View allAll Photos Tagged nitecore
I took this earlier this summer when we were visiting the California Coast near Bodega Bay. Here we see a selfie of me playing with my new super-duper powerful LED Nitecore flashlight under the gorgeous Milky Way and light pollution of San Francisco.
Image Notes: Image is a composite, one frame for everything but the ocean detail which was light-painted in a separate shot by the same Nitecore flashlight on a lower setting with a diffuser in use.
It was surprising how prominently the Milky Way was from a location so close to San Francisco. The light pollution is visible (especially on the left side) but doesn't manage to overwhelm the beauty of the Milky Way to the west thanks to a huge dark Pacific Ocean.
Image Notes: two exposures, one for foreground and one for sky. Blended with luminosity masking and light painting by me with a Nitecore EA4 neutral LED flashlight.
Waving a Denis Smith made lightflute CH48 across the hidden bridge in Banks Street Reserve, Brisbane.
Cool white Convoy S2+ as the light source. Red cellophane was placed in the Universal Connector, which created a peachy / orange colour (though it appeared pink to my eyes).
Nitecore NU20 CRI headlamp used for light wash and starburst. Neutral and warm white Convoy S2+ illuminating underneath the bridge.
Post processed from single RAW exposure in Adobe Lightroom 6.
Playing with cool white EL Wire at Banks Street Reserve, Brisbane.
A little bit of foreground lighting added from Nitecore NU30 headlamp. In hindsight I should have done some more EL wire wiggling in the foreground, but the subsequent longer exposure could have over-exposed the street-lit background.
Post processed from single RAW image in Adobe Lightroom 6.
We had a massive bank of clouds move in Saturday cutting our Perseid viewing short. Nonetheless, I managed to catch a few meteors before it clouded over and we still had a blast!
Image notes: this is a composite image combining all the meteors I recorded by the time viewing was no longer possible. I used my new Nitecore EA4W flashlight with a diffuser on to subtly light paint a bit of the foreground to add interest. The orange glow is from Laramie, WY light pollution. Given the paucity of meteors it made me feel lucky I got to see so many the week prior in the dark skies of Nevada's Great Basin country. And I'm pretty sure the base frame I used has a satellite here as well.
Looking up at the night sky in Joshua Tree National Park in the California desert.
I wanted to create a sense of wonder and awe, from the perspective of the subject, by drawing a connection between the vast stars and the small, insignificant boy. The desert helps to pull it all together with its own vast expanse.
This spot, about a stone throw away from Keys View, had some promise for the shot. Alas, nothing spectacular during the golden hour but once the stars came out it was a different story... beautiful.
My son is holding a 2650 lumen Nitecore TM15 with three Cree XM-L U2 LED emitters... all to say one heck of a powerful flashlight. The light around him is falloff from the glow of this powerful beam. Poor kid had to hold really still for about 10 seconds while the shutter was open.
Anecdotally, we had spent the whole day in Joshua Tree without any good weather (bright, without a cloud in the sky). The following day, while driving home, the area had the most dramatic clouds I have ever seen. Timing is everything... too bad mine was off.
Waving around a lighflute amongst some subterranean pillars. Denis Smith made lightflute CH48, connected via LPB Universal Connector to a Nitecore P10GT flashlight. f/8, 30secs, ISO100. Post processed from RAW exposure in Adobe Lightroom 6.
Autumn Memories
After so many old shots something new from the past autumn, a shot a little different compared to my approach, I mean I took this shot from the train window for reaching the splendid village of Wengen. What a great time! I love those placid moments when you are just enjoying the beauty of nature around you.
