View allAll Photos Tagged techniques
so i was messing around with my own stuff + mulletgod's actions (thanks MG, these are gems, freebies, too god to pass up and not play with! www.mulletgod.org/photoshopactions/ ) and using ghostbones' texture atop them (thanks ghostbones! www.flickr.com/photos/ghostbones/ ) . i decided to do a crazy ps method and used the color range method to select parts of my photo and then dragged them to the texture. sort of fun. obviously wouldn't work for every image but nevermind that. feels old timey to me. almost faux platinotype, eh?
Day 3! As always, please let me know if you've seen this technique used in the past.
EDIT: Ted Andes pointed out in the comments that he came up with the inner triangle about 6 years ago. :P So think of this more as a development of a preexisting technique.
This one is a little bit less piece intensive. As you can see from the picture, it's a relatively simple way of constructing a triangle shape, based on robot hands (or "Bar 1L with Clip Mechanical Claw, Cut Edges and Hole on Side"). When you connect three robot hands clip to end as shown in the picture, they form a fairly sturdy triangle. From there, it's just a matter of expanding outward with 1x1 plates with clip.
The advantage this technique has over the simpler and more commonplace method of using 1x4/2x2 hinges is that it allows for the incorporation of cheese slopes to create corners. It does result in weird gaps along the sides of the triangle which as far as I can tell can't really be filled with anything, but I guess there's always a tradeoff.
I still have four more of these on the way! In the meantime, if you're interested in more triangle techniques, also take a look at this one I posted a couple of years back.
As much as I love the BA minigun, I always thought that the body would look better as a square-y shape. Thanks to the usability of the BF megagun, the BA handle & barrel, a cut piece of flex tube, and a monopod, that is now possible. Use with credit, and enjoy! :D
Inspirations tagged.
And here's a look at the technique used to reverse the stud connections inside.
The 1x1 piece with the thick 'o' clip is the key part. And the result is a very tight connection that can be used to quickly reverse stud direction. it's three plates thick. And depending how you line up the 'o' clips, you can have studs facing other directions too, and, they'll line up very neatly with the edges of the bricks.
De G Ã D:
Glacier du Nant Blanc coiffé de l'Aiguille Verte (4122m), les Drus, puis au loin l'Aiguille du Midi en premier plan du Mont Blanc, Vallée de Chamonix.
vu des Aiguilles des Grands Motets (3295m)
Chamonix
Panoramique.
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.
Visit www.facebook.com/Maurizio-Poli-760405867422348/
Ask for a preventive in my virtual shop at the site mobiliperufficio.com/Maurizio_Poli/home
Richiedete un preventico nel mio negozio virtuale al sito mobiliperufficio.com/Maurizio_Poli/home
Some great architecture in Valencia, Spain. This is the top part of the main City of Arts and Sciences building framed amongst two others. I like the afternoon sunlight on the roof.
Here is a blog I wrote about Framing in Photography
If you would like to use any of my photos please contact me and ask permission first.
If you want to look at more of my photography you can check my website and social media links below:
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Technique: I used a syringe to add sugar syrup to a few flowers so that this Honeybee would have a reason to let me get close.
Tech Specs: Canon 80D (F11, 1/125, ISO 200 due to Highlight Tone Priority) + a Canon MP-E 65mm macro lens (about 2.5x) + a diffused MT-26EX-RT ("A" flash head on a Kaiser adjustable flash shoe), E-TTL metering, 0 FEC, second curtain sync).
Came up with this variant when I wanted to extend the one in black/white and realized it didn't work. The distance changed - to the better. Now I can fit 1x1 bricks and two cheese slopes and the stress is almost gone.
The technique is implemented in this MOC: www.flickr.com/photos/eiffelben/6197444089/in/set-7215762...
Well, here is the outcome of my Round 4 challenge from Get Pushed .
I was pushed by www.flickr.com/photos/misst.shs/
to:
1. Shoot a moving subject (you choose the subject) using the panning technique
2. The final posted image must be in color and shot in the daylight
3. Must convey a definite feeling of movement
4. Shoot at a maximum shutter speed of 1/30
5. Must have at least part of the main subject somewhat in focus
6. Very little post processing (some cropping and level adjustments are O K).
I'm not going to lie, I was freaking out a little about this challenge. I had never before tried the panning technique, and was a little scared. Yet, even though this is most definitely NOT the best panning shot I have ever seen, I must admit I am satisfied. :)
You can find misst.shs' response to my challenge here!
