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Alex Corona with his work "Last Minute Work" where he is seen in the piece in outline. Alex creates stencil work and hand painted tshirts in spray paint and acrylic.
F-4 on 50 mm prime lens, 1/60, ISO 100, manual focus. Corrected this RAW image by -2 stops using Adobe RAW image processing.
I originally shot this with a white balance set to Tungsten and then adjusted it to the appropriate Daylight in Photoshop. I determined the proper white balance by matching the time of day and available natural light in the room at the time of the shot, and also by setting the back wall color to match as closely as possible to how it looks in reality at the same available light settings.
f 5.6, iso 100 at 1/30 sec.
This is my redo for the theme banner. I took it into photoshop so that I could shrink the image and crop it to something that looked more interesting.
Title: Kiwi
Description: Yum who doesn't love kiwis? Even though it looks yummy this kiwi was not ripe yet. I used a 18-55 mm lens and I was zoomed in to 55 mm. To light this properly I had to use 2 desk lamps and sat them a few inches away from the kiwi slice.
author: Ramon Alvarez
Page: 400000
Content: 606000
Highlight: 608000
Text: a0a060
Sue uses recycled material in her mosaics. Here is a glimpse of some of the raw materials that she uses
Description:
Light pink prints with abstract motives. 4 meters / full chiffon with diamante.
Code Name:
[Kain 0004]
Status:
Price:
RM49
•Candy Deposit• #aroundthehood #parkslope #Brooklyn #iamakittehcouch #bank #streetphotography #igersnyc #jj #hubstreet #sidewalkstories #halloween #costumes #raw_materials #noedit #nofilter #theminimals #streetphoto_colors
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Original white balance was as shot automatic. Photo had a yellow greenish tinge to it. I changed the white balance to Tungsten and the yellow decreased but it still had a green cast. I adjusted the tint bar more magenta since that is the color opposite to reduce the green and opened up the exposure + one f/stop.
Thrusting into the pale Buenos Aires sky at a sharp, dizzying angle, the raw skeleton of a mid-rise building exposes the gritty reality of urban expansion. Vibrant terracotta hues of hollow, exposed bricks contrast sharply against the rigid, unyielding gray concrete pillars framing each level. Freshly installed white window frames hold panes of reflective glass, boldly marked with large, white taped 'X' patterns—a universal construction language warning of the invisible barrier. Soft, diffuse daylight catches on these pristine glass surfaces, mirroring fragments of the unseen city and the overcast sky above. The severe Dutch tilt employed in the composition induces a sense of vertigo, transforming an ordinary construction site into a dynamic, almost abstract geometric canvas. Intrigue is added by the organic intrusion of a leafy green tree on the upper left, its chaotic branches juxtaposed against the strict linearity of the emerging architecture. Thick black utility wires slice diagonally across the lower foreground, anchoring the raw structure within the chaotic, lived-in infrastructure of the Argentine capital. Rough wooden planks and makeshift scaffolding cling desperately to the upper and lower edges, revealing the manual labor driving this concrete beast upward. This scene captures the perpetual state of flux characteristic of Buenos Aires, a city where historic grandeur constantly negotiates space with modern, utilitarian development. The quiet, expectant atmosphere of the frame suggests the building itself is pausing between breaths of hammer and saw, awaiting its final form. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Empujando hacia el pálido cielo de Buenos Aires en un ángulo agudo y vertiginoso, el esqueleto crudo de un edificio de mediana altura expone la áspera realidad de la expansión urbana. Los vibrantes tonos terracota de los ladrillos huecos y expuestos contrastan fuertemente con los rÃgidos e implacables pilares de hormigón gris que enmarcan cada nivel. Los marcos blancos de las ventanas recién instaladas sostienen paneles de vidrio reflectante, audazmente marcados con grandes patrones de "X" en cinta blanca: un lenguaje de construcción universal que advierte de la barrera invisible. La suave y difusa luz del dÃa se capta en estas prÃstinas superficies de vidrio, reflejando fragmentos de la ciudad invisible y el cielo nublado en lo alto. La severa inclinación holandesa (plano aberrante) empleada en la composición induce una sensación de vértigo, transformando un sitio de construcción ordinario en un lienzo geométrico dinámico y casi abstracto. Se añade intriga por la intrusión orgánica de un frondoso árbol verde en la parte superior izquierda, sus ramas caóticas yuxtapuestas contra la estricta linealidad de la arquitectura emergente. Gruesos cables de servicios públicos negros cortan diagonalmente el primer plano inferior, anclando la estructura en bruto dentro de la caótica infraestructura habitada de la capital argentina. Tablones de madera áspera y andamios improvisados se aferran desesperadamente a los bordes superior e inferior, revelando el trabajo manual que impulsa a esta bestia de hormigón hacia arriba. Esta escena captura el estado perpetuo de cambio caracterÃstico de Buenos Aires, una ciudad donde la grandeza histórica negocia constantemente el espacio con el desarrollo moderno y utilitario. La atmósfera tranquila y expectante del encuadre sugiere que el edificio mismo está haciendo una pausa entre los suspiros del martillo y la sierra, esperando su forma final. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
📊 Project 23 Master Database
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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I selectively underexposed all of the image but the subject (my sister) so as to call attention to it. I would like to redo it when we know how to use masks.
Originally overexposed photo of two saddles, taken at 1/80s, f/2.8, and ISO 100, with a handheld 50mm prime lens.
Adjusted exposure in Camera Raw by -1.85 stops. Also adjusted white balance from 4750 to 6500 and added a touch of fill light and recovery. Primarily recovered detail in the band of rope to the left of the frame, which had been quite blown out in the original image. Also recovered detail in the horn of the top saddle and in the tooling of the leather in both saddles.
Increased exposure by 1.75 stops. Individual leaves on the plam trees, details in the rocks and details in the reflection of the rocks were revealed.
I selectively used the black and white tool to direct focus on the tower. Obviously this doesn't look realistic, but i liked the artistic effect
Close-up of natural gravel stones forming a rough textured surface. Abstract rocky background with neutral gray and brown tones, suitable for construction, landscaping, or material design concepts.
Download the high-resolution version here:
www.istockphoto.com/photo/close-up-of-natural-gravel-ston...
✔ Commercial licensing available
✔ High resolution file
Ozymandias by Douglas Kornfield at the DeCordova Sculpture Park.
To make the sculpture stand out from the natural background, I used Photoshop to duplicate the background layer, desaturate the duplicated layer ,and then brushed back the red color of the sculpture.
ISO 800, f/8, 1/200, 31mm