Three superimposed photographs in Photoshop.

In the afternoon the previous photo was taken, I’ve took three more photos: one from the Sé cathedral and two more of the chestnut’s lady. I don’t know why, but the film didn’t rolled… so the result was this multiple exposed frame. Fortunately I didn’t miss the other one! This expectation is the magic of film =)

Braga, 06.03.2010

Camera: Canon AE-1

Lens: Canon 50mm f/1.8 1/250

Film: Ilford HP5+ 400 ASA

Walking San Antonio

OLYMPUS DIGITAL CAMERA

Just playing with multiple exposure settings on my camera outside the window of my apartment in Paris.

Wallscape

www.bbc.co.uk/news/10096649

Accidental 12 exposures in New York.

First Exposure:

SONY DSLR-A550

1/10s

f/6.3

ISO 200

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250mm (35mm equivalent: 375mm)

Sigma 18-250mm F3.5-6.3 DC OS HSM

Second Exposure:

SONY DSLR-A550

1/10s

f/6.3

ISO 200

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250mm (35mm equivalent: 375mm)

Sigma 18-250mm F3.5-6.3 DC OS HSM

www.sienafallsmedia.com/callandresponse/fragile/

Scanned from film - taken during the 1980s

I love this photo, but it's hard for me not to concentrate on the technical flaws.

Look carefully and it will show.

Carl Zeiss Biotar 75/1.5

Occasional Flickr post these days to keep a presence

AP Art Studio Skeleton Study.

multiple exposures

Kodak 35mm 400 Arista

Pentax K1000, SMC Pentax FA 320mm Zoom lens

C-41 color process ©2013auxiliofaux

a 5 exposure HDR of one of the nicest fords you'll ever see. and what a parking spot! check out the reflection in the back window

I was walking far from home

Where the names were not burned along the wall

Saw a building high as heaven

But the door was so small, door was so small

I saw rainclouds, little babies

And a bridge that had tumbled to the ground

sometimes distance makes things all a jumble..

A Dogs' leash that had caught my attention.

Six moons, taken at intervals with dslr and stacked. Taken the night before the January lunar eclipse here in Australia. Just as well because the cloud cover was 8/8 on the night of the eclipse.

Decide upon an emotion you wish to convey, use that as your guide to build your story.

— Ian Teh

Ian adds…

“One of photography’s greatest strengths is its ability to emote through its ability to suggest. How would you frame your image based on the emotion you have decided upon? What colours will you use (or not)? What details will you include (or not)? What elements will be a constant recurrence in your story? These are just some of the thoughts that you could ponder upon. This reductive process helps define a framework that will guide you into capturing that distinct emotional note you are looking for in your story.”

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Emotion: Devotion

andy. wellsboro field. pa . longwaytothesea.tumblr.com/

another Camber beach house

multiple exposures

Kodak 35mm 400 Arista

Pentax K1000, SMC Pentax FA 320mm Zoom lens

C-41 color process ©2013auxiliofaux

Processed with VSCOcam

Wallscape

Odd how strange reflective moods suddenly pop up and vanish just as quickly. The way a melody and lyrics can suddenly be found from 40 years or more earlier on the tip of your tongue.