Photo Technique
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This photo was taken by Just In Time. Please make sure to stop by her stream and check out the amazing photos.
For those of you who are interested,this is a compilation image of "Just In Time's" photo and OPT Processing As you can see the result is absolutely breathtaking. Rest assured that this is NOT an hdr image. Our magical technique creates results much like that of an HDR however, can be done with a single exposure, and eliminates the "halo" effect you most often find in hdr imagery. This technique is becoming well know as OPT. OPT is a combination of many programs EXCLUDING Photoshop. We hope to someday make OPT available to everyone through a software program, with a different name than OPT (over processed technique)
As you can see from this image, the sharpness, the color, the depth is increased exponentially.
Sa technique de pêche repose sur l'affût, perché sur une branche au-dessus de l'eau. Il repère ses proies en agitant la tête de droite à gauche, puis soit pique directement, la tête la première, depuis son perchoir, soit effectue un bref vol stationnaire avant de plonger. Il revient souvent se poser sur son perchoir dont il se servira pour assommer sa proie avant de la lancer en l'air pour la gober tête la première.
Le succès de ses pêches est très sensible aux conditions climatiques, la pluie troublant la surface, ou la turbidité de l'eau rendant le repérage des proies plus difficile.
Le martin-pêcheur régurgite des pelotes de réjection, dont une partie constitue la couche sur laquelle les œufs seront déposés au fond du terrier.
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His fishing technique is based on the lookout, perched on a branch above the water. He spots his prey by waving his head from right to left, then either spades directly, head first, from his perch, or performs a brief hovering before diving. He often comes back on his perch which he will use to knock out his prey before throwing it in the air to swallow head first.
The success of its fisheries is very sensitive to the climatic conditions, the rain disturbing the surface, or the turbidity of the water making the identification of the preys more difficult.
The kingfisher regurgitates balls of rejection, part of which is the layer on which the eggs will be deposited at the bottom of the burrow.
Sunrise on the coastline of El Médano in Tenerife. Another abstract using intentional camera movement (ICM) while I was waiting for the sun to rise.
Sunrise Photography in Tenerife
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A toy electric motor as a 1:1 macro. I suppose it belongs to the series "Märklin Metall" from the early 70ies. This was a modular kit system made of metal to construct mechanical things for older kit. This one is a still working motor, driven by a 9V battery. The copper wires induce a magnetic effect propelling this motor like in every electric driven engine.
Voigtlaender 2.5 110mm Macro Apo-Lanthar
From Telephoto to Macro
Have a peaceful Sunday my friends!
Looks better in Large. Hit F11 and then the "L" key or click on
the photo.
Copy Rights Reserved!
While in the “Black Forest” on Terceida, Juca showed me how he used intentional camera movement (ICM) to take pictures of the forest. This is one of my attempts. The location is a very good place to try this technique.
Come share your techniques in Kreative People Group: Show and Tell
www.flickr.com/groups/1752359@N21/discuss/72157710552447111/
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Photo shop and Nature ARTISTS:
Multi Group Contest/ Gallery Directory
New contests on the 1st and 15th
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Trying out that cool iPhone technique- tap the object and you can copy or share.
So how do I get it to be on black instead of white? Patricia Lane Evans ?
I get to observe a number of birds while they are foraging and either I've been asleep or have never seen a Little Blue Heron employ the old toe tapping technique of the Snowy Egret! This guy was doing just that and the minute the poor hapless fish made a move to escape the toe it ended up in the beak!!! Photo was taken on Horsepen Bayou!!
DSL_0024uls
I'm trying to get a handle on processing techniques to bring out the real feel of the moment.
I think that since all our raw files need processes applied, it means all our work is essentially "impressionism" at the very least. Still, I'd like to be able to get it "accurate" first, before applying alterations for an effect,
This presentation, seems closer to what it felt and looked like when standing there. I'd be interested in anyone's thoughts on the relative results of these two processing approaches.
Thanks for looking, again..
