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Please view Large on Black. Windmill. Turri Road, San Luis Obispo County, California.
Captured July. 22, 2013. Captured with Canon EOS 5DIII, Canon EF16-35mm f2.8L IS USM at 35mm, f 20 @ ISO 100. Tripod. Long Exposure (2 minutes, 2 seconds). 10 stop B+W ND filter plus 3 stop B+W ND filter. Post Processing with CS5, NikSoftware ColorEfexPro 3.0 (Tonal Contrast) and SilverEfexPro 2.0
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THANK YOU for looking at my image and making comments. I appreciate your support and feedback. If you fav. I would also appreciate a comment.
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Merit Award in Black and White Magazine 2013 Portfolio Contest. 2 page spread, page 88/89 June 2013 Portfolio Special Edition #98.
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© Copyright notice:
© James A. Crawford, All Rights Reserved
All photographs within my flickr account are protected under copyright laws. No photograph shall be copied, reproduced, republished, downloaded, displayed, modified, transmitted, licensed, transferred, sold or distributed or used in any way by any means, without prior written permission from me. This pertains to all my images.
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ABOUT THIS IMAGE
Windmill on Turri Road
I was out photographing with Stan Yoshinobu, my neighbor and good friend. There were some good clouds out so we decided to drive out to Montana de Oro and as we did we detoured through Turri Road. There is an old windmill and by chance the clouds were just right. By the way, by the time we got to MdO, the fog had come in. So much for photographing a brilliant sunset.
Please view Large on Black. San Miguel, San Luis Obispo County, California. Captured June 18, 2013. Captured with Canon EOS 5DIII, Canon EF24-105mm f4L IS USM at 45mm, f 20 @ 304 sec (5 min-04 sec.) ISO 100. Long Exposure, Tripod. Stacked ND Filters. B+W 10 stop 110 plus B+W 3 stop 103. Total 13 stops. Post Processing with CS5, NikSoftware ColorEfexPro 3.0 (Tonal Contrast), Dfine 2.0, and SilverEfexPro 2.0
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THANK YOU for looking at my image and making comments. I appreciate your support and feedback.
***************************************************************************************************************
Merit Award in Black and White Magazine 2013 Portfolio Contest. 2 page spread, page 88/89 June 2013 Portfolio Special Edition #98.
***************************************************************************************************************
© Copyright notice:
© James A. Crawford, All Rights Reserved
All photographs within my flickr account are protected under copyright laws. No photograph shall be copied, reproduced, republished, downloaded, displayed, modified, transmitted, licensed, transferred, sold or distributed or used in any way by any means, without prior written permission from me. This pertains to all my images.
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Scored a deal and got a Nikon SB600 for under 100 bucks, hardly used, in great condition, so even if the SB600 is no longer supported and discontinued, I just can't pass up that deal. I then proceeded to have more off shoe flash photographny fun.
Shooting Information:
Nikon D5000
Sigma 17-50mm f/2.8 EX DC OS
Manual
1/180th @ 17mm zoom, f/13
ISO 1000
Off Shoe Flash Fired
Off Shoe Flash Information:
Yong Nuo RF602 Trigger
1 x Nikon SB600 Flash @ 1/8th Power
Under the umbrella and bounced off it
Flash diffuser used
Post Processing Information:
Adobe Lightroom CC 6.8
Adobe Photoshop CC 2017
Nik Software Silver Efex Pro 2
Not Cropped
The round building in the center is the Rose Garden. The NBA Portland Trailblazers play their home basketball games here. The towers to the far right is the Portland Convention Center. Working with my wide angle lens this week.
Have a wonderful week, my friends : )
Please [Enlarge] or view in [Light Box]
shoot with Joel Tjintjelaar in the province of Zeeland in Holland
image #3 from umbrella series
L view in light box
Technical info:
ND110 - 10 stops.
f/22
ISO100
10 mm
61s (1min01s) exposure
Software:
Lightroom 3.0
PS CS5
Nik Software Silver Efex Pro 2
Nik Software Dfine 2.0
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© 2011 Kees Smans
Please no awards/banners/images in the comments.
Links to my websites can be found on my flickr Profile
Dedicated to Saint Peter, the abbey church of Champagne is not located, as one would think, in the bubbly-producing hills of northeastern France, but much further south, on the banks of River Rhône, between Lyon and Valence, in the northern part of the département of Ardèche, i.e., in the old province of Vivarais.