In collaboration with
Gitzo LucrOit Leica Camera Leica Akademie Italy Lowepro Nitecore Flashlight
PROCESSING VIDEOS HERE
A few simple ingredients at play here, all held together by a new accessory from Platypod – flexible gooseneck arms attached to their Platypod Max as a “base of operations” that performs exceptionally well for tabletop macro work! Pre-order them here: platypod.com/tripods/gooseneck - see them in use in my behind-the-scenes image, which showcases how versatile such a configuration is: donkom.ca/bts/IMG_20190929_145303.jpg
Attached to the goosenecks, you can use just about anything to clip things together. Commercially available “crab clamps” can be obtained for a few dollars, but you can even just drill a thread into a clothespin which has a nice soft clamp for wildflower seeds like this Goat’s Beard (Salsify) seed head. I’ve loved these seeds because of their spider-web like appearance, and harvest a bunch of them from my city’s waterfront walking paths during the summer months. They’ll last me until they go to seed again the next year!
This image is novel for a number of reasons, beyond the cool gadgets I get to play with to make these setups easier and more robust. Another point of simplicity is that this image is not taken with a macro lens, nor was it focus stacked! This is the magic of the high-resolution mode in the Lumix S1R. Of course this isn’t the only camera with such a feature, but it’s proving to be quite the advantage to get better depth of field in macro work without sacrificing resolution! How does this work?
The closer you get to your subject, the shallower your depth of field will become. Traditionally, to get an image of water droplets with visible refractions, you would have needed to be shooting at 1:1 macro magnification or beyond – putting extension tubes on a macro lens. What if you could intentionally shoot from farther away, and drastically crop in? This would work, but you’d be left with a very low-res image as a result. Advancements in technology allow you to overcome this.
Imagine shooting a 187MP image, which is possible with the Lumix S1R, and then intentionally throwing 90% of it away by excessively cropping. You’ll still have just under 19MP worth of image data to work with, and I had previously been shooting with 18-20MP cameras for my entire professional career. This image is shot with the 24-105 F/4 kit lens, which while it focuses closer than my old Canon 24-105L lens, doesn’t need to be a macro lens.
Because the high-resolution mode (also available on the MFT Lumix G9 and full-frame Lumix S1, as well as many other cameras) requires continuous light and a stable camera, this was shot with an ultra-bright LED flashlight and the camera was on a tripod. My current favourite LED light is the NiteCore SRT7GT, which also includes red, blue and green LED for light painting: www.bhphotovideo.com/c/product/1336259-REG/nitecore_srt7g...
Open House Under The Stars -
Last night I was able to create the image I had always envisioned from this location. Over the last 2 years I have been to this little cabin near Briggsdale, Colorado about 10-15 times. By using PhotoPills I knew where the Milky Way would rise but each time I went I was clouded out. Finally, yesterday we had not 1 single cloud in the sky all day long. I knew this was my chance. This image is 21 stacked images for noise reduction.
Each images was shot at 6400 ISO, 15 seconds, F/2.5 with a Sigma Corporation of America 14mm 1.8 Art Lens.
The inside of the cabin is lit up with 2 Nitecore LA30 lights. Outside of the cabin was lit by a single LLL LED Panel positioned far to the left on the lowest possible setting.
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Cueva marina de Berria, iluminado en el exterior por Kike con linterna Nitecore TM26GT (Agosto 2016) yo dentro con linterna cálida
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It begins! Last night we had temperatures dipping into the range for freezing soap bubble photography (between -8C and -20C) and I took advantage… always trying to experiment. Read on!
I’ve been envious of freezing bubble images from other photographers that use the setting or rising sun as a light source for an orange glow. We have tall hedges and trees that block the low angle of the sun from hitting our backyard, but I discovered a way to approximate the same effect: coloured filters over my flashlights.
I recently picked up a kit of 52mm filters in so many different colours from K&F Concept: www.kentfaith.com/52mm-filters/SKU0834_52mm-filter-set-fu... . I didn’t have much intension of using the filters on my camera (though some creative concepts have come to mind), but rather to colourize light sources. The orange filter was on the primary flashlight shining from behind as backlighting, and I added a blue filter to a second light illuminating the foreground to add a bit of colour contrast and separation. Without the blue, it looked like I could have just faked the effect in Photoshop.