Refining my comet shooting technique after the dramas of last time. I used a Nikon D810A with a Sigma Art 135mm lens at f/2, ISO200, 27 x 30 second shots during and beyond astro twilight. The camera was on a ZWO AM5, I used the ZWO ASIAIR Mini to polar align, then get my framing where I was happy with it, and ran the autofocus routine with a ZWO EAF connected to the lens. Once that was done I ran unguided in continuous exposure mode with a wired shutter release that locks on, while I shot landscape astro comet shots with the other camera. For processing I used APP, I didn't do any comet alignment. I removed much of the astro twilight colour from the sky and with more subs the satellites are almost gone. The artifact on the bottom right is from the ground getting in the frame! Final processing in Photoshop.
When I begun to process this exposure bracketing, I thought that I knew what I wanted to attain. I was perfectly wrong. Indeed, these RAW files kept a few secret bits of beauty which I was not aware of when I selected them for processing – and they changed the course of the journey I had foreordained.
I was in a gloomy mood, for both personal and general concerns, and the RAWs looked rather duller than the average – taken: they appeared to accurately mirror the state of my soul. At worst, I would have wasted some hours of pointless procesing work before deciding to look for something better. Nobody would have known. However things were to contradict my expectations. I got some good news (a rarity in those tough days) about the health conditions of my brother and my “adopted brother-in-law” (i.e. my brother’s brother-in-law); on the other hand, Darktable – that wonderful software – gifted me with a few unanticipated treasures. My thoughts were growing more and more positive and the processing of this bracketing were proceeding accordingly: a hidden beauty was unfolding before me, my own persisting unawareness of it notwithstanding. At last I found myself with a picture that had apparently self-processed itself*, while I was busy exploring uncharted thoughts that kept emerging along the way
* Admittedly a bizarre phenomenon, which Maurits Cornelius Escher would have loved – think of his Drawing hands.
I would avoid to nag you about this incredibly wonderful location: you can take a look at my album Silent banks, the complete collection of the photos I have taken there; the attached narratives are rich in information about the place, if you are curious enough.
This location is especially renowned for its legendary morning mists, but only a thin layer of milky mist floated above the water that morning. On top of the hill in the distance, beyond the river, lays the sanctuary of the Madonna della Rocca ( = Madonna of the Rock), already brushed by the first light pouring from the Eastern horizon.
I have obtained this picture by blending an exposure bracketing [-1.7/0/+1.7 EV] by luminosity masks in the Gimp (EXIF data, as usual, refer to the "normal exposure" shot), then, as usual, I added some final touches with Nik Color Efex Pro 4.
I tried the inverted RGB blue channel technique described by Boris Hajdukovic as a possible final contribution to the processing. While this technique (which, its imposing name notwithstanding, is pretty simple to implement) often holds interesting results in full daylight landscapes, its effects on a low-light capture (e.g. a sunrise) are utterly unpredictable, so at the end of my workflow I often give it a try to ascertain its possibilities. In this picture I have exploited this technique in a very frugal, yet effective, way – just some touches where needed.
RAW files has been processed with Darktable. Denoising with DFine 2 and the Gimp (denoised and original images blended by lightness).
I continue to have fun temporarily with pieces from the PaB without my stock pieces. Of them little can be done but when there's only a plastic Cup... The desire to build immediately increased. Can the pressure is gone and the duty to do something unimaginable without giving the abyss pieces. Oh well - soon I finish moving and will be content better :-)
After some nights spent to learn and practice new imaging techniques, I propose a version of my first attempt to Andromeda Galaxy, less harsh, more realistic and detailed and (I hope) nicer to see.
- OTA: William Optics Zenithstar 61 APO doublet + WO Flat61 field flattener
- Mount: SkyWatcher Star Adventurer GTI
- Camera: Nikon D800 unmodified
Stack of 34x120s. shots @3.200ISO + 10 dark + 10 flats, using Starry Sky Stacker (SSS) for Mac.;
Processing through Adobe Photoshop
Any comment and/or advice for improving is welcome
Mixed techniques. Wet Cyanotype on Canson Watercolour paper, 300 g/m2. Added: Tumeric and vinegar. 20 min. In the garden. Coloured with watercolour pencils.
