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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。
Mixed techniques. Cyanotype on Canson Watercolour paper, 300 g/m2. Coloured with watercolour pencils.
The distinctive hunting technique of pied kingfishers has earned the species a few records. Not only are they the largest hovering bird, but they are also the only kingfishers with the ability to perform a figure of eight wing stroke.
They hunt by hovering 50-65 feet above the water and then diving headfirst (or rather, bill-first) into the water. Pied kingfishers demonstrate spectacular speed and agility on the hunt.
The kingfisher bird’s black and white colors and hovering ability are their most distinctive qualities. You’ll often spot the pied kingfisher live in action, hovering over bodies of water.
Vary difficult to get an image as they fly past you so fast and I was standing in a boat. Amazing birds
I love to do macros, and usually try to get good crisp focus on them. But I decided to go with an abstract for this challenge.
(It’s the inside of a slinky.)
52 Weeks of 2019 - Week No. 8 - Theme: Macro - Category: Technique
Macro Mondays - What is That?
Technique: Sometimes the subject I'm shooting gets so use to me being close that it just goes about its business as if I'm not there. All I had to do is set the camera to under expose the natural light in the background, and I shaded the subject so that the flash was the only significant light source on the mantis (to freeze motion).
Tech Specs: Canon 70D (F11, 1/125, ISO 200) + a Canon EF-S 60mm macro lens with 37mm of extension + a diffused MT-24EX (flash head "A" set as the key and "B" as the fill, with the key on a Kaiser flash shoes). This is a single, uncropped, frame taken hand held.
I've added this close-up because a conversation between a photographer friend and a fish biologist reported that the dipper has a habit of clipping off a fry's tail while in pursuit so that the fish would not be able to escape.
Obviously, in this case the bird didn't have to employ the technique because the fry's tail is intact.
A jumping spider. Captured using reverse lens macro technique with Nikon 50mm 1.8G lens, manual focus, built-in flash.
I figured the tree technique I came up with (using stacked lassos) might work pretty well for microscale so I gave it a treehouse :)
A Tricolored Heron in breeding plumage employs the same shadow casting technique displayed by the previously posted Snowy Egret in the same marshy area off Horsepen Bayou.
Sweet Pea Pep Ventosa variation on the Pep Ventosa technique, couldn't find an isolated tree in Toowoomba that I could walk around...so took a suggestion from Cannon Collective Group Member and used a bunch of flowers, see information below if you want to have a go. In this shot there are five photos layered in Photoshop Elements. A little more than just a double exposure.
Pep Ventosa is the photographer who has made popular the technique of walking all around a subject taking photographs, and then combining all the shots in a multi-layered final image. He uses hundreds of shots to create his masterpieces, but you can get started using only 3 or 4 layers.
To have a go, bear these things in mind:
1. Try and have one fixed point in the shots that will overlap (eg. the tree trunk in the example above). It can be difficult to keep the overlapping point in the same place in the frame, so allow plenty of room around the subject to crop later if you need to nudge individual layers into place.
2. You’ll need to use an editing program that allows layers (like Photoshop). Import all your photos to the same image as layers (in Photoshop use File > Scripts > Load Files Into Stack).
3. Work through every layer adjusting the opacity (start with about 40%) and the blending mode (try Multiply or Screen).
4. Lots of shots means a huge file size and a slow computer. If you are not going to print your final image, consider working with smaller file sizes (for the shot above I exported 20 layers at 2000 pixels across).
Excerpt from english.cha.go.kr/html/HtmlPage.do?pg=/royal/RoyalPalaces...:
If one passes the garden at the rear of the Juhamnu Pavilion and walks down along the slope of the hill leading into the stairway, the person can find a square pond on the opposite side and a pavilion on the north bank of the pond. This is the Aeryeonjeong, which is composed of only 1 kan. Looking out of the windows of the pavilion, one can enjoy a wonderful view. It looks like just a framed picture, owing to the decorations attached to the upper part of the pillars. Of course, the mood of the picture depends on the season. In particular, the stone structure, through which water comes into the pond, is opposite excellent in beauty and technique of design.
The museum at Ósvör (Bolungarvík, Iceland) is a reconstructed fishing station, recreated as a memorial of almost forgotten Icelandic industrial activity.
As you can see, it's a turf construction. Icelandic turf houses were the solution to a harsh climate and the relative difficulty in obtaining construction materials in sufficient quantities. They offered superior insulation compared to buildings made solely of wood or stone.
