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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.
I used many of the processing techniques covered in my Tonality Control Video. It's available here: www.zschnepf.com
Another of my favorites from my epic first trip to the Palouse with my good friend Kevin McNeal. P.S. This looks fantastic as a large print. I think I'll frame it for my show this weekend.
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I am trying new color scheme in photoshop and new techniques.. also impressed with the progress i am making and getting more into it. Hope you guys like it.
Leaf, snow rocks. Created 4 layers, each layer was a different color. Flipped the 4 layers around so each layer was in a different position. Combined the four together and this is the result. Very easy to do. Try it on shots that don't turn out 100%. You'll be pleased with the results.
The technique here is to shoot 200 images continuously - (f/3.2 @ 1 sec. @ ISO 6400). Process in Lightroom, export as jpegs, then open jpegs as layers in Photoshop. Select all layers and choose “lighten” for the layer mode.
Intha Lake fishermen, renowned for their distinctive technique, navigate the waterways with a remarkable leg-rowing style. Perched at the stern of their slender wooden boats, these skilled fishermen balance on one leg while the other is wrapped around the oar. With a synchronized motion, they propel the boat forward, their arms free to manage the intricacies of the conical nets. This unique technique, evolved over generations, allows them to navigate the lake's shallow waters, where reeds and floating gardens abound. Their dexterity extends to the handling of the conical nets, an artful craft passed down through ancestral knowledge. With precision and grace, they manipulate these nets using a circular motion, skillfully casting them into the water to ensnare the abundant fish that thrive in Inle Lake's rich ecosystem. The harmony between their rowing and net handling embodies a tradition that not only sustains their livelihood but also stands as a testament to their cultural heritage and intimate relationship with the lake.
doing some more astrophotography tests - this time the panorama included use of the Akira Fujii technique to partially enlarge the bright stars. During the sky exposure I used a fog filter in front of the lens for 10s of the exposure. I also used a gary fong lightsphere.
My blog about the shoot astrophotobear.com/?p=99312
I figured the tree technique I came up with (using stacked lassos) might work pretty well for microscale so I gave it a treehouse :)
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
There is one technique in Wildlife Photography that for me can truly transform and improve a person images. I used this technique to capture an image of this Merlin sitting on its prey along the road in front of my home a few weeks back. This technique allowed me to create what I think is wonderful image in a difficult scene. To learn more about this technique and my encounter with this Merlin check out my recent blog post.
taken for macro mondays theme: light painting
A relative working in Qatar, brought us this small (about 2 inches/5cm) bottle of sand as a gift. Somehow, the bottle appears empty - I guess from some combination of the light painting technique and icm? An earlier attempt with less movement shows the sand more clearly in the first comment box below.
This technique was completely new to me. I'll try it again when I have more time. Thanks to the administrators for coming up with such an excellent variety and combination of themes!
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 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 reckon I've come up with a new building technique using a 30134 - Staircase 7x4x6 as rafters. I apologise in advance if this technique has been posted before.
The advantages of using a 30134 - Staircase 7x4x6 piece in this context is allowing the roof to be structurally stronger and they also represent the wooden rafters that go diagonally across a typical roof. Follow the link below to see the breakdown of the technique used in this MOC.
Roof Support (Rafter) Technique
www.flickr.com/photos/adeelzubair/32324585435
Camera
-Apple iPhone SE
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Three NightScape techniques for Chimney Rock, Capitol Reef Nat’l Park, Utah. You be the judge.
1) A single 25 sec exposure @ f/2.8, ISO 6400. 2) A 100 sec exposure to increase foreground detail, blended (via Photoshop layers) with the previous exposure of the sky. This is the “natural” method preferred by many, but because starlight comes from overhead and all around, it is like photographing with an overcast day (very flat, with little character). 3) A single exposure @ f/2.8, 25 sec, ISO 6400, with artificial lighting strategically placed (see my next post for more details).
#2 could have been done using low angle moonlight, but the star and moonlight exposures would have been many hours apart, and there are only 2 days a month where the angle is even somewhat correct. Mixing a twilight exposure would have been a fairly worthless option here because we are facing southeast and a northwestern twilight would have also given flat lighting.
