View allAll Photos Tagged peripherals
My Son. Zamosc, eastern Poland.
Picture No: 2022-06-17-6012_P5_FS
Edited in Canon DPP 4:
Digital lens optimizer: No (0)
Diffraction correction: Yes
Chromatic aberration: Yes (100)
Color blur: Yes
Peripheral illumination: Yes (66)
Distortion: Yes (100)
Brightness: +1.33
White balance: Auto (White priority)
Fine tune: Not changed (0.0 / 0.0)
Picture style: Neutral
Gamma: Auto (Not changed)
Contrast: +2
Shadow: +2
Highlight: -5
Color tone: 0
Color saturation: +1
Sharpness: Yes (Unsharp mask)
Strength: 3
Fineness: 1
Thresholt: 3
Cropping: Few pixels cropped
Angle: 0.00
Child's figure brightened locally:
Brightness: +24
Contrast: -2
Hue: 0
Saturation: 90%
No photomontage.
Framed in Photoshop 6
Raiford Heavy Bomber
The Raiford was a Modec stratobomber on contract from the Peripheral States. A staple of the Periphery Nuclear Air Command, it played a vital role in patrolling the Goznian frontier.
In an era of outlandish experimental aircraft with primitive Tri-Fibulators and foccils, the Raiford’s crabwheels and skin undulations did not prevent it from being a relatively ordinary bomber.
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The aircraft’s 4500 parts make it just barely larger than my battlecruiser, which previously was my biggest digital model. The wings were the most difficult section to build, having both anhedral and a high angle of incidence with the fuselage.
(obviously just a B-52, made legally distinct for wargaming purposes)
Scutellinia colensoi is the most common of the Scutellinia species in New Zealand but it can only be identified with a microscope. Assuming that is what we are looking at, it is a tiny stemless fungus found growing on damp rotten wood. Its caps are usually 3 to 5mm (0.1-0.2 inch) across but they can be up to 15mm (0.6 inch) wide and up to 5mm high. The caps can vary in colour from orange through to a very deep red. The caps are slightly concaved but become flattened when mature. A distinguishing feature of these fungi is the peripheral ring of 1-2 mm dark hairs that line the cap's margin, hence the common name ‘Eyelash fungus’. The green plant is a liverwort of the Genus Riccardia. Technical notes: I experimented shooting this fungus in natural light, with different LED panel set ups and different flash set ups. I like this one best: lit with 2 LED panels, 8 shots focus stacked in-camera. I also added a NiSi closeup lens and a Raynox DCR-250 to the front of the macro lens to get closer for more magnification.
Peripheral vision can be a cruel mistress at times. I spotted this backlit rascal (class of 2023) and for a split second I thought it was an owl observing my steps.
Hummingbird and Apple Blossoms
Martin Johnson Heade American
1875
A peripheral member of the Hudson River School, Heade was unique in giving equal attention to landscape and still life throughout his career. He was devoted to natural history and first painted apple blossoms around 1865, when he included them in his extensive series of works featuring hummingbirds in a variety of habitats. In this example, the hummingbird is perched on a lower branch and silhouetted against the sky, as recommended by the English critic John Ruskin. The blossoms appear freshly studied from nature and have a light and airy mien, especially against the thick shroud of storm clouds.
Bear Creek last night.
No storms in the area, but this ominous cloud moved slowly from the west.
Large view: www.flickr.com/photos/becca3k/5099372996/sizes/l/
Krakow, South Poland.
Picture No: 2021-11-12-4568_P_FS
Edited in Canon DPP 4:
Digital lens optimizer: Yes (50)
Diffraction correction: Yes
Chromatic aberration: Yes (100)
Color blur: Yes
Peripheral illumination: No (reduced to 0)
Distortion: Yes (100)
Brightness: +0.33
White balance: Auto (White priority)
Fine tune: Not changed (0.0 / 0.0)
Picture style: Neutral
Gamma: Auto (Not changed)
Contrast: +1
Shadow: -1
Highlight: 0
Color saturation: 0
Sharpness: Yes (Unsharp mask)
Strength: 3
Fineness: 1
Thresholt: 3
Cropping: Few pixels cropped
Angle: 0.00.
No photomontage.
The colors not changed.
Framed in Photoshop 6
Whilst wandering around Burnham Beeches, just on the edge of your peripheral vision, you can often catch a fleeting glimpse of Little Red Riding Hood skipping happily through the woods singing to herself - next time I'll shout a warning, I promise.
And just beyond the next glade is a view through the tangled undergrowth to Sleeping Beauty's Castle. You know it's there...somewhere.
And so it probably is, in the cinema at least, Burnham's beauty's appearing in many films, large and small.
Burnham is close to Pinewood Studios - at the moment dominated by Disney - and many of the traditional, smaller film studios (now mostly absorbed like Denham, London and Bray) were nearby.
Recently, new studios have arrived near Pinewood to take advantage of the pool of freelance talent, and with CGI and every other technical marvel now available to them, the traditional sprawling 'back lots' are now no longer needed.