Wow everyone... Thank you all so much for the Explore! I am so happy and honored to have given you all a photo that you love!
Some wanted to see how I made the hood on my Regal T class London bus (www.flickr.com/photos/94645638@N07/16486834234/) so here it is. It's nothing special and there have been others who used this technique before.
Edit:
I think I first saw this idea used by [https://www.flickr.com/photos/35385165@N05/]'s Morgan, so credit goes to her.
Toying around with a technique for a round tower. Heavily inspired by Llego_pig, but since i couldn't figure out how his tower had 14 sides, i decided to use the angles of the slopes, which perfectly add up to 12 sides (30 degrees x 12 sides = 360 degrees). Happy with the result! Now i need to incorporate it into a long planned medieval build...
© Jeff R. Clow
Six years ago this month I joined a new website called Flickr.....and I certainly did not expect the site to have such an influence on me as it has since that day.
I had read an article about this new site that allowed you to upload your digital photos online and back them up so that if you lost your computer or hard drive, you'd still have the file.
So I dutifully began uploading my small photo collection - almost exclusively photos of my family. Photography was not a hobby for me then, but simply a way for me to capture shots of my kids at the holidays and during special events.
After several months on Flickr, some kind soul commented on one of my images - a functionality that I did not even know existed at that time.
And that one kind comment triggered something in me.
I remember thinking that if people - besides my family - were actually looking at my photos, I better get better at taking images with my point and shoot camera.
Thus began the journey....from casual shooter to photo enthusiast to DSLR owner to stock photo photographer to photo tour guide.
And what a ride it has been because of the grand community of Flickr. Not one of those things would have happened without kind people commenting on my photos and instilling in me - through their comments - a desire to get better at the art of photography.
The photo you see above is one of my personal favorites - taken on New Year's Day in 2006. I had at that point acquired a Nikon DSLR that was capable of doing a thing called bracketing - and this is one of the first bracketed and blended shots I ever took using that technique.
It is a solitary tree on the shoreline of Meadowlake Park in Enid, Oklahoma. I was visiting my Mother and my hometown during the holidays.
Little did I know that the shot would end up on the front page of Flickr and then would be purchased and used many, many times since that fateful day. It has been on the cover of an Israeli newspaper and has been used for a couple of print ad campaigns as well.
And it is the most "favorited" photo of my almost 4,000 photos now stored on Flickr since 2004.
For those of you just starting on Flickr, I hope your journey is as rewarding as mine has been - and continues to be for me.
For those of you who have been around since those early days, I salute you and I thank you for your frequent visits to my photostream all these years.
Flickr is a magical site and I am constantly amazed at how it continues to be such a positive influence on my life day after day, week after week, and year after year.
Thank you all for your comments, your faves and your encouragement. You have touched my life and I am very grateful.
Dès 1913 fut décidée la construction d'une église à cet emplacement. La première pierre fut posée en 1914 et l'on bâtit les fondations et une crypte sous la conduite de l'architecte niçois Castel. La mort de ce dernier et la Première Guerre mondiale entraînèrent l'abandon des travaux. En 1926, la construction reprit suivant les plans de l'architecte parisien Jacques Droz. Elle s'acheva en 1933.
L'utilisation de la technique du voile de béton armé, récente à cette époque, a permis une construction de style futuriste, influencée par l'Art nouveau. Trois grandes coupoles en forme d'ovoïdes sont supportées par quatre piliers et soutenues par huit autres coupoles de plus petite taille, ce qui permet l'établissement d'un impressionnant volume intérieur. À l'origine, les coupoles devaient être recouvertes de plaques de cuivre mais elles ne furent pas posées pour des raisons budgétaires.
Le clocher, haut de 64 mètres, à flèche élancée et ajourée est censé représenter le cierge pascal. Sa forme angulaire contraste avec les courbes des coupoles.
L'église est quelquefois surnommée la « meringue » en raison de sa couleur blanche.
Anciennement, le sous-sol de l'église abritait le cinéma Jeanne d'Arc dont l'entrée se trouvait rue Charles Péguy.
From 1913 it was decided to build a church on this site. The first stone was laid in 1914 and the foundations and a crypt were built under the direction of the architect Nice Castel. The death of the latter and the First World War led to the abandonment of the work. In 1926, the construction resumed following the plans of the Parisian architect Jacques Droz. It ended in 1933.
The use of the technique of reinforced concrete veil, recent at that time, allowed a futuristic style construction, influenced by Art Nouveau. Three large ovoid-shaped cupolas are supported by four pillars and supported by eight other smaller cupolas, allowing the establishment of an impressive interior volume. Originally, the cupolas had to be covered with copper plates but they were not put for budgetary reasons.
