Fake Vintage Photos
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This day began with heavy fog and little promise of a bright new day. Patience was rewarded with a nice replication of Mt. Rainier in Reflection Lake as the fog lifted and a beautiful new day arrived. This is why photography can be addictive for so many of us.
Enjoy a wonderful Easter!
Crazy Tuesday
Spoon Reflections
Colored pencils reflection
in a highly polished stainless steel
serving spoon
Steamtown National Historic Site (NHS) is a railroad museum and heritage railroad located on 62.48 acres (25.3 ha)[2] in downtown Scranton, Pennsylvania, at the site of the former Scranton yards of the Delaware, Lackawanna and Western Railroad (DL&W). The museum is built around a working turntable and a roundhouse that are largely replications of the original DL&W facilities; the roundhouse, for example, was reconstructed from remnants of a 1932 structure. The site also features several original outbuildings dated between 1899 and 1902
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I couldn't resist to take a selfie at (or rather under) the Cloud Gate, a sculpture by Anish Kapoor installed in the Millennium park in Chicago, IL, U.S.A. It is definitely one of the most intriguing modern sculptures I've seen installed in public spaces.
When I was little, my dad used to whistle "whipper will, whipper will!" We would watch birds and try to replicate their songs. He passed when I was very young but I still recall whistling with him. Last year, while I was unemployed, my husband bought me the 150-600 mm lens so that I might give a go at photographing birds. Its been the joy of a lifetime. If I could, I would be amongst the birds every day! These are feathers I have collected from our place - I've probably met the owners of each them…
Be well and thanks for visiting!
These scene captured my eye in the midday sun and the dune seem to be replicating a sea wave building up to come ashore
Death Valley CA
This image is the copyright of © Neil Holman. Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me for permission to use any of my photographs.
Entrance gates at Penrhyn Castle.
Not really medieval at all but Victorian trying to replicate the sense of medieval power.
there they are, all my braincells replicated in a silo. happy new year everyone!! i love how time rolls like a wave around this big ball we all live on, striking the midnight hour according to pleats folded on the planet. ok, so i love this!....went out to dinner tonight and discovered a 13 yr old had accidentally walked off with my coat. got it when they drove back but i had done the same thing at the exact hour on christmas eve last week. so coat theft is the new must-have biorythm. love you all, thanks for a year of gobsmack amazing images. you make me happy.
A close up from the last shot from Seacliff of St Baldreds Boat a monument off the point at Seacliff.
It looks like a lighthouse but isn't, but is a nice feature. Its about 15 feet high I think so that gives a sense of scale. I have walked out to it and its a long and tricky walk with massive rocks to contend with and as Darren Muir can vouch for make sure the tide is staying out...
Added a touch of motion blur and boosted the colours to replicate my old arty style.
This view replicates what is probably the most iconic photograph taken in the Cradle Mountain National Park. Everyone who has heard of Cradle Mountain has seen a photo of the famous boatshed alongside Dove Lake with the mountain behind. And almost everyone who visits here has taken a photograph from this spot.
But this is the last photograph I will show that can be considered a normal tourist shot. Ideally, this photograph would have been taken in a glorious golden sunset with glass-smooth water (thanks to a long exposure). But as you saw in my photograph yesterday the weather had other ideas, and any use of a tripod was ruled out by the strong winds. And of course the snow storm replaced the sunset. Never mind. You can find plenty of those scenes on the internet anyway.
On our only full day in Singapore we visited Gardens By The Bay for the second time. It really is a remarkable place and perhaps this dome is the piece de resistance; an artificial mountain created inside a glass dome that resembles the conditions you would find in a cloud forest.
The Cloud Forest is higher but slightly smaller of the two domes at 0.8 hectares (2.0 acres). It replicates the cool moist conditions found in tropical mountain regions between 1,000 metres (3,300 ft) and 3,000 metres (9,800 ft) above sea level, found in South-East Asia, Central- and South America. It features a 42-metre (138 ft) "Cloud Mountain", accessible by an elevator, and visitors are able to descend the mountain via a circular path where a 35-metre (115 ft) waterfall provides visitors with refreshing cool air.
The "Cloud Mountain" itself is an intricate structure completely clad in epiphytes such as orchids, ferns, peacock ferns, spike- and clubmosses, bromeliads and anthuriums. The design by Grant Associates was inspired by the Maiden Hair Fungus and consists of a number of levels, each with a different theme, including The Lost World, The Cavern, The Waterfall View, The Crystal Mountain, The Cloud Forest Gallery, The Cloud Forest Theatre and The Secret Garden.
Chingford, London.
A warm period at the time, and you can see from this the reservoirs are far from full.
In the top right, you can see a line of pylons following the River Lea.
I took a picture from here around the same time last year, but I can't replicate the scene; nearly 13 years on the trees in the foreground have grown so much, that most of this view is now screened.
