless you were actively looking for it.
I'm starting to get a bit backlogged with photos to post again from my recent trip here to Venice (and some from the previous visits there this fall), last week at Hermosa Beach, the few days at Hollywood Bowl Overlook and of course more Scotch portraits so hopefully I can continue my daily posts for a while. For those who do read these incredibly long descriptions, I truly appreciate it and value your accompanying feedback. I'm also very grateful for all the support I've received here regarding my aging buddy Scotch. This is all unfamiliar territory for me so talking about it gives me a great sense of relief in some ways. I'd tell him about the kind remarks but he can't hear anymore and he doesn't read lips as well as I do :)
WHEN & WHERE
Venice Beach
Venice, California
October 30th, 2016
SETTINGS
Canon T4i
EF-S 18-135mm IS STM
@18mm
ISO 100
f/13
1/13th second
CPL
2 shot panorama
Wide-angle, surface-level view of one of the waterfalls in Pucks Glen. I call this waterfall the Sometimes Waterfall as often it is little more than a dribble.
I went for the low angle shot to show how the setting sunlight was being filtered through the freshly sprouted grass.The background has one of the many barns located in the farmlands of Palmer. Also in the background is the ever majestic Pioneer Peak
Just a quick return visit to one of my favourite trees on the walk around Alton Water. Wanted to make sure it had survived all the storms earlier this year so I can return in Winter for the 'real photograph' hopefully!
Le plus intéressant... | Ma carte | Mes classeurs | Mes albums
A partir de la droite :
- n°10 : la « Maison de l'Arbre d'Or » ou « Maison des Brasseurs » (Den Gulden Boom ou De Brouwershuis en néerlandais) est une maison de style baroque, construite en 1696, entre la « Maison du Cygne » et la « Maison de la Rose ». Elle fut la maison de la corporation des tanneurs, puis celle des tapissiers, avant de devenir la maison de la corporation des brasseurs. Ornée de sculptures par Marc de Vos et Pierre van Dievoet. Lors de la construction de cette demeure, l’architecte Guillaume de Bruyn prononça la phrase célèbre : « Vous avez eu la conscience de travailler pour l'éternité ! ». Cette maison est surmontée par la statue équestre de Charles Alexandre de Lorraine qui fut installée en 1752 en remplacement de celle de Maximilien-Emmanuel de Bavière gouverneur lors de la reconstruction de Bruxelles.
- n°11 : la « Maison de la Rose » (De Roose en néerlandais) est une maison de style baroque construite en 1702 et restaurée en 1901, entre la « Maison de l'Arbre d'Or » et la « Maison du Mont Thabor ».
-n°12 : la « Maison du Mont Thabor » (Den Bergh Thabor en néerlandais) est une maison de style baroque construite en 1699 et restaurée en 1885, entre la « Maison de la Rose » et la rue des Chapeliers, au sud de la place.
sur la gauche :
- n°13 (avec sa statue en bas à gauche), fait partie d'un ensemble de 7 maisons, dit Maison des Ducs de Brabant, regroupées derrière une même façade monumentale dessinée par Guillaume de Bruyn et modifiée en 1770, appelée ainsi à cause des bustes de ducs de Brabant qui l'ornent. Restaurée entre 1881 et 1890. Le numéro 13 porte le nom de "La Renommée", du nom de sa statue.
- n°12A (vers la rue des Chapeliers) : la « Maison du Roi de Bavière » (néerlandais : Koning van Beieren), parfois appelée « Maison d'Alsemberg », est une maison de style baroque située au no 12A de la Grand-Place de Bruxelles et aux numéros 2-4 de la rue des Chapeliers, à droite de la « Maison des Ducs de Brabant ».
Bruxelles | Région de Bruxelles-Capitale | Belgique
Brusells Belgie Belgium voyage tourisme façades décoration or fenêtres ciel nuages contre-plongée ville ancienne
A cluster of tulips in pink, red, and yellow rises from a mulch bed on an Oak Park front lawn, a Victorian porch softly blurred in the distance. Spring arriving at street level.