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Short video sequence of Comet 46P/Wirtanen, comprising 34 frames of 60 seconds at f/5.6 and ISO 1600 each.
Taken on December 16th 2018 in rural Upper Austria with a Nikon D750 and a standard telephoto lens Nikkor AF-S 200-500mm at 400mm. Tracking with Astrotrac. Processed with Deep Sky Stacker and Photoshop.
Be realistic at time of difficulties,
comet star might show,
and struck the gold of opportunity
hold on to the tails of its toes,
lock the chances, hold tight the key
as wheels turns, sequence follows.
Matt Jones performing a risky move. When I look at this now I wonder what I would have done if he hadn't made it!!
Alors voyons d'abord une photo face et profil de cette merveille, antiquité de 1927...
Ce cher Eric serait malade de savoir que l'heureux propriétaire de cette petite merveille s'en sert pour aller à la plage et qu'elle est garée là sur un parking au milieu des autres...
DSC03532
A sequence of shots taken at L&D 14 to show how an eagle typically spots and catches a fish from the river. It is not one continuous sequence because I often cant hold the bird in the focus zone and have to stop shooting to re-acquire focus.
L516 pops into view on the horizon west of Wheeler, ahead of it are a couple steps downgrade on the Minneapolis Sub. When I count the quarter mile markers the train is a little over a mile away. This spot would be a lot of fun with an stronger zoom but I sort of like including the autumn countryside. October 16, 2021.
taken during a workshop, before and during a slide show. I liked the way the wires looked on the wall behind him.
Furthering my exploration into ICM, I took 3 images in sequence to make this into panoramic of sorts.
Intentional Camera Movement (ICM). Inspired by the work of DAVID BURDENY's Drift series.
Sebastian Inlet State Park, FL
Canon 40D
EF-S 60mm f/2.8 Macro USM
Exposure: 1/4 sec
Aperture: f/32
Focal Length: 60 mm
Software:
DxO Optics Pro 6.0 used for RAW conversion
Photoshop
After dark, Golden Gate Park becomes something quieter and more immersive. Lightscape transforms familiar paths and plantings into a sequence of slow reveals—color, shadow, and rhythm layered carefully onto the landscape rather than imposed on it. The experience rewards attention. Light is treated as a material, not a spectacle: violet and blue tones skim leaves and trunks, fine points of warm white trace overhead canopies, and distant beams fracture through foliage like refracted starlight.
What makes Lightscape work here is restraint. The installations respect the park’s scale and darkness, allowing negative space to do as much work as illumination. Trees remain trees, understory remains understory; the intervention is temporary, precise, and intentionally fleeting. Movement through the route feels almost musical—dense passages give way to breath, then build again—encouraging visitors to slow down and look, not just photograph.
These scenes capture that balance. The color is bold but controlled, the compositions anchored by natural forms rather than novelty. Leaves become silhouettes, stems read as calligraphy, and strings of light recede into depth, guiding the eye forward. It’s an event designed for walking pace and winter nights, where the park’s familiar geography dissolves briefly into something contemplative before returning, unchanged, by morning.
Photo of a computer monitor attached to an Applied Biosystems 3730xl DNA sequencer. Each horizontal lane is one reaction, and each coloured bar within the lane (yellow, blue, red or green) represents one of the four DNA bases (A, C, G or T). A full run consists of 96 of these reactions, each yielding about 800 bases of DNA sequence. This technology formed the backbone of the latter stages of the Human Genome Project, and is still routinely in use for both research and clinical diagnostics.
Raw material for some artwork I'm putting together for an institutional art exhibition/fundraiser.
Licensed for use by Greatest Creative Factor, gcfonline.com.
The Golden spiral, the numbered sequence that appears in many natural thing, the Fib, a style of poem that follows the same sequence. 1, 1, 2, 3, 5, 8, 13....and on.
The Fib:
No
Line
Curves 'round
Like golden
Ratios, coil, curve
Those perfect spirals in nature
Dream Sequence
5x7"
Marker on Paper, 2015
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The Puente de Triano bridge in Seville, shot as redscale. My overlaps weren't terribly clean in this panoramic attempt, but I still really like the result.
Holga 120N, Fuji Superia 200 loaded backwards.
Maybeshewill film stills.
Maybeshewill release Fair Youth on the 25.08.14 through Superball Music.
View album teaser
www.youtube.com/watch?v=FuMaVCHamQA
Camera
Nick Lee Shield
Fraser West
Edit
Fraser West
Model
Safia May
Another attempt at creating a composite of some high speed shots of our other fox red lab. You really need to get back as far as possible to minimize the perspective distortion (makes it look like the dog is running around a curve). The distortion makes it harder to splice each frame together and causes the curved appearance.
These two vehicles about to set out on their next journeys from Eastbourne pier are separated by a mere 42 years of age. Wright Streetdeck 932 (BX15 ONJ) was delivered to Brighton and Hove in 2015, while the Bristol VR on the Eastbourne sightseeing tour was new to Maidstone & District in 1973. It is covering temporarily while newer vehicles are prepared for service.
Coincidentally the Streetdeck has a traditional Brighton 'NJ' sequence in its registration.
On Sunday evening I shot a time lapse sequence of a spectacular cloudy sunset over Table Mountain... and I screwed it up completely!
I arrived early and soon had my camera set up and configured for shooting a time lapse... with plenty of time to spare. The wind was blowing a gale in a south-easterly direction... which wasn't entirely a bad thing... because it was blowing the spray from the waves away from me... and away from my lens! The last thing that you want to discover when you've shot half the images for a time lapse squence... is that your lens is getting sprayed-on. With a photo being taken every few seconds... there is simply no time to clean the lens between shots!
After the camera had captured about a hundred images... I decided to peep through the viewfinder again... just to check if a particularly cool looking cloud had moved into the frame yet. I was quite horrified to notice the lens wobbling slightly everytime a strong gust of wind blew past. Damn, I thought... it probably wouldn't affect the image sharpness (I was shooting at 1/125th second)... but I needed that concrete pier to remain absolutely motionless for the entire 45 minute sequence. If the lens was wobbling between shots... then surely the pier would also end up wobbling in the final video clip!?
Then I (*** STUPIDLY ***) decided that I could probably stabilize the camera a bit more if I held onto two of the tripod legs... which is a trick that I've used quite successfully in similar situations of tripod instability. I was so sure that it would work that I didn't even bother to check through the viewfinder again... and it was only after I'd processed the entire video clip that I realized that my trick had failed horribly!! Instead of adding additional stability... holding the tripod had actually increased the wobbling of the lens (and pier)! The only part of the video where the pier was more or less stable... was the five minutes (or so) after I'd released the tripod again... to walk to the end of the pier!!
So... here's a free tip for anyone considering shooting time lapse sequences... no matter how sturdy it is... don't EVER hold onto your tripod!!
I'm still kicking myself... :)
Nikon D300, Sigma 10-20 at 10mm, aperture of f16, and a 1/125th second exposure.