Replicated painted wall deterioration as part of the 19th Sydney Biennale {19BOS} by Christine Streuli "Gradually Real" 2014
Cockatoo Island, Sydney, April 2014
2014.0417
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NOVA ZELANDA, Aotearoa B/N 2023
First Church is a prominent church in the New Zealand city of Dunedin. It is located in the heart of the city on Moray Place, 100 metres to the south of the city centre. The church is the city's primary Presbyterian church. The building is regarded as the most impressive of New Zealand's nineteenth-century churches, and is listed by Heritage New Zealand as a Category I structure.
Earlier structures:
Prior to the construction of the church, smaller earlier buildings had been used by the congregation, but the rapid rise in the city's population meant that a larger, more permanent structure was necessary.
The original First Church stood close to the former beach in the city's lower High Street. This was a rough, weatherboard building, erected very quickly, and capable of holding some 200 people. It was opened in September 1848, within six months of the arrival of the city's first permanent European settlers from Scotland. So hasty was the construction of the building that early congregations had to remain standing, as seating was not installed until three months later.
A stone church was built in 1850 which expanded and extended the original structure, doubling its capacity. This building not only served as a church, but, in the city's early days, was also a school, public lecture hall, and served as the Otago Provincial Council chambers. The building was utilitarian, and may have only ever been intended as a temporary solution, as plans for a more stately building were being mooted as early as 1856. After construction of the permanent church, the 1848 and 1850 buildings were used as a wool store, but were destroyed by fire in 1865.
From 1864 a third structure ("The Interim Church") was used, on a site above the previous buildings on Dowling Street. A sturdy wooden structure on a stone base, it had seating for 600, and was used until the present building was ready for use in 1873. The wooden building was dismantled and moved to Fryatt Street, where is served as a tram workshop; part of the original stone foundations on Dowling Street are still visible adjoining a city council car park.
Construction:
The current church stands on the stump of Bell Hill, a major promontory which initially divided the heart of Dunedin in two. In the city's early years, gold was discovered inland, resulting in rapid growth in the city. The hill became a massive obstacle to the development of Dunedin, and a decision was made by the Otago Provincial Council to make a substantial excavation into the hill. This resulted in a cutting through which one of the city's main streets, Princes Street, now passes, and the reduction of the height of Bell Hill by some 12 metres (40 ft). Much of the excavated soil and stone was used in the reclamation of land which now forms the Southern Endowment of South Dunedin. The church's site, on a promontory of what is left of the hill, commands views to the south across Queen's Gardens towards the Otago Harbour and South Dunedin.
The building, in decorated Gothic style, was designed in 1862 by Robert Lawson, who also designed the city's Knox Church, which has a similar tower. Lawson had won a competition for the design of the church from among six entrants.[7] Construction was delayed after the decision to reduce Bell Hill, with the foundation stone being laid in May 1868 by Dr. Thomas Burns, and was officially opened on 23 November 1873, by which time Burns, its champion, had already died.[3] The church is dominated by its multi-pinnacled tower crowned by a spire rising to 56.4 metres (185 ft). The spire is unusual as it is pierced by two-storeyed gabled windows on all sides, which give an illusion of even greater height. Such was Lawson's perfectionism that the top of the spire had to be dismantled and rebuilt when it failed to measure up to his standards. It can be seen from much of central Dunedin, and dominates the skyline of lower Moray Place, and has a capacity of over 1000.
The expense of the building was not without criticism. Some members of the Presbyterian synod felt the metropolitan church should not have been so privileged over the country districts where congregants had no purpose designed places of worship or only modest ones. The Reverend Dr Burns's championship of the project ensured it was carried through against such objections.
The building:
The rear of the building, as seen from Queens Gardens, shows the true architecture and extravagant European basilica-like quality of the church, which shocked its early congregation.
The mausoleum of William Larnach and family, in Dunedin Northern Cemetery, New Zealand, is a miniature replica of First Church.
Externally, First Church successfully replicates the effect, if on a smaller scale, of the late Norman cathedrals of England. The cathedral-like design and size can best be appreciated from the rear. There is an apse flanked by turrets, which are dwarfed by the massive gable containing the great rose window. It is this large circular window which after the spire becomes the focal point of the rear elevations. The whole architectural essay appears here almost European. Inside, instead of the stone vaulted ceiling of a Norman cathedral, there are hammer beams supporting a ceiling of pitched wood and a stone pointed arch acts as a simple proscenium to the central pulpit. Above this diffused light enters through a rose window of stained glass. This is flanked by further lights on the lower level, while twin organ pipes emphasise the symmetry of the pulpit.
At 56.4 metres (185 ft), the spire makes the building one of the tallest in the South Island, and it was the island's tallest building until the construction of ChristChurch Cathedral, Christchurch was completed in 1881. It again held that rank briefly from 1888, after the latter building was damaged by an earthquake. The church is currently the city's tallest building, and the fourth tallest building in the South Island (after Pacific Tower, the Forsyth Barr Building, and Rydge's Hotel, all in Christchurch).
