View allAll Photos Tagged splittoning
This is the village we stayed at whilst on holiday in Wales in 2012; the cottage, which was lovely and cosy, is just hidden behind the trees on the right. The waterfall shots were taken on the same holiday.
There isn't much in Dinas Mawddwy, in fact apart from the post office and pub (The Red Lion, which served great food - the biggest gammon steaks I have ever seen) what you see in this shot is pretty much the entire village, but it is surrounded by beautiful Welsh countryside with walks abundant and the folk we did speak to were friendly too. One of our party lost her purse with cash and cards. We couldn't find it anywhere after walking up and down the street for half an hour. In the morning someone knocked on the door and handed it in to us!
Instead of the usual black and white or striking shades of green, a colour which Wales is plentiful in, I used split toning instead for something a little different to convey an aged black and white that isn't sepia. The filter blur is meant solely to focus the attention more on the buildings themselves.
Intentional camera movement (ICM) with my new Nikon Z50 and the 75-250 lens. White Butte, Saskatchewan, Canada. 5 November 2020
This marker is 5 miles away from the bridge, at a roadside rest stop, but from what I could see there really is no good place near the bridge to place it. At least where it is people will occasionally see it, if they wade through the grass and the sagebrush on the roadside. (see comments below to be mystified, because there is a marker next to the bridge).
The Carbondale community has a Memorial Day ceremony that ends with tossing a wreath into the Roaring Fork river from the bridge.
Sometimes you feel overwhelmed by the relentless futility of war:
"Theirs not to make reply,
Theirs not to reason why,
Theirs but to do & die.."
Alfred, Lord Tennyson, Charge of the Light Brigade.
Number 252 of my 365 photo challenge - A split-toned, macro image of some tiny old mushrooms.
The effect is created by putting my camera on the ground and focusing on them through the forest undergrowth.
The new terminal area at dublin airport!
I always wanted to come here to get a shot of this terminal so I went today and I tried to do a 360 pano but it failed, so this is the best I could do! :) I hope you like it!
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Happy Sliders Sunday! I played a lot with the exposure, tint, saturation, white and black balances on this.
Thanks for looking at the scenery with me.
A blown glass cat ornament that I brought from the glass works at Alum bay on the Isle Of Wight a few years ago.At the time we had three cats and managed to find three little glass cats in the right colours but one had a tiny flaw in the ear.So this is a macro of the flaw using a 100mm macro and 50mm reversed lens.
The shattered tree is almost pure white viewed from this side and almost black on the reverse side, like it has been struck by lightning in the recent storms. There is a stark edge separating the white from the black. The trees close by are unaffected.
I had reason to take some selfies yesterday and thought I might as well post one here. I also tried a smile and a neutral visage, but they didn't look as good to me as this serious or concerned look, which some might call grumpy. 😀
And, what the hey. It's Mono Monday, so . . .
© AnvilcloudPhotography
Just for a change from the colourful images this week, I processed this a little differently. It started life as 3 hand-held bracketed RAW exposures processed as a full colour 16bit HDR. I then played around with split toning in Lightroom (olive and light blue), cranked up the contrast, blacks, clarity and sharpness and gave it a vignette before publishing.
Crossing these bridges has become a daily routine. But the view is actually spectacular and gets its touch of magic when seen with the right glasses from the right angle... You start to wonder if that weird line of light is a sign of life from outer space. Or is it just an airplane passing by after two minutes of exposure... You can't really tell, can you?
Cheers to flickr contacts Geir Vika and eskedahl for reminding me Night Time Is The Right Time...
Number 277 of my 365 photo challenge - A split-toned image of some smoke drifting out of the barrels of a recently fired shotgun.
Taken at the Scottish Schools' Clay Pigeon Competition at Cluny Clays in Fife, Scotland.
Magnolia virginiana #5
Shot on Ilford Delta 400 film (at 250ASA), processed in Xtol 1:1.
Camera: Hasselblad with the 150Mmm Sonnar lens, and a Proxar close-up filter.
This is the split toned version, effect applied in Lightroom, saved, and de-saturated.
I shot both the Kodak TMY and Ilford Delta 400 to compare these two similarly formulated films. I like the tonal distribution of the Ilford Delta a TINY bit more, but otherwise these are very similar films, and both a spectacular.
