View allAll Photos Tagged splittoning
You can buy this photo from Getty Images.
Another image, I got yesterday, from the same field of corn I drive past everyday.
Badbury Clump | Oxfordshire | England
I've not had the chance to get out much with the camera recently, so I've revisited the batch of shots I took on a morning autumn walk around Badbury Clump Woods.
I realised I took several dozen photos on my morning trek. But I particularly liked this shot and how the thin rays of light were trying to break through the thick fog that encompassed the woodland.
I've processed it in Lightroom, using a new workflow that I've been attempting with split toning. It's my first attempt and something I will need to practice a lot more. But for now, I'm enjoying the peaceful atmosphere that this image conveys to me.
Location:
Badbury Hill, managed by The National Trust, is an area of woodland with great views of the Thames flood plain to the north and the historic market town of Faringdon to the east.
The remains of an Iron Age hill fort from about 600BC are close to the car park in Badbury Clump, famous for its beech trees and bluebells.
The woodland paths and trails are perfect for a family walk and this National Trust property is very popular with dog lovers.
The woods are located just off the B4019 between Coleshill and Faringdon. There is Free Parking (although charges will apply from 2016). The car park has some pretty big pot holes, so go careful!
Sat-Nav: Use SN7 7NJ for the car park
Do something for long enough, and in theory you'll become adept at it and well accomplished. As the idiom suggests, practice makes perfect. I imagine this to be indicative of just about any field of endeavour one could care to mention, and there are of course a great deal of choices open to us to explore - not least those associated with art and creativity.
I suspect for most photographers, there are several stages involved in eventually realising a level of skill they're content with. Certainly these will vary, and admittedly I'm generalising massively, but I wonder how many of the following may be attributable to you - or perhaps trigger a wry smile of recognition? The first stage is an appreciation of the printed image as shot by others, and a desire to equal, or better those efforts. This is followed by much floundering as technical jargon, myriad camera controls and lack of vision conspire to thwart and discourage. The realisation that hundreds (thousands?) of pounds spent on that shiny new camera gear does not instantly equate to the stunning shots running amok inside one's head is an early stumbling block, and for many their aspirations end here. Those with enough determination strive doggedly on, driven by either a modicum of genuine talent, or an untrained eye and subsequent misplaced self-congratulation, or the hope that perseverance will reap rewards. Eventually, through perhaps trial and error, tuition, research or happy accident made good, comes the stage where the camera is no longer a forbidding and sullen rectangular mass but a familiar and trusted confidante. Buttons and switches perform tasks that are grasped, and there is no longer the irrational but very real fear of 'messing up the settings'. Images start to come together not purely through chance, but because conscious decisions have been made at point of capture and during processing that govern the results. Pictures taken weeks, months, or possibly even years earlier now evoke vague feelings of derision, perhaps even regret at not having waited for that harsh light to fade, that passer by to move on, that tide to rise or that season to arrive. These could be pictures that caused feelings of joy at first, and many will evoke happy memories still, yet inexorably their flaws are now evident as if suddenly unveiled - but at least not repeated in more recent work. Each and every opportunity to shoot fresh material is seized with a thrill, and friends and family (despite being far from an unbiased panel) greet latest efforts with 'how did you..?' and 'where was that..?' exclamations of encouragement and wonder.
The road to photographic excellence has been embarked upon, and now there is no desire to stop or turn back.
Practice, as they say, makes perfect. The implication is that in order to expound upon proficiency, it's prerequisite that a degree of regularity is adhered to. Dedication given over to a craft will indeed pay dividends, yet that dedication will be beset by periods of inactivity, apathy and self-disillusion that threaten the knowledge compounded by previous hard work. This, I feel, is the stage I'm currently beset by. There are occasions to shoot I've snubbed, and chances to better my repertoire I've rejected out of hand. My creativity seems to have the peculiar foible of being cyclical, and I recognise when it's just not happening for me as a bitter struggle seems to ensue to realise an image, as opposed to the good times when everything just, well, flows... I'm sure had I attempted to produce this particular image on a different occasion it would have been much easier, yet I didn't and it wasn't. Am I content with it? I'm not entirely sure just yet. Maybe I'll know if I'm successful in reaching the next stage, whatever that may be.