You probably have come across this term. Wikipedia would give you a variety of definitions and explanations. From the perspective of the UK and, important to clarify, from my own point of view, I would say that what is being talked about is a struggle for power over public opinion and the control of the media. Political interest groups use "hot-button" issues (racism, gender roles, Brexit, immigration, the interpretation of colonial history etc.) as a technique to polarise society and distinguish between "us" and "them". This is not a debate in the interest of truth. It is all about bullying and pushing certain agendas through. In other words, culture wars have intentional consequences. When a public TV channel with critical news reporting is being "privatised" or when the public BBC is threatened with a redrafting of its charter, you know that very likely culture wars are involved. Fuji X-E2 plus Helios 44M-7 wide open.
Technique offer us new possiblities for experimenting. I believe curiosity is present in all human beings. An internal force moves skaters to experiment things that the rest of us, we can not dream of .In my case I enjoied exploring what could result from the use of different edition programs together, "eh voilà" the outcome!
Although I have included an image of Dyrholaey Beach earlier in my photostream I thought it worth processing the shot in colour, emphasising the subtle hues of the landscape.
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A facade technique for corners. The important part is this, which may be hard to source. The offset is a half-plate on each side of the dark bley block. I would love to see a solution that is solid and only uses in-production parts.
Full moon night. But moonrise about two hours after sunset. So just enough time to capture some stars. Guess the glow on the horizon is left over from sunset. Amazing how long it takes to completely disappear. Probably longer than two hours. Of course it would be nice to think it's the Aurora Australis. I doubt that.
Processing technique:
9x 15s ISO640 14mm F2.8 images.
1. Open as layers in PS
2. Mask out the land and copy mask to all;
3. Group into "sky" group;
4. Duplicate that group and make a "land" group;
5. Auto align the nine images in the sky group;
6. Delete all the masks in the sky group;
7. Convert to smart object;
8. Blend-mode Median;
Now do the land group: invert the masks and do same as above.
Finish by blending the two groups together.
Esta garceta ( Egretta garzetta) baila sobre el agua tratando de adivinar en qué lugar se ha escondido el pez que persigue. Como no detecta movimiento, es bastante probable que su objetivo esté enterrado en el fango, así que es el momento de sacarlo con la técnica del pisotón.
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This little egret (Egretta garzetta) dances across the water, trying to guess where the fish it's chasing is hiding. Since it doesn't detect movement, it's quite likely its target is buried in the mud, so it's time to dig it out with the stomp technique.
Thanks to everyone that views and comments on my images - very much appreciated.
© ALL RIGHTS RESERVED. On all my images, Use without permission is illegal.
Sony ILCE-7RM5
Fire breathing is the act of creating a plume of fire by breathing a stream of fuel over an open flame. It can be a dangerous activity but the proper technique and the correct fuel reduces the risk of injury. Fire breathing is performed by both professionals and non-professionals. Professional fire breathers usually incorporate the fire performance skill within a show where other fire skills are performed. The element of danger in performing fire breathing and other fire skills enhances the entertainment spectacle for many audience members
This is a small waterfall on the outskirts of Lisbon in Santiago dos Velhos, it never completely loses is water stream but is very small in the summer months. In any case, the environmental setting is beautiful, with absolutely unforgettable peace and quiet. This time I forgot the tripod, much to my surprise, using some breathing techniques and a natural firmness of hands I managed to photograph at very low speeds with a very reasonable result.
Excerpt from the plaque:
Paper Crafting Technique of Lion Heads
Lion head paper crafting has a long history in Hong Kong. The birthday celebrations held for deities in villages are usually accompanied by dancing lions or other auspicious animals. They worshipped at shrines and temples to report to the deities, and hence lion head paper crafting emerged. The lion head costume comes in Foshan 佛山裝, Heshan 鶴山裝 and “Fo-He” 佛鶴裝 styles. Some craftmen depict the lion heads in different colours to resemble historical figures from the Three Kingdoms such as Liu Bei 劉備 (yellow face with multicoloured patterns and a white beard), Guan Yu 關羽 (red face with a black beard), Zhang Fei 張飛 (black-and-white face, green nose with a black beard), Zhao Yun 起趙雲 (green face with a black beard), Huang Zhong 黃忠 (with yellow as the main tone). Lion head paper crafting comprises four processes, namely crafting the frame, mounting the paper, colouring and decorating 紮作，撲紙，寫色，裝上裝飾配件。
Bonsai is a Japanese art form using cultivation techniques to produce small trees in containers that mimic the shape and scale of full size trees.