Thank you so much for visiting and all your kind comments... ;-)
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6/13/13: I've been in self-imposed solitary confinement due to a relentless cough. It always feels so good to breathe in moist air, plus the scenery isn't half bad. ;)
Granite steps leading up to the Town (City) Hall in Fribourg, Switzerland. Converted to mono and split-toned in LR.
Number 287 of my 365 photo challenge - A dark, split-toned, macro image of a dying flower in Autumn shadows.
(Explore #11)
When I started taking photographs in earnest, to further my understanding I bought and digested a lot of books and magazines on the subject. I admit thinking of myself now as largely self-taught, although I suppose that's not strictly true given a lot of my knowledge has been filtered down through that of others, albeit in their absence. One of the earliest pieces of advice I can remember reading (alongside the beginner's stumbling block about a small aperture having a large F-number - someone didn't want me in this club), was to take time to explore the subject before deciding on a composition. I've stuck to this diligently to this day, and believe it's one of the fundamental disciplines that marks out a skilled photographer.
Often though, a landscape has multiple possibilities each of which have the potential to offer a great result. This may depend on conditions at the time, or even the photographer's relationship with and appreciation for the subject - not too mention the characteristics of the lens he chooses to shoot with. I'd seen this simple building (actually an old coastguard's lookout post) shot once or twice from close up and directly in front, and on arriving could understand why. To my eye, there were actually two key point's of view of the building once at the summit - the one I'd already seen and another from the right hand-side slightly below the plateau, taking into account a little section of diagonal fence that drops down nicely to form a pleasing angle with the intersecting sea. I must have spent well over an hour crouched down in the long grass at this second vantage point, waiting for the light to come good and pick out the white-washed surfaces amidst brooding cloud. Two other photographers came and went while I was there (both shot from the front), along with the usual dog walkers - one of whom told me a little about the history of the place. Eventually deciding I'd got the shot, I packed up and started to head back down the steady incline, intent on heading elsewhere. It was then that I turned around. I nearly always do this when walking away from a subject, it's almost like saying goodbye to somewhere I've forged a brief connection with and may never visit again. Suddenly I realised this was perhaps 'my' composition, the one that separated it from those I'd already seen and perhaps incorporated best a sense of the place for me. Moving just a few paces further down the track I set up and took just the one shot before the light faded, rendering the building a dull gray. As is typical for me, I shot vertically, and despite originally intending to include more of the sky in my envisaged square crop this is the frame that I feel works best. Luckily I made a reasonable attempt at hyperfocus taking into account the foreground low in the frame, which allowed me to crop as here without losing too much.
Is this the 'best' composition? No, there's no such thing - it's just the one that worked best for me this time round. I still have the unedited RAW's from the other two spots I mentioned, and always have the option of processing those should I so choose. Even with this one, there are subtle changes I could have made had I so wished - for instance the little hut could have been placed directly on intersecting thirds (perhaps a little obvious, but I like forming squares within squares so went with near-intersecting quarters here), or I could have shot really low and thrown out the focus of the stony path altogether. The point is there are compositional choices with most subjects, and it really is worth taking the time to consider just what they may be...
On a separate note, my gratitude goes to Andrew Gibson for interviewing me again for his current excellent series on long exposure photographers.
www.andrewsgibson.com/blog/2012/12/long-exposure-photogra...
We must be a pretty tight-knit community as I've recognised all but one of those so far interviewed - each of which have made for fascinating reading - so if unacquainted I'd encourage you to check out the links to some of the others too. There are some very talented people offering insight!
Had to try split-toning for Dogwood 2017 week 11. Manchester's Northern Quarter has a nice bit of character .
Lancashire & Yorkshire Railway (L&YR) Class 27 0-6-0 steam locomotive in the rail yard at Carnforth Heritage Railway, formerly known as 'Steamtown Railway Museum' in Lancashire UK, summer 1986. The most recent running I could find for this locomotive was on the Embsay and Bolton Abbey Steam Railway a few years ago. Shot using a Nikon F301 with a Nikkor 50mm f/1.8 standard lens on 100 ASA Kodak Ektachrome 35mm slide film. Digitised to DNG raw using a Plustek 8200i 35mm film scanner and processed from raw in Capture One Pro 23. The resulting image was further processed to b&w and split toned using Nik Silver Effex Pro 2.
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