Stylistically, this large church, built right next to the busy and noisy thoroughfare that Highway 86 is today, is very homogeneous and was built around 1150, replacing an older, 11th century church of which two capitals have been re-used in the nave. Numerous sculpted fragments from the previous church were also gathered as demolition progressed and reinserted haphazardly in the new one. But built by whom exactly, and for what exact purpose? That is much more mysterious.
From the scant written evidence that has come to us, we can surmise that it was originally built by the Albon family of powerful local lords, probably for regular canons of one or the other obedience. In 1275, it has become a priory of the Benedictine abbey of Saint-Chef. In 1172, the canons of the chapter of the Saint Maurice Cathedral in Vienne had given a number of churches to the abbey of Saint-Chef, but the charter doesn’t specify which ones. If we are right in thinking that the Champagne church was originally owned by canons, it is possible that those canons were the ones from the Vienne chapter, and if so, the Champagne church may have been among those turned over to the abbey in 1172. The deal would have been facilitated by the fact that, from 1119, the archbishop of Vienne was also the protector of the abbey of Saint-Chef. Furthermore, it has been noted (in particular in my Zodiaque collection reference book, Vivarais et Gévaudan romans, by Robert Saint-Jean) that the Champagne church offers many similarities with the abbey church of Saint-Chef, in a more accomplished version, as the former came half a century after the latter.
The link between Saint-Chef and Champagne, however, did not last. Because of deep and enduring management problems at Saint-Chef where the monks could not elect a new abbot, the archbishop of Vienne was first appointed as abbot ad perpetuitam by a papal Bull of John XXII in 1320. A second Bull, in 1328, took away from the abbey the Saint Peter Priory, under the pretext that its income was not sufficient to support the prior and his monks. The church then became a simple parish church. However, let’s not forget that, at the time, the Rhône River was the border between the kingdom of France and the Holy Roman Empire: the archbishop of Vienne had his seat on the left bank, on the Empire side, while the Saint Peter Priory was on the right bank, on the kingdom side; the archbishop may have wanted to be able to take refuge in France in the event things went sour on the Empire side... which would explain why the priory compound was indeed fortified at the same time!
Seriously damaged during the Wars of Religion in the 1560s, the church undertook important repairs during the early 1600s: it is then the the three cupolas on squinches roofing the nave were put in place in lieu of the previous Romanesque barrel vault. The church, much too big for such a small village, continued to degrade over the decades. By 1750, the upper floors of the tower-porch that framed the western entrance were in ruin, and one century later, what was left of that tower-porch was razed to allow for the enlargement of what was then the royal road number 86. This veritable act of vandalism prompted the authorities to protect the monument in 1854 by listing it as a Historic Landmark.
A systematic restoration took place between 1888 and 1894, during which (it is a rare enough occurrence to be duly noted and lauded!) all the add-ons erected after the end of the Romanesque period were eliminated. The original church was saved. In 1968, three regular Augustinian canons from a Swiss convent came and settled in Champagne, reviving the Saint Victor offshoot of the Augustinians which had been dead since the French Revolution. They proved extremely successful and in 1976, Pope Paul VI elevated the priory to abbey status. Today, the church is both canonical and parochial.
However, the very exceptional characteristic of this abbey is that, because the original monastery buildings had been destroyed after the French Revolution and replaced by ordinary village houses, the Augustinians had to build anew where there was space available, i.e., a couple hundred meters away from the church...! Thus, there is no proper enclosure, the canons live in the middle of the village, and walk across it to go attend to their duties. This is much too in sæculum for my taste, and not a proper way to practice the life of a so-called “regular” canon. I understand the appeal that the church may have had, but my opinion is that, owing to the present-day configuration of the village, it should have been deemed unsuitable. Likewise, the liturgy of this congregation does not truly meet with my approval, the same way “reality TV” doesn’t: a floor-heated church, cleverly designed lighting everywhere, a discreet and elaborate sound system... quite a bit too Hollywoodian for me. But obviously, just like reality TV, it does have its appeal.
Here we are still on the tribune, but in the southern arm of the transept. The space here was used as a chapel, with this small semi-circular apse recessed into the thickness of the transept wall.