This is mostly an out-of-camera photo, with a bit of cropping and processing for structure enhancements done in ON1 Photo RAW 2019. Loving how it can bring out details in fine textures like this, it’s more and more becoming the starting point of any image edit rather than Lightroom. A complex edit to remove a catch-light from the blue flashlight needed to be handled in Photoshop, but this is otherwise an all-natural in-the-field creation.
A bright backlight is important for the best quality results here, the brighter the better. I’m using a NiteCore Tiny Monster TM36 (now replaced by the TM38: www.bhphotovideo.com/c/product/1364873-REG/nitecore_tm38_... ) which has 1800 lumens from a single LED. The singular LED is important, because I use a simple sheet magnifier / Fresnel lens (www.amazon.com/Opticlens-Magnifier-Plastic-Magnifying-Fre... ) to refocus the intense light down to just the footprint of the soap bubble. This allows me to shoot at low ISO settings and small apertures without getting any motion blur from the growing crystals.
Shot on the Lumix GX9 with the Leica 45mm F/2.8 macro @ ISO 200, F/22, 1/250sec. Even at F/22 the focus starts to fall off quickly when you get up close, so the bright light is always helpful.
This image is the proverbial tip of the iceberg. There were other images from the same session that I’ll post soon, but the gears are spinning in my head with new experiments and additional lights for some fun effects. Images like this are constructed by the photographer, becoming an artist of many facets. Because of that, there is always more to explore.
A trifecta of URBEX, light painting, and a very windy thunderstorm. Illumination from two quick bursts of light from a Klarus XT2CR flashlight, foreground wash from a Nitecore NU20CRI headlamp, and a billion volts of electricity. f/8, 20secs, ISO800. Post processed from RAW exposure in Adobe Lightroom 6.
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Primeras rampas en la mina de Udías, iluminado con la potente linterna Nitecore TM26GT
Agradecimientos al Club Cántabro de exploraciones subterráneas
Más información del C.C.E.S en su blog:
Web de fotografía nocturna --| www.josemiguelmartinez.es
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Highway A1 to Amsterdam, Made in a bussy evening traffic at Hengelo, My home city. Driving this highway every day nearly for work, @PowerspeX.
What happens when you place a soap bubble on top of an ornate cluster of quartz in freezing temperatures? It feels like the permanent quartz gives way to a much more transient crystal inside the bubble, resembling snowflakes rising from the stone. View large!
This was an experiment, as I have had many this winter. I wanted to see if I could combine what we normally associate with crystal (gems and precious minerals) with what falls from the sky, also a crystal – snowflakes. As a proxy to the snowflakes I’m using a freezing bubble to create snowflake-like crystals rising up in a sphere of ice. To put it lightly, this was a difficult image to take!
First, the quartz needed to be left outside for a few hours to acclimate to the cold temperatures and function as a catalyst for crystal formation in the bubble. Second, I needed to blow a number of test bubbles in the same region to adjust lighting, angles, and general composition. Third, while the bubble is actively freezing I need to move in with the camera and take the shot at the exact focus point required, handheld of course!
Many smaller crystals are all forming near the bottom of the bubble, because that’s where things are the coldest. If the quarts was too warm, the bubble might freeze from the top down or not at all before bursting. I try to acclimate my “ingredients” to be all the ambient temperature, but it’s hard to say exactly how much time an object requires. One can assume that a branch from my Christmas tree needs less time that a mineral sample, but the exact values elude me. I probably give more time than required! I purchased this piece of quartz specifically for this experiment, by the way!
The first bubble I blew surprisingly survived on the pointy crystals, and allowed me to do most of my camera and lighting adjustments. There are two lights – one for the bubble illumination and one for the quartz illumination. The light used to make the bubble glow is a NiteCore TM36, which has a slightly diminished brightness in the center due to its singular parabolic reflector. This shifts the colour slightly as well, giving the blue tones towards the top of the bubble. The quartz specimen is lit with a Nitecore TM26 with four LEDs and a more diffuse pattern, aimed as exclusively as possible to the crystal below.