The bell tower, 64 meters high, slender and pierced arrow is supposed to represent the paschal candle. Its angular shape contrasts with the curves of the cupolas.
The church is sometimes called the "meringue" because of its white color.
Formerly, the basement of the church housed the Jeanne d'Arc cinema whose entrance was rue Charles Peguy.
Technique: Sometimes when I bait a subject they get the sweet stuff all over, and that's what's happened here. I'm holding on to the Lavender stem that the bee is perched on with my left hand, and resting the lens on that same hanf to help keep the scene steady. I also used an artificial flower to keep the background from being black.
Tech Specs: Canon 80D (F11, 1/250, ISO 200 with highlight tone priority) + a Canon MP-E 65mm macro lens (around 4x) + a diffused MT-24EX (both flash heads on the Canon flash mount, E-TTL metering with -1 2/3 FEC). This is a single, uncropped, frame taken hand held.
Very likely illegal building techniques but both works fine irl due to slight flex and tolerances between parts.
Building technique borrowed from @Farouq who borrowed from @Raised who borrowed from @UrbanErwin...
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Very high setting render from Stud.io
83 subs of 30 secs at ISO 3200 and 800. No flat, bias or dark frames. Astronomik CLS filter under heavy light pollution and slightly hazy air. Processed with DSS and Lightroom.
I mean technically day 7, but I was really busy yesterday and couldn't post anything.
This one I didn't come up with entirely on my own. It's based on this tree technique by Stuart Kahler, now buried in the depths of Mocpages. It was posted all the way back in 2011, but somehow never came into common practice despite being a brilliant idea. It is based on flipping stacks of grass stalks upside-down and connecting them in a cone shape to create a realistic conifer texture. The technique is excellent, but it is very uniform, so to make it more irregular/organic, instead of constructing the cone with hidden hinges I connected six stacks of grass stalks to a center piece consisting of two more grass stalks using 1x1 flower pieces. Further stacks of grass stalks can be connected to the first six in a similar fashion, theoretically allowing for endless downward expansion as long as solid support structures are present and the connections at the top hold out against gravity. I don't know how big you can go before gravity wins out because I don't have enough pieces to try it out, but I suspect that some pretty big trees can be constructed this way.
As I said, do note that I didn't come up with this all on my own. In fact, one of the comments on the original 2011 post has a suggestion for a similar modification, though I've never seen it put into practice. So consider this particular post more of a publicity boost.
I still have one more technique left! It's my favorite of the bunch so I'll try to get it up soon.
I've also used this technique in an actual build, unlike most of my other ones. You can see it in action here.
This was a commissioned model based off of Leanan Manor. This version is a bit larger and features a full interior that can be reached via lift off floors or the hinging function. All the doors and window shutters actually open and close. It is also an entry into the small miscellaneous category of the Colossal Castle Contest.
Leanorll Manor sits on a rock island in the middle of a placid lake. This morning, one of the servants brings in fresh water and kindling while the cook peels an apple. Lord Leanor makes his morning rounds and checks in with the roof top sentry.
See lots more pictures here: www.brickbuilt.org/?p=5686
(Published in Photo Technique, Spring 2013)
(Explore #22, Front Page)
It's been an odd few weeks for me. Typically, as we enter the autumnal months my camera starts to go into overdrive - having comparatively little use during the summer when contrasts glare and windows of opportunity for balanced exposures are cut perilously short. That's not been the case so far, and I can count the number of times I've been out in the last month on the fingers of one hand. It's not exactly that I've been reluctant to - I often refer to having withdrawal symptoms when deprived of 'camera-time', it's just that things haven't been quite right somehow. Be they a combination of poor conditions for long exposure work when I've had the time (or vice versa), or a lack of inspiration, or some other indefinable cause - my gear has sat rather forlornly in situ at home. Every so often I've happened to walk past my backpack and tripod, feeling almost guilty while consciously restricting them solely to my peripheral vision. I did feel temporarily vindicated having to rummage through the contents while packing away a couple of new filters I'd invested in - and if it's possible to anthropomorphise a bag, I could have sworn the thing developed a smile and looked rather more perky for a day or two! That soon passed however, and it seemingly slumped visibly (not that I looked at it directly of course), when it became clear neither of us were yet destined for the great outdoors.