There are almost no historied capitals in this church. Therefore, these two are all the more notable; even though they are not truly historied per se, the do show a human figure among the vegetation. I even believe the human figure to be naked, which is strange in such an elevated place where you’d rather expect to find Saint Michael...
Just returned from a wonderful trip to WDW. A bit wet, but still magical.
Bouncing along the Safari, we were fortunate to see these two beautiful creatures out and about.
Thanks for looking.
View at the world's most luxurious hotel Burj Al Arab. Dubai, UAE.
Post-processing: 3 manual blending exposures processed with CC. Some more adjustment was done by Nik software (Pro Contrast, Remove Color Cast, Darken/lighten Center)
Nikon D300s & Tokina AT-X 11-16mm f/2,8 DX
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©2014 Marek Kijevský, all rights reserved
Another shot from my visit to Knole Park in Sevenoaks. So much open space to enjoy.
Hope you like :)
Wonderful tree blooms out in the yard. Not sure what kind of tree this is. If anyone can tell from these blooms it would be much appreciated Used Nik Color Efex Pro 4's Detail Enhancer
Ask around what are the two most iconic symbols of Gothic architecture and art, and the answer will likely be: stained glass windows and rib vaulting.
In both cases, that answer will be wrong: those wonders, on which Gothic cathedrals built their worldwide reputation, are... Romanesque! And they were not just invented and barely tested at the time of Romanesque, they were actually implemented again and again, and perfected along the way over at least one century before Gothic happened. Much more than the definitive breaking point it is often purported to be, the advent of the Gothic was much more a smooth and slow transition, largely calling upon concepts, methods and techniques created and improved during Romanesque times.
As regards stained glass, the oldest still in place is the Ascension Window in the Le Mans Cathedral, which could be as old as Year 1100, possibly 1120–40. The windows in the Augsburg Cathedral in Germany also have a strong claim to the title of oldest Romanesque stained glass window. I hope to be able to photograph all of them some day.
Now, and coming back to our main subject, the rib vaulting (in French: voûte sur croisée d’ogives, or more simply voûte d’ogives), experts agree that, even before the cathedral of Durham in England, it was first experimented in the abbey church of Lessay in Normandy, which stands in the Cotentin peninsula, today the département of Manche. This new, revolutionary vaulting system could be as old as 1090, at least for the apse, choir and transept. Let us remember that this was also the time when other Benedictine monks, in Burgundy, were experimenting the “broken”, or “pointy” Romanesque arch in the Cluny II abbey church, on which construction began in 1088.
The beginning of the nave is also very old, as will be explained below. Its western part may have been built a few decades later, around 1130–40 —but even so, at that time we are still fully within the Romanesque Age, which did not come to an end until 1200 at the earliest —and of course such a clean cutoff date is only symbolic and does not correspond to any actual reality.
The abbey church of Lessay was miraculously saved in the 1950s by Yves-Marie Froidevaux, Chief Architect of Historic Landmarks, after it was severely damaged by the mines detonated by the Nazi army before it retreated after the D-Day landing of June 1944. The restoration Froidevaux carried out, re-using most of the old stones wherever it was possible, today remains an example of a successful and respectful restoration.
Dedicated to the Holy Trinity, this church may look less impressive from the outside than the one in Cerisy, of which I uploaded photos a few days ago. Its apparel is mostly of local shale stones. The cut stones are limestone from Yvetot-Bocage near Valognes, a stone of a lesser quality compared to the famous pierre de Caen, which is also used here, but quite sparsely. Prima facie, this vast church offers more similarities with the humble parochial ones to be found locally in the Cotentin, than with “the great monastic architecture”, as Lucien Musset calls it in the Normandie romane book published by Zodiaque.
As you step inside, however, the architectural and religious message resonates with all its majesty and might. Contrary to Cerisy, this nave retains all of its rows; its perfect proportions are ample, elegant and powerful. They fascinate the first-time visitor.
In the oldest rows of the nave, toward the transept, the ribs fall on “nothing”, for lack of a base or an engaged column to receive them. Such an approximation denotes an incomplete concept, enthusiastically adopted but not yet fully developed.
However remarkable and iconic it may be, owing to the very first use of rib vaulting in human history, the abbey church of Lessay fails to satisfy the lovers of Romanesque sculpture, which is almost absent. This does not come as a surprise in a Norman Romanesque church. Some capitals are sculpted, but they are often the most distant, way up high at triforium level, and the other are only prepared for sculpting, rarely decorated with hooks or gadroons.