I shoot most of my macro work handheld, and this is no exception. It’s impossible to predict exactly the size of the bubble and precisely where it will land, so a handheld approach make sense to work quickly. I used my Trioplan 100 lens for this shot, which isn’t ideal but my Canon 24-105L is having some softness issues at the moment. Typically I use the 24-105 with extension tubes for 1:1 (or slightly less) macro work, but the Trioplan came to the rescue. Trioplan lenses are known for their “soap bubble bokeh”, but you would see any of that here when the lens is stopped down to F/22. Careful alignment and focusing by physically moving forwarded and back with the camera while continuously shooting allows for me to get the best focus somewhere in the mix of dozens of shots as the bubble freezes. This was the best of them!
Many of these tiny crystals resembles snowflakes, and if you’d like to dive into the details of snowflake science and photography, check out my book on the topic: www.skycrystals.ca/book/ - worth a read for anyone interested in winter macro photography!
Light painting at Sparkes Hill Reserve, Brisbane.
Lighting: Backlit with Convoy L6 (on high), and two Convoy S2+ (on 100%) illuminating the background. Starburst from Nitecore NU20 headlamp (on high).
Post processed from single RAW exposure in Adobe Lightroom 6.
My first attempt at making a light ghost with the LPB Light Whip, at the Fortress in Brisbane’s Grinstead Park. I added a starburst from the “heart” with a Ledlenser P7QC (on high red mode). LPB Light Whip connected via LPB Universal Connector to a Klarus XT2CR flashlight (on 100% output). Foreground lighting from Nitecore NU20CRI headlamp. f/10, 30secs, ISO400. Post processed from RAW exposure in Adobe Lightroom 6.
This type of macro work is really simple and easy to do with the right ingredients! If you’ve never done it before, here’s a quick primer. What you’ll need:
- A dandelion seed
- A gerbera daisy
- A “third hand tool” (or two!)
- A spray bottle
- An LED flashlight
- A macro lens
- Optional: A hypodermic needle
This image was shot with the Laowa 50mm F/2.8 MFT macro lens on a Lumix GX9. Simple and affordable camera gear, making a subject such as this even more approachable. Since a dandelion seed is small, if you want to fill the frame with one you’ll need more magnification than a “normal” macro lens provides on a larger sensor.
In this case, a smaller sensor (micro four thirds) will create a perceived increase in magnification. Alternatively, many macro lenses (including the one used here) push beyond 1:1 lifesize magnification and are now more commonly hitting 1.5x or 2x (2:1) magnification. Otherwise, extension tubes and close-up filters are still great ways to get closer if you already have a camera and lens you’d like to use.
Setting up the shot is simple. Clamp the dandelion seed in one of the alligator clips of the third hand tool (also called a “helping hand” tool). Do the same with the gerbera daisy, placed directly behind the dandelion seed; notice the background in this image is a darker circle? That’s the out of focus flower directly behind the seed. Alignment is key – spend some time getting these “puzzle pieces” top fit together.
The more spherical a water droplet, the better it will act like a lens – refracting an image of the flower in the background. The hydrophobic nature of most wildflower seeds means that a fine mist spray of water droplets tends to bead up into the perfect type of droplets. Don’t soak the seed, spray from a distance and let the droplets slowly accrue. The large one in the center was created afterwards with a hypodermic needle.
Finally, lighting. An LED flashlight (my current favourite is the NiteCore TM03 CRI: www.bhphotovideo.com/c/product/1278642-REG/nitecore_tm03_... ) is aimed squarely at the background. No light from the flashlight is actually hitting the dandelion seed or the droplets, all of the light in this image is reflected off of the yellow gerbera daisy in the background.
Want to learn every trick and technique about water droplet refraction photography? There is a comprehensive chapter in my new 384pg hardcover instructional book on macro photography: skycrystals.ca/product/pre-order-macro-photography-the-un... - all your questions about simple or complex arrangements are answered!
Macro Mondays - theme: one sidelight only
Each ball is 3mm diameter and there are 6 balls/inch. I used one flashlight (NiteCore EA4) off to the right aimed perpendicular to the viewline of the camera. I taped the flashlight to a small ballhead on top of a lightstand. (A stack of books would have worked just as well, but I did not have that handy.) I had black foamcore to the left and behind to block any ambient light and quell any reflected light from the flashlight.