Filming in the woods however is strictly controlled; the natural environment, wildlife and delicate root systems of the trees taking precedence over the great thumping, myopic demands of a film production unit.
©Jane Brown2016 All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission
for the robin to find the meal worms . . .
I haven't taken photos today as I've been finishing putting the garden to bed for the winter and mulching. And then I put up my new bird feeders. I have one that is made from fat balls on the clematis obelisk - this is meant for small birds such as bluetits and the sweet wren that I've seen several times . . . just the size of a walnut with wings. And then I've put one near the shed, near the ground for meal worms to feed the robin who comes to visit me when I'm gardening. Robins are ground feeders, so this is placed an inch from the ground. Robins have marvellous peripheral vision. He was particular to look round the other side of the shed to make sure there was no lurking cat before tucking in. And then minutes later he found the fat ball too!
The Church of the Holy Apostles, right on the Greek-Albanian border, in the village of Molyvdoskepasto in the Municipality of Konitsa in the peripheral unit of Ioannina in Epirus is a very important and admirable post-Byzantine monument built in 1537 according to an lintel inscription
Καὶ περὶ ἐνδύματος τί μεριμνᾶτε; καταμάθετε τὰ κρίνα τοῦ ἀγροῦ πῶς αὐξάνει· οὐ κοπιᾷ οὐδὲ νήθει· λέγω δὲ ὑμῖν ὅτι οὐδὲ Σολομὼν ἐν πάσῃ τῇ δόξῃ αὐτοῦ περιεβάλετο ὡς ἓν τούτων.
Κατά Ματθαίον (στ΄ 22-33)
And why do you care about clothes? You have seen the lilies of the field grow, neither toil nor toil, but I say unto you, that even Solomon in all his glory was not arrayed like one of these.
According to Matthew (pp. 22-33)
My Board “Konitsa and environs” on gettyimages
My photos for sale on getty images
Album
Περιοχή Κόνιτσας Konitsa’s city area
on my Blog ΛΟΓΕΙΚΩΝ Logicon
peripheral abstractions @ wayside
Sculpture "Blätterdach" by Cornelia Müller
Park Rosenhöhe, Darmstadt
What determines a memorable photoshoot is not always the subject and the number images cluttering up my SD card. Sometimes it’s the peripheral events. In this case is it was (in order):
- Being part of a multi-car police chase as the rozzers take down a well-known ageing drug lord, Mrs Marple, for running County Lines
- Discovering my blind-when-not-wearing-his-glasses photo-buddy what steering the boat to Belgium while I was engaged in a deep conversation the Captain and 1st Mate that my buddy really was a responsible and highly trained eminent NHS professional and therefore allowed to take control of the vessel.
- Meeting a septuplet of Timothy Taylors in a Rodney, along with Alan Carr
- Using all my Bear Grills survival skill to forage for nuts and crisps on discovering the Panda was closed
- Meeting Mr Taylor again in a Hussar, along with Alan Carr, and then getting into a few rounds of “home concoction” shots with a barman.
- Missing the planned next-morning dawn shoot by four hours and then spending the next four trying to piece together the fragmented snatches of memories to work out what happened the previous evening
- The obligatory stopping at every motorway service station on the way home to replenish the lifesaving jumbo carton of vanilla milkshake and expunge our bodies of the cumulated toxins from the night before.
And to quote the brilliant song by The Lancaster Hotpots, “It were a brilliant night.”
Just returned from Venice, such a wonderful city to have the camera. Over the next few weeks I will post my shots. I hope they show a "Slice of Venetian Life" away from classic tourism.
Thanks for your comments and continuing support....Robbie
This image has been in my ‘edited folder’, for some time now. This ‘edited folder’ acts as a stopgap between, leaving the raw file in the original folder, (never to see the light of my laptop again) and deciding to do something with it, postproces and show to you guys. I like to have this middle ground as a reflective space, kind of giving myself some time to digest the images merits. Ironically, leaving the image there for a short time helps distance me from the initial passion that I’ve experienced when making the image, so I’m able to objectively see, (in the cold light of day) if the image transfers the same set of emotive attributes, (that initially brought me to visualise then execute it) are still present when you take ‘me’ out of the equation. This process is a way of attempting to empathically see the image from the viewer’s perspective, to discern if the image in its self, removed from my immediate perception, will catalyse the same emotions I felt for the real experience.
The process of reflection inevitably means that some images, that I consider to be interesting in some way, don’t make it past this self initiated quality control filter. By quality control, I don’t mean technical issues, (they are sifted out when I first view the raw files) but conceptual, compositional, unusual, dramatic, mystical, subtle, merit (I could go on but I won’t).