The Garden sits nestled in the West Hills of Portland, Oregon overlooking the city and providing a tranquil, urban oasis for locals and travelers alike. Designed in 1963, it encompasses 12 acres with eight separate garden styles, and includes an authentic Japanese Tea House, meandering streams, intimate walkways, and a spectacular view of Mt. Hood. This is a place to discard worldly thoughts and concerns and see oneself as a small but integral part of the universe.
Born out of a hope that the experience of peace can contribute to a long lasting peace. Born out of a belief in the power of cultural exchange. Born out of a belief in the excellence of craft, evidence in the Garden itself and the activities that come from it. Born out of a realization that all of these things are made more real and possible if we honor our connection to nature.
Excerpt from the plaque:
Paper Crafting Technique of Lanterns for Newborn Sons
Many traditional villages in the New Territories hold a Lantern Lighting Ceremony 點燈習俗. The Cantonese words “Dang” 燈 and “Ding” 丁 are homophones. Lanterns for newborn sons are hung in ancestral halls or worship venues during a period from the first to the fifteenth day of the first lunar month every year to inform the ancestors of the new births. At the same time, they convey the meaning of continuing to “give birth to a baby boy” next year. In some walled villages, a note with the name of the baby boy and auspicious objects are attached under the lantern. The Lantern Lighting Ceremony includes lantern lighting, lantern celebrations, lantern dousing and lantern burning. The lantern displayed in the exhibition is in the shape of an octagonal base and is made of bamboo strips, tissue paper, coloured paper, paper decorations featuring auspicious motifs.
The colours were inspired by a book I saw a few years ago; a black and white house with red bricks. So my motive is different but it's pretty much the same idea:
it's meant to be kind of a cover for a crime story.
That tree took me maybe half an hour. Easy and fun. The house was much work though. I left some parts open in the back so I have still light shining through but it's pretty much solid and has 4 walls :-)
I figured out a striking technique for the roof using chain links but in the end I just left it blank using open studs. I think somehow it works here because it empasizes the smooth curves.
I finally could use all the red flower parts (4 on a spruce) I bought years ago and it turned out I didn't have enough for a large tree. Therefore I used other parts as well an mixed some techniques but those 4 on spruce part are still the best :-)
It's also actually the very first time I used black and white for a half timbered house. That might sound trival, but using another colour usually means you have a totally different part selection. Fortunaltely it's the other way round with black. All the parts I usually need for half timberes patterns are there and also tons of other ones. I tried some half timbered techniques in the back I haven't used before. Also experimented with strings connected to studs but didn't use them. Also weapons might be useful and interesting for half timbered stuff.
It takes a year for one root division to produce hundreds of flowers in a dome shape by unique technique of pinching and training. This original style was developed in Shinjuku Gyoen and set a precedent for the style of "thousand bloom" chrysanthemums that are seen throughout Japan. (First created in 1884)
There are various events that are related to the nature and history of Shinjuku Gyoen throughout the year, such as the special exhibition of cherry blossoms in spring, the chrysanthemum exhibition and orchid exhibition, Noh performance and a photo contest.
one thing I have realized is that how much of the quality of your image you loose once you start adding more to your original image in programs ...but it does give you a chance to experiment ...grandson Sam reflected in the lens of my phone infront of my camera lens.....amazing what you can do with your iPhone even when not using it to capture images or speak on.LOL...this technique could work for any reflective item infront of your lens...just experiment a bit and find a pleasing subject...loving my few weeks down and actually enjoying the colder weather, with hopes you are all warm and safe and use this time to explore and grow with your camera and lenses...just shows how thin the membrane of the ear is when the light is shinning through it...stay blessed one and all