The building is constructed of Oamaru stone, set on foundations of basalt breccia from Port Chalmers, with details carved by Louis Godfrey, who also did much of the woodcarving in the interior. The use of "cathedral glass", coloured but unfigured glass pending the donation of a pictorial window for the rose window is characteristic of Otago's 19th-century churches, where donors were relatively few reflecting the generally "low church" sentiments of the place. Similar examples can be found in several of Lawson's other churches throughout Otago.
Other notable features of the building include stained glass windows dedicated to those fallen in war and to the Otago Mounted Rifles. For many years, the church housed a 1908 Norman & Baird organ, though this was replaced in 1983 by a digital organ by Allen. A full set of eight change-ringing bells, cast by the Whitechapel Bell Foundry, was installed in 1975 and are rung by members of the Australian and New Zealand Association of Bellringers. At that time the only such set in a Presbyterian church outside the United Kingdom and claimed to be the southernmost ring of bells in the world.[9][10] A large bell on a pedestal stands outside the church, sent from Scotland in 1851. Also located in the grounds in front of the church is a memorial plaque to Dr. Burns. The entrance gates to the church feature two lamps which started life as Edinburgh street lamps, another connection to the homeland of many of the city's first settlers.
A miniature of the church was created by Lawson in the city's Northern Cemetery as a family tomb for noted early Dunedinite William Larnach.
Regular Sunday services are held in the church in English (10.00am), Cook Island Maori (12.00 Noon), and Samoan (2.00pm). The church is also used for a variety of both religious and secular civic and cultural events within the city.
Wikipedia
This fountain is a replication of the wine fountain that was at Hampton Court during Henry VIII's reign.
Originally built by Cardinal Wolsey in the early 16th century, Hampton Court was eventually taken over by Henry VII and turned into his residence. The palace is a blend of Tudor and Baroque architecture and was a home to the royal family until 1737 under George II. In 1838, Queen Victoria opened its doors to visitors.
Marius Els did an example of using under the brush tool :symmetry and making Mandalas. Since I never used this variant of the brush tool here is my piece called Dream Replication. Enjoy!
This is a series folks of which i do like very much to do, i hone my timing and shutter release and try to replicate just what I see and what the camera can do, the one I used was ok but nothing like the one I have, and like my friend Mike Cohen a wonderful photographer and world traveler I will wait to see what he does and definitely will do the same.
There's a scene in this video of Odex walking in an office (almost the Backrooms?) that I wanted to try out (specifically at 1:20):
www.youtube.com/watch?v=sknq2H4z0lw
First off, the robot itself is very cool but the lighting in that scene is very interesting. I couldn't replicate it exactly but I found my own take on it.
I was soooo inspired by Kylie Jenner's new vacation pictures, with the hazy, creamy look, so I HAD to replicate it in my own way! I even did the bronde
quick credits:
hair: little bones - era II
outfit: rouly - KISSnTELL @ LEVEL
Capture while the arclight was replicating in the frog road tunnel. Hope everyone is having a wonderful Wednesday. :-)
#lightpaintingbrushes
The 90 meter (300 ft.) replication of the famous Brooklyn bridge at the New York-New York Hotel & Casino in Las Vegas.
I would say that observations of patterns is my true quest as a nature photographer. I don't look for certain patterns, I just look, and when I see a pattern that strikes me, thats when I pull my camera out of its pouch. The pattern of the Shawnee Hills are observed from the Union County Wildlife Preserve in southern Illinois was duplicated in the clouds hovering above.
During the Italian Renaissance, Venice gave birth to an artistic style known as the Venetian School (1450-1600 A.D) that placed importance reflected light and its impact on color. In contrast to the Florentine paintings from the same time period, which focused on linear form, Venetian paintings blended Byzantine and Gothic elements with subtle layering and blending techniques to apply color of a muted vibrancy to more closely mimic colors found in nature.
Color Vibrancy The richness in Venetian color reflected the wealth prominent in Venice during the Renaissance. The dark reds, brilliant blues and muted yellows used in the oil paintings of Venetian School artists such as Jacopo Bellini have both a deepness and transparency meant to reflect light and expose the shades of layered color. Often muted in tone, Venetian colors gradually softened throughout the Renaissance to replicate natural color rather than exaggerated hues.
Layering and Blending Unlike the Florentine masters who began masterpieces by focusing on the linear movement of a composition, the Venetian School artists would begin forming their work with shapes of color painted directly on the canvas. Shades of color were carefully layered and blended to create a subtle shift of hue and tone to define form in place of the severe lines notable in other style movements.
Shadows and Light, A careful consideration of light's impact on color is reflected in the work of the masters of the Venetian School period. Whereas other movements would mimic the actual color of a subject as a whole, Venetian colorists would incorporate the subtle shifts of hue caused by the reflected light on the subject with their unique layering and blending techniques. With the interplay of shadows and light across a subject, traditional Venetian color application suggests form without sharp edges, creating a difficult to achieve sense of depth and realism.