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Mina de Udías, agradecimientos al Club Cántabro de exploraciones subterráneas
Más información del C.C.E.S en su blog:
Web de fotografía nocturna --| www.josemiguelmartinez.es
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A colourful light blade tunnel - created using sharpie ink on a light blade. Also taking advantage of the unusual PWM effect from the Nitecore P10GT. A relatively wide aperture was selected to decrease the in-focus area. LPB Plexiglass Circle (decorated, and with diffusing material on input edge), attached via LPB Universal Connector to a Nitecore P10GT flashlight. f/5, 1.6sec, ISO100. Post processed from RAW exposure in Adobe Lightroom 6.
Light painting in Brisbane’s amazing Frew Park, at a Centenary Photographic Community meet. Fire Orb created using a Denis Smith made Arclight - Fireblade, connected via LPB Universal Connector to a Nitecore P10GT flashlight (on strobe). f/9, 56secs, ISO100. Post processed from RAW exposure in Adobe Lightroom 6.
Hier noch ein Tropfen auf Tropfen-Ergebnis. Aufnahme im Highspeedmodus der Oly OMD EM1 II bei 60 B/Sek. Licht stammt aus vier Power-LED-Lampen (Acebeam K70 / X65 - Nitecore TM36 - Thrunite TN42).
Die Aufnahme entstand mit einem adaptierten Meyer-Göritz Trioplan 100mm/2,8 und einer Sony A7 II. Livebildkontrolle via TP Link MR 3040 und DSLRController via Tablet. Ergänzungslicht via LED-Lampe Nitecore P36 mit Aufsteckdiffusor.
Made with adapted Trioplan and LED Nitecore P36 with diffusor.
Used a "light whip" attached to a flashlight in strobe mode. 73 second exposure. Flares created by flashlight beam. Red flashlight for background.
The 4th photo on my “Hyperspace Bypass” series is based on a futuristic train tunnel concept. The edge of the circular light blade was decorated using red, blue, and black sharpie ink. Diffuser material was used on the input edge of the blade for more even light distribution. The photo was taken whilst moving the light blade (side on) away from the lens in an arc. Just to prove that I’m not an ambiturner, this one has a left hand curve! A relatively wide aperture was used for a narrow area of focus, and the Nitecore P10GT was used for it’s unusual PWM effect.
LPB Plexiglass Circle, connected via LPB Universal Connector to a Nitecore P10GT flashlight. f/6.3, 1.6secs, ISO400. Post processed from RAW exposure in Adobe Lightroom 6.
Casually snooping around the backup D Day tunnel network situated beneath the worlds second most expensive golf club.
The most expensive one doesn't have tunnels! 😜
"Silk Shadows"
Used 108 inch, light painting "whip" from @tubetribe @lightpaintingtubes. Used a Nitecore flashlight to illuminate whip. Model: Brenda Victoria
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Segunda "Ruta Nocturna" aunque en esta ocasión la hicimos en 4x4 por el mal tiempo
Iluminado por VrgFotografía con la potente linterna Nitecore TM26GT
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With a blast of freezing temperatures come certain opportunities – freezing soap bubbles are a fun subject, and you can stage them in dynamic ways! This a soap bubble in the process of freezing solid, perched on an iris. I’ve always thought that the three sets of petals would make for an interesting design to hold a crystal ball of sorts, so I brought that idea to life here.
First, you need temperatures at -8C / 18F or colder, with absolutely no wind. Second, you need a bubble mix that resists popping on contact surfaces – and that mix is:
6 parts water
2 parts dish soap
1 part white corn syrup.
It’s the white corn syrup that pools at the bottom of a bubble and acts like a cushion. Even still, many bubbles pop. In fact, with multiple distinct points of contact like we’re seeing here, I was only ever able to get the first bubble placed to stay intact. Every other bubble I attempt to place in the same location popped immediately. Glad I got at least one for the 20 minutes of trying in considerably sub-zero weather!