On a different note, I'm really happy to have been published by What Digital Camera again in the current May issue, with two of my images appearing across two pages along with a small write up on my ND110 filter. I'm equally delighted to simultaneously have seven pictures published across six pages in the Spring issue of Photo Technique, accompanied by my article on long exposure monochrome.
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Shot from inside the shopping centre. Bit of cropping, Lightroom Preset (Hanne split-tone), slight vignette
Stokksnes in East Iceland is one of those wild places that deserves visiting more than once. It looks totally different depending on the time of day, cloud patterns, tide, and season. Wherever you see mountains going up right next to a large body of water -- be it a lake, sea or ocean, the landscape is usually picturesque, and Stokksnes is no exception. In winter, if you are lucky you could see northern lights dancing atop the peaks of the Vestrahorn, also known as Batman mountain. When the ocean comes closer to the mountain, and there is no wind, you might see spectacular reflections. When it's windy with low clouds hanging at the peaks as it was when got there, it takes on a wild persona.
The Docklands Light Railway is an automated light metro or light rail system opened in 1987 to serve the redeveloped Docklands area of London.
Press L to see bigger :)
Number 328 of my 365 photo challenge - A split-toned, long exposure, landscape image of a skate bowl at night in Perth, Scotland.
Number 299 of my 365 photo challenge - A split-toned, HDR, landscape image of a slightly hazy forest, bathed in the afternoon Autumn sunshine near Forgandenny in Perthshire, Scotland.
Number 330 of my 365 photo challenge - A cross-processed and split-toned, landscape image of some wintery looking trees, bathed in the golden afternoon late Autumn sun in Perthshire, Scotland.
Shoulda called it 'longevity' as I've had these quite a while. Think they've made it in quite a few shots on here. Viva Adidas!
...actually it's Dover Castle viewed from the White Cliffs, but I let my imagination run wild for a moment processing this one with split-toning.
Number 363 of my 365 photo challenge - A cross-processed and split-toned, long exposure, landscape image of waves breaking in a rocky cove near Portknockie in Moray, Scotland, at sunrise on a beautiful morning.
© Leanne Boulton, All Rights Reserved
Candid street photography from Glasgow, Scotland. I just loved the subtle reflection of the flame igniting his pipe. Given a very light split tone pass of orange and teal to emphasise that reflection - enjoy!
Snowy woods.
This is a manual stack of seven images taken on my phone, blended together. All the images were of the same view, more or less (it was handheld out of the window of the stationary car).
We only have snow for about 2% of the year here these days so it was rather opportunistic shooting on the way back from an abandoned journey (also known as desperately trying to take something becore it melted :) ).
Sadly the individual pictures turned out to lack any useful composition so I thought I might just use them for a play. I was trying to get the feeling of walking through snowy woods...
I quite like the result, and the feeling it creates. The stack and the blur effectively created a multi-exposure ICM look but using processing. Still no compositional focus though: I guess we'll have to pay more for that filter :)
Thank you for taking the time to look. I hope you enjoy the image (but keep warm ;) )
[One-hand held phone out the window in snowy daylight.
Seven images stacked manually as layers blended with reduced opacity with various blend modes from Soft Light to Colour Dodge, anything that made the stack look more interesting.
Converted to B&W.
Two copies made on top each with different amounts of vertical motion blur and reduced opacity.
Split toned the result with dark blue/ dark red.
Coloured the whole with dark blue Lens Filter adjustment.
Frame made out of wide inside Outline layer effect with gradient and reduced opacity.
]
Looking towards Shutlingsloe from Tegg's Nose.
I'm not sure whether the toning is too strong here. I like the richness it gives to the grass either side of the path - hmmm.
Kodak Retinette 1b
Ilford HP5+
Processing with GIMP
Number 261 of my 365 photo challenge - A split-toned, landscape image of some Daisies next to a ploughed field in the afternoon sun, marking the shift from Summer into Autumn.