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I should really crop this down so the lights on the end of the pier stand out as the main focus but the pre-dawn colours were just beautiful and with the amount of effort that went into getting it...why not!
It wasn't all pleasantries to begin, clambering across extremely slippery rocks in the pitch black has never been one of my more accomplished talents and taking the obvious path down from the pier was barred with the gate being locked at this time of day.
And then there was the head lamp incident, which seemed such a good idea at first until every fly within a mile of the beach decided to hold a meeting right in front of my face reducing my vision even more than had I simply walked with my eyes shut!
But I made it in time to witness one of the most glorious displays of first light I've seen in years, such that I could not begin to know how to capture the full reality. Pantone 032 comes to mind but in my usual way I prefer to reduce saturation (-27), my device having already achieved more than I can handle for one day. Hopefully the mood is right even if it is only a slice!
Thank you for buzzing by :)
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A slice of Kiwi fruit shot on a lightbox.
Copyright © GP Images Photography 2012. All rights reserved.
After subzero temperatures and high winds it was nice to see an open area of water, if only a slice. New snow helped warm things up somewhat.
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I thought I’d take a moment today to show what a “slice” of one of my snowflakes looks like, with just a few basic adjustments done in Lightroom to bring this to you. View Large!
Snowflakes are complex little crystals, and the best way to showcase this complexity is to get light to reflect off the surface of the snowflake. If the crystal was parallel to the focal plane in the camera to get most of it in focus, such lighting would be impossible as the light would need to originate from inside the camera lens itself to bounce back in the right direction for “surface glare”. Instead, the snowflake needs to be photographed on an angle.
There is about a five degree window where the surface reflection really shines and makes the snowflake sparkle, and I rotate the camera around the snowflake in order to get this angle exactly as needed. A few test shots and I usually find it, and then I continuously shoot hundreds of images of the same snowflake at all different “slices” of focus.
If the snowflake is on an angle like this, it reveals how truly shallow the depth of field is – fractions of a millimeter most of the time. An average of 40 frames are required to get focus from tip to tip, though the most I’ve done for a snowflake is 70. Photoshop does a decent job of aligning the images, but the geometry will never be perfectly connected due to shifts in perspective from one image to the next. The process of combining the images together automatically takes minutes, but applying all of the corrections takes hours.
For a larger snowflake like this one, I would probably spend 5-6 hours working on it; I may never edit this one in its entirety, however. One of the left branches is significantly broken just outside of the frame, so this one is lower on my priority list. I have well over 700 unedited snowflakes and I know I’ll never get to them all – so here’s a glimpse at some of the magic that remains locked away. Every new snowfall I shoot far more snowflakes than I can edit, and choose the best ones to work on for this series. For other projects if I need a special type of snowflake or to showcase a unique feature, I dig through my archives and bump a matching crystal higher in the list of ones to edit.
If you’re curious about the process that I go through with my snowflakes, in the field all the way through the post-processing workflow, I’ve got just the thing: www.skycrystals.ca/book/ - roughly a third of the 304pg hardcover book is dedicated to the photographic process that results in images like this. You’ll also find equal time spent discussing the science of snow and how these gems are created – it’s a book perfect for any naturalist or photographer!
Shot taken for Saturday Self Challenge 18/06/2022 -
Contre-Jour or Backlit .
Well this was taken in a darkened room with a light box for craftwork as the only light source . Placed on the lit surface are a selection of agate slices .
Agate is a variety of chalcedony, a cryptocrystalline form of quartz. Translucency, patterns of color, or moss-like inclusions may distinguish this stone from other forms of chalcedony. Agates can show a wide variety of vivid, multiple colors. These are principally the result of traces of oxides of iron, manganese, titanium, chromium, nickel, and other elements. All agates take a wonderful polish and are tough enough for most jewelry uses. Designers often take advantage of the intriguing patterns these stones have to offer to create unique and fascinating pieces.
And now to hear the " Light Flux " ------------
Week 7: Intentional Colour Palette
I wanted to get a bright punch of colour in my submission this week. Anybody need a lime for their mojito?
One of the trees we lost in Hurricane Irma. I really hammered on "levels" to make the lines stand out. At least 5 separate areas are visible within the larger area of the trunk. Perhaps these are limbs that got absorbed into the trunk as the main tree grew in size.
This is about 2 feet across.
UP's Denver Post Frontier Days Special slices through Wyoming hill country near Speer, Wyo. on July 19, 2014.
Week 61
SLICE
As soon as I visited Crosby Beach in Liverpool on Saturday I knew what I would do for this week's assignment. It's the most wonderful piece of art - 100 bronze statues all cast from the body of the artist - Anthony Gormley. It's called "Another Place" and there are 100 all along the beach, some in the sea, some half buried. Some get covered completely when the tides come in, some only half submerged. It stretches along a mile and a half and they are all standing looking out to sea, watching the world going by.
Tynemouth railway station, UK. A feast of metalwork, light and shadows.
Design (1877): William Bell.
This is an iconic image for my family. My Dad liked to help wherever he could. He sliced beans so fast I had a lot of blur on the knife to manage! The beans were home grown, and very tasty.
The sky is blood-red as the sun has been cut into slices.
Where is the top of the sun?
Normally, the sun ball hides its bottom first when going down behind the horizon. This day the top disappeared before the bottom.
pie and ice cream social. you get how great the event was from the name. i picked this piece because it was sitting alone on a plate, looking sadly collapsed, waiting to introduce the next whole pie version. if i somehow land in pie heaven when i croak, i pray this is my bedmate.
A group of Buddhist nuns stroll across Mandalay's famous U Bein Bridge. This bridge was constructed in 1850 and is the longest and oldest teakwood bridge in the world at 1.2 kilometers. The bridge is used by locals to cross a lake in Mandalay but has become a famous tourist attraction. Photographers love to shoot silhouettes of people crossing the bridge at sunset, but it's also very interesting to just watch a slice of Burmese life go by as you sit on a boat.
LOT2 heavy (bound for Warsaw) cuts through the humidity while climbing off of 28C in Chicago
LOT - Polish Airlines / Polskie Linie Lotnicze
Boeing 787-8 Dreamliner (SP-LRD) (cn 35941/87)
Whether by the fence lines or the wedge of clouds, this was our little piece of sunset in the south.
For the February 22, 2021 Macro Monday theme.
Kona abalone: part of a salad, which was very yummy.
The whole shell is approx. 3" x 2" - this is just part of it.
Macro Monday's and the theme of "Dried".
This week I found some dried Mango in our supermarket and spent some time pondering how I was going to present it.
I thought I may try using some of my son's figures to hold the mango but in the end I decided to use five slices and stack them against each other along with a high key background.
Yes, I will take a slice a la mode, if you please!
This photo was taken by a Hasselblad 500C medium format film camera with a Carl Zeiss Distagon 1:4 f=50mm lens and a Kowa L39•3C(UV) ø67 filter using Fuji 160NS film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.