View allAll Photos Tagged sequencer
This is an example, how the Sequence Photography can be also used in Speedway. The original idea came to me in 2010, I guess. As a photographer, I always want to make speedway photography much more attractive, I always want to add some new angles, perspectives, I want to catch the details which affect on riders result to show people what we usually can't see or can't notice. Well! After another Speedway Race in my home town. I was lucky enough (what I can't say about those guys) to take five or six pictures in a row while this terrible crash of two Polish racers and one racer from my home town team. In this final picture, I used four photographs to show what exactly happened. The work is quite wide, so it seemed to me that four pictures is enough. The original size of this photograph is 9500 by 2300.
I'm pretty sure that this is the first and probably the only work where Sequence technic were used in speedway photography, so enjoy!
finally figured out how to do this with layers on PSE7.
Photographs taken by my dad, edited by me
feedback and critique are always welcome
A celebration of the arts. Angel Manor brings together many artforms all under one roof. Art, Ballroom, Dance, Elegance, Estate, Explore, Events, Gallery, Live Music, Music, Musicians, Mystery, Opera, Opera House, Palace, Romance, Stage,Theater, Theatre.
http://maps.secondlife.com/secondlife/Angel Manor Garden/154/165/22
Nikon d50
18 - 55 lens
sports mode
sequence shot
Thanks to Sam Howard for the editing.
Bicester, Garth park
Detail inside "Sequence," a 1996 work in weathered steel by Richard Serra. This work is adjacent to the north lawn of the Cantor Center for Visual Arts at Stanford University.
St James, Stanstead, Suffolk
If you were asked to name 400 of Suffolk's 500-odd parishes, there's a fair chance you wouldn't think of Stanstead. The village is a quiet backwater, straddling the main road on the outskirts of larger Glemsford, but the church of St James is on the hill above, looking out over the valley. You can't help wondering how many people looking for Stansted airport, twenty five miles off in north Essex, absent-mindedly type this spelling into their GPS and are surprised to end up in the middle of nowhere.
I'd last been here about ten years previously, and it was a delight to roll up on a sunny morning in April 2013 and to find St James in such fine fettle, the churchyard full of primroses and celandines, the church open and welcoming.
A few years previously I'd been told a story by a usually reliable source that this church was threatened with closure by the rather eccentric Rector whose benefice covered the parish at the time. He felt that not enough people were coming to hear him preach.
The irony is, of course, that St James is still open to pilgrims and strangers everyday, but that minister's main church across the valley in the largest village in the benefice was, and is, kept locked. And St James is the lovelier church, I think. Cautley treated Stanstead with considerable disdain during his great survey of the 1930s, but the High Victorian character that he so abhored has matured, and here at St James is to be found in full flower.
With a sweet irony it is the priest's door in the chancel which is kept open. It is directly into the chancel that you step, so you might not notice the original 14th century south door, with all its fittings. They're worth a look. Internally, the chancel is of good, honest rural 19th century quality, from the sequence of tiles in the sanctuary, which are surely an indication of the hand of diocesan architect Richard Phipson, to the memorials to Rectors Samuel Sheen pere et fils - this is grand Victorian Gothic writ homely.
The tower makes the church appear larger than it is; inside, it is tiny. On the north wall is a good set of Queen Anne arms, probably the single most interestinbg pre-Victorian surival here. Either side are two windows, one with some surviving medieval glass in the tracery, the other with excellent 19th century glass, thoroughly in the spirit of its medieval predecessors. It even recreates the familiar sense of an amalgamation of medieval glass collected from elsewhere - but it isn't. I wonder who it was by.
Finally, the glass in the east window. As far as I'm aware, this artist has also not been identified, but it clearly matches the tilework of the sanctuary; a serious crucifixion of the 1870s, perhaps, and one of the best of its period in the area.