To be clear, I placed the iris outside in advance so it could acclimate to the outside temperature, freezing solid although it doesn’t appear any different than it did indoors. If I were to bring the flower back inside it would almost immediately turn into a goopy blob, as the cold temps destroyed all the cells in the flower.
The flower is backlit by a bright LED flashlight (I’m really liking the NiteCore TM03 CRI for a lot of macro work: www.bhphotovideo.com/c/product/1278642-REG/nitecore_tm03_... ), positioned almost directly behind the flower but just a bit higher so that the light source isn’t in the frame. Shooting with a continuous burst while handholding the camera, it’s easy to sway forward and back a little to get the focus and framing exactly as you want it.
Freezing bubbles are tricky because of their depth – you want some crispness to the outer edge but also the front crystals to be sharp. To get a good amount of depth here, this was shot with the Lumix S1R and the 24-105 F/4 kit lens at F/16, but with a wider frame. I was intentionally farther away from my subject know that I had plenty of resolution to crop in with. The further away you are from your subject, the greater your depth of field, giving me the best of both resolution and depth. :) The flexibility of having a rock-solid high-resolution camera cannot be understated, it allows for all sorts of limit-pushing tricks!
Shot with homemade 18" light wands and a Nitecore MT1A torch. Camera settings Shot in bulb mode at F/8
ISO 160
Total Exposure length of 208 sec
A light painting photo created for my lovely wife. Love heart created from pink bubble tubes attached via LPB Universal Connector to a Thorfire TK15S flashlight. The light from the bubble tubes meant I couldn’t hide my legs in the photo! Starbursts created from a Nitecore P10GT flashlight. f/13, 20secs, ISO100. Post processed from RAW exposure in Adobe Lightroom 6.
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Segunda "Ruta Nocturna" aunque en esta ocasión la hicimos en 4x4 por el mal tiempo
Iluminado por VrgFotografía con la potente linterna Nitecore TM26GT
Web de fotografía nocturna --| www.josemiguelmartinez.es
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La Ermita de San Esteban en Monte Corona, luz interior con la linterna nitecore TM26GT
Web de fotografía nocturna --| www.fotografianocturna.net
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Bright light is a huge help when photographing freezing soap bubbles, especially at more extreme magnifications like this. I have some excellent equipment for this, but the beams of most flashlights spread out too wide too quickly. The solution? A Fresnel lens. view large!
A Fresnel lens is better known as a “magnifying sheet” or a “pocket magnifier”. They sell them at local hardware stores for a few dollars, and similar prices can be found online. This allows me to refocus the beam of light to exactly where I want it to be, and hopefully I can get a soap bubble to form in that exact spot as well.
A cheap plastic Fresnel lens is not optically perfect, and there is some odd light bending happening that splits some of the white light into colours. These colours are more pronounced near the center of the flashlight’s beam, which is darker than the surrounding area based on the way the light is being focused. For those curious, the flashlight is a Tiny Monster TM36 with puts out 1800 lumens through a single LED: www.bhphotovideo.com/c/product/1059974-REG/nitecore_tm36_...
This image was taken at around 2:1 magnification, focusing on the growth of the frost rather than the outer shape of the bubble. There are a lot of elements at play here, and timing is everything. Finding the right angle is critical with zero time to waste, so like my snowflake work I handhold the camera for these images. A tripod is used – but only to hold the flashlight in the right position. :)
We haven’t had many days with the right conditions for this kind of work, but we might have one coming up soon. Temps are best between -10C and -20C with as little wind as possible. We’ve had three opportunities this year in my area, and the last chances are likely within the next week.
I know I’ve posted it before, but for this curious what bubble recipe I use, here it is:
6 parts water
2 parts liquid dish soap
1 part white corn syrup
The corn syrup thickens the bubble mixture and usually falls to the bottom of the bubble, taking the brunt of the impact with the snow it rests on. This prevents the bubble from popping immediately and the frost begins to grow.