I can still feel the smell of the place. The wood of old, humidity... It was actually a very comfortable feeling inside the hut.
Exif: ISO 200 ; f/4.5 (with 10 stop ND filter) ; 32 sec ; @18mm
Magic Cloth Technique. Rainy, cold & windy.
This one made it to Explore.
Excerpt from the plaque:
Flower Board Crafting Technique
During traditional festivals or celebrations, our attention is often drawn to the large and colourful flower boards which bring a festive ambience to the events. At the same time the flower boards represent the respect of the sender for the recipient, as a reflection of etiquette and social relations.
A flower board is composed of supporting frames made of bamboo strips and iron wire. For flower boards used for greetings, the main function of the characters on the flower boards is to send such congratulatory messages. Masters usually prepare a draft design of the flower board for confirmation of the customer’s requirements. The characters on the flower board are painted on cardboard paper. Achieving a match between the colour of the characters and that of the background is of utmost importance in flower board crafting. For example, characters in an orange or red colour are matched against a green background and bordered with a black or white outline. Gold paper is sometimes placed between the characters to make them stand out even more.
Masters draw patterns of dragons and phoenixes on the components of the flower boards. Although flower boards are usually used for one-off events, some components are reusable after repair, given that there is a centern standardisation in terms of the sizes of the flower boards.
This is an idea I had last year and have used it on several MOCs since. I keep meaning to get around to posting some pictures of it, so here it is. The technique uses four cheese slopes stuck in the corners of a 2xn plate (works from 2x3 up to 2x10). Then stuck into an equivalent sized brick. It also works for a 2x2 if you use just 2 cheesers. It is very clutchy, so no worries about your MOCs coming apart.
I finished a design video for the *cockpit* of my custom LEGO spaceship, Astrea. It’s at https://youtu.be/XTm9-6GDWlo.
I tried a new, digital approach/format for this video because I'm currently away from my physical models. (I plan to create some additional videos for other parts of Astrea in this format, and I'll be releasing the full digital file. Kindly stand by!)
Additional materials (photos, background, digital design) for Astrea and my other LEGO creations are at https://www.galacticplastics.com.
I'm trying different paint splatter techniques. This one not so much a technique but still fun and I like it.
Can't Tell the Bottom From the Top leading to another song I haven't heard since yesterday :)
A solution I found for a 180 degree reversal in a 1x3 brick package. I like the symmetry and the fact that there are two studs on each side. I used this in www.flickr.com/photos/96739476@N04/14201282524/in/photost....
I put up a tutorial on InnovaLUG's website about how I made the roof for my Age of Empires II Market creation.
Read the tutorial on the website:
innovalug.com/post/74/weathered-shingle-roof-tutorial
Because it's not a step-by-step kind of technique, you just experiment with the connections and with how much of a weathered look you want until you're happy with the results. The post on the website goes into more detail about the process if you're interested.
Another one of the Bessa Skopar images taken with Bergger Pancro 400, developed by 2 bath Thornton technique.
This is a technical test: experimenting with Bergger Pancro 400, developed in the Thornton 2-Bath developer to see if it's a suitable combination.
Bath A; 13 minutes
Bath B: 5 minutes.
The Bath A went much longer than typical because Pancro 400 requires significantly longer development times than most other films. This 13 + 5 time gave me very good overall density, but a bit excessive contrast, with the brightest values going a bit too far, I think. Next time I would drop the Bath A time to 10 minutes.
In all, a good experiment and reasonable results.
This was using the pre-WW2 Voigtlanger Bessa: 1/2 second at f16 with a medium yellow filter. Apertures larger than f11 deliver rather poor results with this f3.5 Skopar, unless you like the "toy camera" look in your work.
A Frame within a frame composition of the iconic Taj Mahal in Agra, India.
Here is a blog I wrote about framing in photography
If you want to look at more of my photography you can check my website and social media links below:
Getty
Some of my Taj Mahal Images on Getty
www.instagram.com/geraint_rowland_photography/
So I tried the dye technique Ochre Jelly recently explained and modified my Kingfisher mecha, also changed the head design and tried to make my new hand design a little more visible. I love it. I got it pretty close to medium lavender, then changed the orange for pink. For color reference, the two plates under the pink tile on the head are official medium lavender lego pieces. everything else is dyed.
Salt crystals on a teaspoon. Taken by reversing my lens - cool technique, thanks to those who suggested it!
Traditional English beach huts lining the seafront in Southwold, Suffolk.