The modern stained glass windows were put in place after the ravages of World War II. Somehow their symbolic, leafy motifs, or the more abstract ones as shown here, based on entrelacs, manage to capture, in my opinion, the essence of the Romanesque. They let the “light of the Romanesque” flow in...
Please view Large on Black. Long Exposure. North Morro Bay, California. Feb. 18, 2013. Captured with Canon EOS5DIII, Canon EF24-105mm f4L IS USM at 28mm, f 20 @ 316 sec., ISO 50. Long exposure, Tripod. Post Processing with CS5. NikSoftware SilverEfexPro 2.0. Stacked ND Filters B+W 10 Stop and B+W 2 Stop.
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THANK YOU for looking at my image and making comments. I appreciate your support and feedback.
*************************************************************************************************
© Copyright notice:
© James A. Crawford, All Rights Reserved
All photographs within my flickr account are protected under copyright laws. No photograph shall be copied, reproduced, republished, downloaded, displayed, modified, transmitted, licensed, transferred, sold or distributed or used in any way by any means, without prior written permission from me. This pertains to all my images.
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ABOUT THIS IMAGE:
On this day, which was overcast and drizzly, I decided to drive north along the coast and capture long exposure images. After getting some good images near San Simeon below Hearst Castle I headed back. I stopped at a vista point to view Morro Rock and maybe capture a long exposure. My eye caught some benches and the light went off in my head. The result was another image to add to my series on “Benches”.
www.flickr.com/photos/jacrawf/8408763309
IIRC, her friend in the green dress and wolf head-dress said she was cosplaying an original character from some game (D&D, WoW, or something like that).
Marina Dubai, view from Palm. Cityscape was shot during the sunset of foggy day.
Processed with HDREfex Pro by Niksoftware (3 exposures) Some more adjusment was done also by Niksoftware (Pro Contrast, Detail Extractor, Silver Efex)
Reflection made by new layer in CS6
©2013 Marek Kijevský, all rights reserved
Taken a week ago, converted to B&W with Nik Silver Efex, then adjustments were made with Luminosity Masks in CS6.
The elegant village of Semur, listed as Un des plus beaux villages de France (“One of the Most Beautiful Villages in France”), although I am not at all sure it deserves the title when compared to truly stunning villages such as Èze, Pérouges or Collonges-la-Rouge, is the capital of the small barony of Brionnais, at the extreme southwestern tip of the old duchy of Burgundy.
The Semur family of local barons would have gone basically unnoticed through History, had it not been for Hugues, born in 1024, who went on to become probably the most famous abbot of Cluny, having succeeded Odilon de Mercœur from 1049 until 1109. Builder of the so-called “Cluny III” abbey church, the largest ever in Christendom, he considerably expanded the Order of Cluny (which was part of the Benedictines) all over Europe during his 60-year abbacy.
One of the most powerful people (and one of the most learned minds) of his time, later canonized by the Church as saint Hugues (Hugh in English), he sent architects and builders from Cluny to his native small town of Semur-en-Brionnais to build this church dedicated to Saint Hilaire (Hillary in English). Hugues himself never saw the church being built, as its oldest parts (traditionally, the apse and apsidioles, the choir and transept, and the beginning of the nave) were erected during the years 1115-1130, but then construction was interrupted and did not resume until around 1170. The portals were finished and decorated during the 1180s, towards the end of the Romanesque age, at a point when many consider the Romanesque art was already “perverted” by mannerisms announcing the age of the Gothic.
Saint-Hilaire was turned into a college church in 1274 when Baron Jean de Semur and the bishop of Autun jointly incorporated a college of 13 canons to take care of the Opus Dei in the church. Damaged during the Hundred Years War (1364), and yet again during the Wars of Religion (1576), the church was listed as a Historic Landmark in 1862 and the stone vaulting which had been destroyed and replaced temporarily by a timber roof, was rebuilt.
Being the last Romanesque church ever built in the Brionnais, Saint-Hilaire skillfully incorporates tradition from the local art, and inputs from the most noble and powerful house of Cluny, which was then undoubtedly the dominant power in Western Christendom, above and beyond the Pope —in practice, if not in principle.
The magic of the Romanesque stonework. Here, the quality of the jointing is visible and quite remarkable, and the light creates a chiaroscuro that makes the stones sing softly...