<< See next post for a full, un-cropped view of # 3.
You can find more night photography techniques in my ebook, Milky Way NightScapes, which gives extensive details on my style of starry night landscape photography. Four chapters cover planning, scouting, forecasting star/landscape alignment, light painting, shooting techniques and post processing.
Night Photo Blog | NightScaper FB Group | Instagram | Workshops
Which do you like Best?
Milky Way over historic Simpson Springs Pony Express Station, Utah.
Both are single exposures. My simplified star trails technique is explained on page 62 of my eBook. No need to stack hundreds of exposures, like other complicated star trail methods. All processing is done in-camera, using the LENR mode (Long Exposure Noise Reduction), rather than having to do post processing stacking afterwards on your computer — joining together hundreds of single exposures into circling trails!
TECHNIQUE & EXIF: Canon 6D (H-alpha modified) + Tamron 15-30mm f/2.8 @ 15mm • LEFT: Single exposure, 15 sec, f/2.8, ISO 8000 • RIGHT: Star Trails. one exposure @ 2520 seconds (42 minutes), f/5.0, ISO 160, using LENR mode.
My eBook, Milky Way NightScapes, gives extensive details on my style of starry night landscape photography. Four chapters cover planning, scouting, forecasting star/landscape alignment, light painting, shooting techniques and post processing. Special Flickr Promo: Use Discount Code FLIK for $5.00 off at checkout (limited time only).
I'm packing up my Lego collection, and finding all these bits that never got photographed. I hadn't posted a pic like this in a while, so here you go :)
Note: I don't even remember whether I came up with the Dark Red one or if that was someone's REC submission... if it had a note attached to it, it doesn't anymore :( If it's yours please let me know!
Not a real space photo. Light art. Photoshop manipulations = composite image from 2 exposures, gas clouds/nebula created using Waterworld technique, background/foreground stars/gas planet from separate image (LED/laser/kiln), (Took out the increased noise layer...didn't like it, all effects now from two unmanipulated exposures). Still testing effects.
Is this Heaven? No, It`s Liverpool.
One of the fabulous light features from the River of Ligh festival, effect using Lens Zoom Technique.
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From time to time, we will use this space to explore some of Eggbert highly doubtful camouflage techniques.
So today, Eggbert will tell us a technique that is so good it promise to bring tears to our eyes...
Technique #03:
"The White Onion" disguise.
Sure, the company may stink, but it also suppose to keep you healthy, and most important (in his case) alive!
Oh, and by the way, you will need a wig for this one.
ツ
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.
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The matte painting (which can be translated with painting backgrounds) is a technique used mainly in film used to allow the representation of landscapes or places otherwise too costly or impossible to reconstruct or reach directly.
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!
Super powers, or death, what is the worst that could happen?
This is my 7th build in my Iron Builder against KOS Brick the 4x4x13 Curved Panel
One of our favorite roof techniques!
Some facets of this have been dabbled in before by various builders, but we think this is the first time the staggering of individual tiles, the offset of every other row, and the clean yet random joint at the top has been done. Anyways, we hope you like it, but feel free to tag or mention so we can credit people who've done various versions of this before. :)
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Welcome back to that weird thing I do where I choose a random week and post a new technique every day of that week!
This first one is another grass technique. It's fairly straightforward: Gather up a bunch of Rock 1x1 Crystal 5 Point pieces and attach a minifigure hand to each "point", then place the structures on a plate. Note that each crystal has to be 1 1/2 studs away from every other crystal, so the easiest way to set them up is to use 1x1 plates, 1x2 jumpers and 2x2 jumpers in such a way that each available stud is 1 1/2 studs away from the other nearest available studs. Also note that the crystals generally come in weird colors and so you have to hide the bottom half of the construction, but that's not all too difficult.
This technique is rather fragile. The hands bend back and forth at the slightest touch and it doesn't take much force for them to come off completely. However, the technique is still more sturdy than simply propping up minifigure hands on a studded surface, as I've seen builders do in the past.
More techniques soon to come! Some more useful than others. :P