Now sadly this process, like my mind, is not totally organised, (I do hope I haven’t given a misleading impression of that here). I generally use my gut feeling to guide these exceptionally difficult editing choices, but sometimes for reason it’s often hard to put those choices into words and some images in this folder I’m just not sure about. Now I could just make another folder that is in-between the ‘edited folder’ and call it ‘almost sure this is what I want to show the world, but not quite’ but that would be taking my occasional challenging indecisiveness to a new level of obsession.
now this might not seem like a big problem to some of you out there, and its only myself imposed desire to present a personal vision on the world that is extra special to me, that keeps me worrying about this type of thing, ho yes let’s not forget the rewards from the fascinating learning process I encounter as a pleasant by-product. But I suppose what I’m trying to do here, is attempt to analyse, then organise my own thought processes in order to make stronger emotive photographs.
Some of you may think that I write so much in accompaniment to the imagery I present, because I want to offer my views, or help others learn from my mistakes, or to initiate debate, (and you’d be partly correct). But a significant part of the reason for writing this text is to try and illuminate my own thought processes in order to hone them. I’m attempting to reflect in order to develop. (On a side note I’ve long taken the piss out of people who say they are trying to find themselves, but it appears that I’m now one of those people, so joke away!)
This complex set of personal, often subconscious filters, from where to soot, what time of day, how to compose, what subjects we choose, what equipment, what environment, what season, to what we decide to edit, how we edit, how when then present it and what text goes along with it, (to name a few), all ensure that we present only the imagery that fits our current artistic vision.
Furthermore by analysing this process in depth, I feel that I’m able to feed the reflected ideas back into the subconscious decisions I take whilst on location, to make the subconscious coconscious and artistic vision constructively directed.
Anyway this image was taken at Sandsend a few weeks ago. The conditions were perfect, (for my current artistic vision), as it was very stormy and the low light and heavy clouds, offered a wonderfully dramatic setting. Now as you can imagine I was excited to explore this photographically and quickly began working before the fast moving circumstances changed. Then unusually for this beach, I happened on another photographer, who began to set up his large format camera in my profiroll vision. now because the conditions were so special, I didn’t go over and talk to him, as I usually would have, but continued working and told myself that when the rainbow disappears id go over and reflect on the amazing circumstances. Now as this conflict was working its way thought my mind, it began to rain. I didn’t care, as I was enjoying myself so much that I didn’t want to end the experience, but secondly, I was already wet through from being just that bit too deep in the sea, for the waves to stay beneath my wellies. Anyway when it began spitting, the for mentioned large format photographer, packed up and disappeared before I could break off and have a chat.
Now I respect that camera equipment and water don’t mix, especially sea water, and that due to the very dark clouds, there may have been good reason to assume that the heavens were about to open. So I understand the other photographer’s decision to make for his car, but I don’t understand that in such fantastic conditions, an obviously committed large format photographer (well so I assumed from the size of his expensive gear), not wanting to seize the moment. I wish I could have had a chance to talk to that guy, and who knows it might be you, but if it is, you missed a great opportunity to feel the rawness of nature. Anyway I wonder what you thought of me on that day? Maybe I will one day find out (o:
Rapidcreek Flower and Francis
Thank god for peripheral vision
And our dreams and out-of-body experiences
Always in fear
Justified and bound in chain
As in splendor
Alone and just being
Just got to know
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Big Sky taken with Canon 11-24 lens at 11 mm. Used Fotodiox Wonderpana XL 3 stop ND grad filter. Had to very carefully select position to avoid any peripheral objects, a challenge when working this wide.
A peripheral bull drooling from testosterone build up. One of the most photogenic bulls with interesting behavior I saw this past fall, but could not get together with him often enough for long enough! All rights reserved.
my office? well, I could have shown you a desk and some books, the requisite computer and photo gear... a place of work... but this is where I'd rather be.
Zamosc. Eastern Poland.
Picture No: 2021-08-07-0338_P_FRAMED_S
Edited in Canon DPP 4:
peripheral illumination: reduced to 0
brightness: +0.17
contrast: +1
streight: +5
Few pixels cropped for leveling. Colors not modified.
No photomontage. Framed in Photoshop 6.
** WARNING ** - Squeamish People Should Avoid Viewing This Video!
This story began here and ends with this video.
This drama has ended. Life returns to normal, or at least a reasonable facsimile thereof.
This is a photo of my relative, Ella Schoen, age 13, taken in 1904. I had a macular hole affecting central vision in my left eye. Through photo editing software, I created an image of the visual distortions (metamorphosia) that I saw. Objects also appeared smaller than actual (micropsia). Peripheral (side) vision was unaffected. The final photo is my eyesight 9 months post-vitrectomy surgery – objects lean to the right, appear slightly thinner than actual and there is still a small round distortion/loss around the very center of my vision (I am looking directly between her eyes). My eyesight continues to improve, though I now also have a very common surgically-induced cataract.
I recently fell, resulting in a traumatic brain injury. Immediately following the fall, I noticed distorted vision in my right eye and will be undergoing vitrectomy surgery due to a macular hole for that eye as well (only 10-15 percent of patients have bilateral macular holes, having the condition in both eyes).
Sharing because I could find no good visualizations of what it is like to have a macular hole. Please feel free to use it for educational/editorial, modeling or machine learning purposes.