I've been here before of course (as I know have many of you), and for me at least I think it's very much a part of the creative process. I discussed with a good friend recently how on the odd few instances I've been out of late I've struggled to bring everything together - even when faced with apparently strong compositions and fortuitous weather. I think you have two choices when facing this sort of block. The first is to keep plugging away and hopefully battle out the other side, and the second is to know when to take a hint and kick back for a period.
I haven't been completely remiss though, and have spent time seeking out a few fresh locations I'm keen to visit between now and spring. Some of these are completely new to me, at least in terms of having trained my lens on them before, while others I've not been satisfied with results captured previously and have vowed to return. I do have a number of images that occasionally nudge me from my archive pile, but my hope is the majority of these will stay where they are for now in favour of new, forthcoming material. Today I made the effort to get up early, seize that bag off it's perch (it leapt into my arms and wept with joy...), and set off out in search of the very same. I felt sure I'd nailed it too, yet on viewing my RAW files I'm now not so sure. It doesn't really matter - more positively I believe I felt those initial stirrings of drive - that want(?), that need(?) to produce something worthy pricking me again.
I'm not quite sure I'm there yet, but for the time being I'll leave you with this image which possibly culminates those I shot in Pembrokeshire recently. I have some exciting news coming up very soon - nothing to do with LPOTY by the way, I didn't progress any further than the shortlist this year - but something I'm equally as thrilled about. Hopefully it will prove to be the final piece of my creativity jigsaw reassembled... We shall see.
Technique: I found this little caterpillar on a flower, and shot it at my patio table with an artificial flower in the background.
Tech Specs: Canon 70D (F11, 1/250, ISO 100) + a Canon MP-E 65mm macro lens (4x) + a diffused MT-24EX. This is a single, uncropped, frame taken hand held.
Now it's just right!
The Busó festivities at Mohács in southern Hungary are a six-day carnival in late February to mark the end of winter, named for the busós, frightening-looking costumed people (traditionally men) wearing wooden masks and big woolly cloaks. The festival is multifaceted, including a children’s costume contest, a display of the art of mask carvers and other craftspeople, the arrival of more than 500 busós in rowboats on the Danube for a march through the city alongside horse-drawn or motorized fantasy vehicles, the burning of a coffin symbolizing winter on a bonfire in the central square, and feasts and music throughout the city. The tradition originated with the Croatian minority in Mohács, but today the busó is a general emblem of the city and a commemoration of the great events of its history. More than a social event, the carnival is an expression of belonging to a city, a social group and a nation. It plays an important social role by offering a chance for self-expression in a communal setting. The arts underlying the festivities are preserved by self-organized groups of busós of all cultural backgrounds, many of whom pass on the techniques of mask carving and ritual celebration to younger generations.
The oldest constructions do not appear to be earlier than the 17th century, although their structure and technique were propagated from a very early period in the valleys of southern Morocco.
Taken @Ait-Ben-Haddou, Morocco, North Africa.
Hello everybody :)
Today I want to show you a wall technique I explored while sorting my parts. It´s only made out of suitcases and some clip vertical parts. Moreover it´s also possible to make some variation by using next to the dark bluish gray suitcases some in dark gray. It´s quite a stable design and a decent alternative to the walls made out ot the "hammer" parts.
Thanks for watching :)
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BLYTHE-A-DAY
A flickr Group
NOVEMBER 2023: Photography Techniques
DAY 8: (supposed to be) "WORM'S EYE VIEW" Technique ...
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Another Blythe Fifth Avenue SuperModel ... captured in the wild ...
but ... APPARENTLY, we have MORE google research to do!
Mistaking the "worm's view" photography technique ...
with "camera ON the ground" view!
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... SOOOOOO ..... now that all the worms in Joshua Tree have the memo ...
we will post a TRUE worm's view ... TOMORROW !! (Nov. 9 !!)
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Puffins are any of three small species of alcids (auks) in the bird genus Fratercula with a brightly coloured beak during the breeding season. These are pelagic seabirds that feed primarily by diving in the water. They breed in large colonies on coastal cliffs or offshore islands, nesting in crevices among rocks or in burrows in the soil. Two species, the tufted puffin and horned puffin, are found in the North Pacific Ocean, while the Atlantic puffin is found in the North Atlantic Ocean.
All puffin species have predominantly black or black and white plumage, a stocky build, and large beaks. They shed the colourful outer parts of their bills after the breeding season, leaving a smaller and duller beak. Their short wings are adapted for swimming with a flying technique under water. In the air, they beat their wings rapidly (up to 400 times per minute)[1] in swift flight, often flying low over the ocean's surface.