I do a lot of winter macro work. For more of my snowflake work, check out skycrystals.ca/ - many of the shooting techniques are the same for snowflakes and freezing soap bubbles!
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Puente de Mirones, iluminado con la potente linterna Nitecore TM26GT dentro del agua
Web de fotografía nocturna --| www.fotografianocturna.net
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Light painting under the setting moon at Eildon Hill reservoir, Brisbane. This photo was taken shortly after having been questioned by Police as to what I was doing waving around lights on top of a reservoir. I don't think they quite understood my explanation of light painting photography, but drove off happy that I wasn't trying to poison Brisbane's water supply. Light trails from a Denis Smith made Lightflute CH48, connected via LPB Universal Connector to a neutral white Convoy S2+ flashlight (on 40% output). Followed by a quick light wash from a Nitecore HC65 headlamp. f/8, 30secs, ISO400. Post processed from RAW exposure in Lightroom 6.
Given the right conditions, photographing a soap bubble in the process of freezing can be a very rewarding exercise! Resembling snowflakes growing around a sphere, a soap bubble this freezes solid in a matter of seconds. You need to work quickly!
The colour in this image comes from a coloured filter that I place in front of my flashlight. I’m using an extremely bright single-LED light, the NiteCore Tiny Monster TM36 light with a colourized filter based on the principles of birefringence (that’s a fun word to google, if you dare!). While most of my macro work is done using instantaneous light, soap bubbles are the exception. Continuous light helps visualize the image and find the right angle very quickly.
The best temps for these kinds of creations are around -10C to -20C, and thankfully we might have another few days around those numbers soon. You’ll also need extremely calm air – even a whisper of wind could pop the bubble before it starts to freeze, or make it very difficult to place properly!
The interesting thing about these little frost stars is that they are basically floating on the surface of the bubble. The swirl around until they make contact with another crystal and bond together at that point, slowly making a complete, solid, static shape. I find them much more dynamic before they completely freeze solid, so there’s only a window of a few seconds to work with.
Physics mixed with a bit of creativity in winter weather! The world we live in is more beautiful than we give it credit for.
All of the skills I use for photographing snowflakes allow me to work quickly and effectively with freezing soap bubbles. If you’d like the inside scoop on the skills required for my snowflake work, check out my book Sky Crystals: skycrystals.ca/book/ - you’ll quickly see how the techniques for photographing such fleeting subjects almost overlap nicely!
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El bosque de cristal, iluminado con la potente linterna Nitecore TM26GT
Agradecimientos al Club Cántabro de exploraciones subterráneas
Más información del C.C.E.S en su blog:
Web de fotografía nocturna --| www.josemiguelmartinez.es
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Mi revista ONLINE ----------------| En Flipboard
Light painting in Brisbane’s unique Frew Park, at a Centenary Photographic Community meet. Fire trail from a Denis Smith made Arclight - Fireblade connected via LPB Universal Connector to a Nitecore P10GT flashlight. Ice trail from a LPB 22” Light Sword (with added blue cellophane) connected via LPB Universal Connector to a cool white Convoy S2+ flashlight. Post processed from RAW exposure in Adobe Lightroom 6.
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Primera de las "Rutas Nocturnas" de 7,6 km. Más información en mi bog: misfotosdecantabria.blogspot.com.es/2016/06/ruta-nocturna... Iluminado con la potente linterna Nitecore TM26GT
Video de la salida: misfotosdecantabria.blogspot.com.es/2016/06/video-faro-de...
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At least you can see Light Triffids coming in the dark! Creating a Triffid from light, using the LPB Light Whip and White Light Pen. Legs and body created using a Nitecore P10GT flashlight (on high and strobe respectively), connected to the LPB Light Whip via Universal Connector. The stinger created using a LPB White Light Pen connected via Universal Connector to a Thorfire TK15S flashlight (on low mode). Light wash from a neutral white Convoy S2+, and a touch of moonlight. f/7.1, 74secs, ISO400. Post processed from RAW exposure in Adobe Lightroom 6.