If you want to look at more of my photography you can check my website and social media links below:
Getty
Make It Interesting • Challenge No 2 (Dragonfly)
Source image with thanks to Kamaljith
link: fav.me/d8w8fgi
My entry for round 1 of The Middle Earth LEGO Olympics over on MOCpages. The category was to create a build based on one of J.R.R Tolkien’s poems or songs. Here is the one I chose:
Farewell we call to hearth and hall!
Though wind may blow and rain may fall,
We must away ere break of day
Far over wood and mountain tall.
To Rivendell, where Elves yet dwell
In glades beneath the misty fell,
Through moor and waste we ride in haste,
And whither then we cannot tell.
With foes ahead, behind us dread,
Beneath the sky shall be our bed,
Until at last our toil be passed,
Our journey done, our errand sped.
We must away! We must away!
We ride before the break of day!
I tried to portray the 3 main themes of the song: hearth and home, travel through the wild, and Rivendell.
Perhaps of use.
Speaking of useful, if you only have a phone and struggle with photographing your stuff properly, have a look at my latest video here here.
Join The Workshop 'n say hi.
The kiosk at Largo Mompilher is an old kiosk in the city of Porto.
Shot based in Pep Ventosa technique
Since I found the lost folders I have been using some of the old originals to redo some of the pictures I especially like with new techniques... This Lighthouse was redone using Topaz Impression with the preset GEORGIA O'KEEFFE STYLE .. It seems to be just the right setting that some artist would want to paint it...
Or really Day 8, but whatever.
The final technique! This one is my personal favorite. Two years ago, I came up with this technique, which allows for bricks that are 2 plates high and 2 studs wide to be spaced half a plate apart from each other. Ever since, I've been trying to come up with a way to fill those 1/2 plate gaps, and this is my best solution. :)
This technique, much like the one that inspired it, is based on clip-and-bar connections. The two key pieces are 1x2 grille tiles and minifigure neck brackets, along with some trusty 4L or 5L bars and 1x1 tiles with clip. This one is more complex than the others, so I'll explain it step by step:
1. Select a brick color (or colors). Gather up a bunch of 1x2 grille tiles and 1x2 plates in that color and connect them together to form the "bricks" in the wall.
2. Select a "mortar" color. Gather up a bunch of minifigure neck brackets and 1x2 grille tiles in this color. You'll probably want to go with light or dark bley for this one.
3. Gather up a bunch of 1x1 tile with clip pieces and rod pieces. Connect all the 1x1 tiles with clip to the studs of the minifigure neck brackets.
4. Construct a supporting structure. This just has to be something that props up all the rod pieces so you can form a backbone for the wall. However, this gets a bit tricky. In this technique, each layer of bricks is actually 22 LDU high, or in conventional terms 2 plates plus 3/4ths of a plate. This is because when you stack two 1x2 grille plates so their tops interlock, the result is 1 and 3/4 plates high. In order to get all the bars lined up properly, it's easiest to make a support structure that has horizontal 1x_ plates that are each 1/4th of a plate apart.
The easiest way I know to create 1/4th plate offsets is to place two 1x1 plates on the sides of one of these ("Plate, Modified 1 x 1 with Clip Light - Thick Ring") and then to connect those 1x1 plates to snot pieces such as 1x1 technic bricks.
5. Connect the rod pieces to the supporting structure, then connect the minifigure neck brackets with 1x1 tiles with clip to the rod pieces so that the holes of the brackets are all facing sideways. Each minifigure neck bracket should be placed 2 studs apart from the next one, and they have to be staggered as seen in the picture.
6. Finally, stack the 1x2 grille tiles of the background color uspide down into the "bricks" you prepared in the first step so the grille tiles of the background color are 1/2 of a plate farther inward than the "bricks". Then, insert these structures in between the minifigure neck brackets.
The result is a wall that, despite being comprised mostly of loose pieces, is quite sturdy. You can hold it at a 45º angle and the brackets will safely keep all the loose pieces lodged in. In addition, there are no prominent gaps!
The one issue with the technique is that the horizontal lines are 5/8ths of a plate wide, while the vertical lines are only 3/8ths of a plate wide. However, this isn't all that noticable unless you look straight at the wall – it looks balanced when viewed from an angle.
If anyone has seen this technique used before, please let me know! Also, if anyone figures out a way to make all of the mortar lines exactly half a plate wide, please do share it with me! I've been trying to solve this technical problem for a year now and would love to know if there are other solutions. :)
Check out this awesome build by Sandro Tagliaferri to see the technique in action!