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This photo was taken on a recent trip to the Peak District, England, UK. My intention was to catch the sunrise. But as I had a three hour drive to get to the location unfortunately I missed my goal. However I did walk away with this shot... so all was not lost.
The equipment I used to capture this shot was a Canon 5D mk3, 16-35mm f2.8 L series lens, Lee Polariser, 0.6 ND Grad filter, Manfrotto tripod and a TriggerTrap device hooked up to my iPhone. Post processing was done in Lightroom and Photoshop with Nik pluggins.
Thanks for looking and if you like this photo please feel free to check out some of my other work:)
This year when walking your way, just focus on what is important, capture the good times, take out of the negative a revealed learning, and if things do not go as you wished, try a new Take. Happy New Year! ✌️😎 #photography
Path to Flattop. This was not the trail less traveled - we were able to catch a break in the crowds heading to Flattop to watch the summer solstice in order to get this shot.
En 1999, Dani Karavan, sculpteur israélien né en 1930 à Tel Aviv et vivant entre Tel Aviv, Paris et Florence, y termine l’aménagement du Jardin du souvenir, dans la zone du « port intérieur », dans le cadre d’un projet urbain dont l’architecte en chef est Norman Foster. Karavan est connu pour avoir réalisé entre autres le Monument du Negev2 (1963-1968) et l’Axe majeur de Cergy-Pontoise (1980- ). Il a réalisé des sculptures environnementales (site specific) symboliques, dans une démarche et une pensée optimistes quant à leur impact social et politique potentiel.
Certains jardins contemporains sont conçus comme des « jardins philosophiques ». Pour le Jardin du souvenir (1999) à Duisburg, Dani Karavan a ancré son travail sur le thème de la mémoire, comme dans plusieurs de ses projets. Cette signification latente, par les symboles utilisés, s’allie au niveau perceptif, dans le cas de l’une des sculptures, à de multiples cadres sur l’environnement. Le sens de ces cadres peut être rapproché de la philosophie de l’histoire de Walter Benjamin, qui est une référence profonde de Dani Karavan.
Les « ruines » déposées par Karavan recréent un paysage familier de la fin de la Seconde Guerre mondiale, reconstitué « artificiellement », en particulier devant la maison de retraite, dans un geste quelque peu provocateur. Ces restes s’apparentent aux « rebus de l’histoire » dont parle Walter Benjamin. Les ruines sont entreposées dans une des zones cadrées au sol par les chemins et également au fond d’une impasse, celle du Philosophenweg, comme si Karavan avait fait un tri, sur le modèle de la méthode d’historien de Benjamin : « D’un côté se trouve la partie "féconde", "pleine d’avenir", "vivante", "positive", de l’autre la partie inutile, arriérée et morte de cette époque. »
In 1999, Dani Karavan, an Israeli sculptor born in 1930 in Tel Aviv and living between Tel Aviv, Paris and Florence, completed the development of the Garden of Remembrance there, in the "inner port" area, as part of a project urban whose chief architect is Norman Foster. Karavan is known for having produced, among other things, the Negev2 Monument (1963-1968) and the Cergy-Pontoise Major Axis (1980- ). He has produced symbolic environmental sculptures (site specific), with an optimistic approach and thought regarding their potential social and political impact.
Some contemporary gardens are designed as “philosophical gardens”. For the Garden of Remembrance (1999) in Duisburg, Dani Karavan anchored his work on the theme of memory, as in many of his projects. This latent meaning, through the symbols used, is combined at the perceptual level, in the case of one of the sculptures, with multiple frames of the environment. The meaning of these frameworks can be compared to Walter Benjamin's philosophy of history, which is a deep reference of Dani Karavan.
The “ruins” deposited by Karavan recreate a familiar landscape of the end of the Second World War, reconstructed “artificially”, in particular in front of the retirement home, in a somewhat provocative gesture. These remains are similar to the “rebuses of history” of which Walter Benjamin speaks. The ruins are stored in one of the zones framed on the ground by the paths and also at the end of a dead end, that of the Philosophenweg, as if Karavan had made a sorting, on the model of Benjamin's method of historian: "D' one side is the "fruitful", "future", "alive", "positive" part, on the other the useless, backward and dead part of this time. »
At Winterthur. The viburnum was blooming all along the path and the fragrance was heavenly. There was also a cat bird up in the trees serenading us as we walked along. Winterthur has some champion trees. The DuPonts were very concerned with preserving the old growth trees both here and at Longwood. Many of them are breathtakingly tall and wonderful!
Somewhere I have a video on my phone...I'll have to find it!
As the sun heads towards the horizon it casts a low, warm light over Stanage Edge, with dark clouds looming overhead.
Autumn Path - Tiltshift
:: E-box: DannyBMX1@hotmail.co.uk
:: Photographer: DMT Photography 2014/ © All rights reserved
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:: Info:
- Camera: Canon EOS 550D
- Lens: Canon EF 50 mm f/1.8 II Lens
- Aperture: f/20.0
- Focal Length: 50 mm
- ISO Speed: 100
- Flash: Vivitar 285 x1
- Other: (Light Stand x1) & (Wireless Remote x1)
- Editor: Photoshop CS5 Mac
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:: Strobist Info:
- Vivitar 285 ¼ Power Above