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Bergger Pancro 400
35mm
A Thatchers Cider, Made in Somerset, England, UK.
I had a Cola (such a bore haha)
Drinks and Catch-up Chat with One of the BEST and most genuine and understanding people in the world. I am so privileged to be able to call them a Friend of many years. I feel sorry for you that they aren't yours hahaha, honestly you're missing out :D
My word did they deserve this pint. Life has never been easy for them but incredibly HARD. They still amaze me how they manage to smile and crack jokes every.single.day despite the hard times and the lack of independence and Isolation they've always had due to their disability. Independence that those who are lucky enough to have it fully, can so easily take for granted.
Enjoy your well earned drinks. EVERY.SINGLE.DROP.
Even if it's 'just' a cola. And if it's on your own. Just appreciate that you can.
Salute friends! 🍻
Pentax Spotmatic II
Takumar 55mm 1:1.8
No Crop, No Filter, No Post Production. No Hangover.
Development:
1+50 20c 22 Mins
Adox Rodinal
Ilford Fixer 5 Minutes
Adox Wetting Agent 1 Minute
Ilford Washing Technique
Hey everyone, I hope you like this MOC! I will be posting some scenes from it soon. It includes my 39m Csaba, some Hungarians, Russians, and a German. And yes, I did the layering technique. If you zoom in you will see it in the back lol. Enjoy!
Thanks and God Bless,
-Brian
A revolutionary technique of expression because it relates to time in an absolutely special way; the image, with its multiple meanings, can only be found if it exists in the photographer before it is fixed on film and must then be reconquered when it becomes an image to look at. A search within a search, a continuous collection of moments for the moment which in the photographic moment will be fixed forever.
～ Kamir
P.S. Non-HDR-processed / Non-GND-filtered ● Black Card Technique 黑卡作品
Macro day spent learning various techniques and, in the absence of real fly life, using some of my fishing Flies!
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.
I'm not one to post many tablescraps but I figured this one was not likely to be used by me any time soon. Also, it's probably been done before, I just haven't seen it.
This months FOTF theme of ICM was chosen by the lovely Cheryl who I think is the queen of ICM's.
Thank you Cheryl for a wonderful challenge and a very addictive technique.
These blue boats are my favourites and I always photograph them everytime I am in St.Kilda!
I hope to catch up with you all in the coming days, I've been quite under the weather, but slowly on the improve.
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 :)
As requested, here is an image of the round tower technique I've been using recently.
The two bricks + two plates stack out from the tracks means the tiles interlace perfectly on the outside layer of bricks.
Another shot from the stunning sunset on Saturday evening, taken at Long Reef - one of my favourite locations (a headland which sticks out into the ovean, with a marine reserve around it and a golf course on top of it!)
This one comprises 7 portrait orientation shots stitched to a panorama in Photoshop.
7 Days of Shooting - Starts with L - Technique Tuesday
From signage:
The Oktorp Farmstead
The Oktorp Farmstead, from the south of Sweden is typical Halland farm of the 1870's. It was run by the Lundquist family. Most of the land was arable, and so there are two long barns for threshing and grain storage.
Most of the buildings are built of planks slotted between upright posts. With this technique one could build using knotted planks from the nearby broadleaf woods. Parts of the dwelling-house, unlike the other buildings, are built of interlocking timbers purchased from further inland. The roofs are thatched with straw, which was plentifully available from the farm's own fields.
Setup shot for this polaroid photo. Home Depot light and aluminum foil reflector. I only shoot with the high budget stuff!
Not sure if it’s been shared by others. This is a simple SNOT technique that has small footprint and is quite stable.
I used this technique to build the trunk and branches of my pine tree (www.flickr.com/photos/128561206@N08/15630416984/) . It's all 1x1 bricks with studs on every side and 1x1 (round) plates.
Heey, this is my 100st photo!
Couldn't wait to try this...I LOVED Tami's and Jennifer's cards so much!!
I used Hero Hues chalk for the background though as I wanted the wording to show through....
Can't wait to get more stamps I can do this with!!!
On the left, top and bottom (flipped) ring of 20. On the right, , top and bottom (flipped) ring of 24.
TumbleWorld takes a twist. While the image has been splintered and faceted with the same technique as the other "TumbleWorld" images, this time that method is used to draw out metaphors. Fashion as Fascism, a world of Tumbled Value and Values. As we scan from left to right the image, already distorted, becomes less and less "human" and something more ... alien, more removed from the possibilities of basic human connection.
A "Mirror" treatment was used not only for strength of composition but also to further the "Fashion" metaphor - a world so self-absorbed with its own "reflection" in all aspects of its life. The popularity of "selfies", of which songs are written ( !!! ), smart phones and their screens which can also act as actual mirrors as well.... Our whole world now is ourselves. The Fascism of Anthropo-Centrism.
In our rush for Glamour we jettison the Human. This itself is a layered metaphor. There is not only the glamour of fashion and so called "Beauty", there is the glamour of status, of power and influence, of position and rank, wealth and affluence. We live in a culture that MUST feed these notions in order to perpetuate itself. A Fascism of Materialism and Consumerism. A Tumbled World.
Music Link: "#SELFIE ( But First Let me Take a )" - The Chainsmokers. Yep, here it is. Loud and Clear. It's hard to know if this is a celebration of the phenomenon or a sharp-toothed parody. I'm hoping the latter.
www.youtube.com/watch?v=SuyG-lIkNow
View Large on Black.
© Richard S Warner ( Visionheart ) - 2014. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Alright, just like others on Flickr, I’ve been asked how I get my HDR image to pop the way they do. Well, while in Baltimore I used my handy Flip Video to show you how simple my setup is.
Here is the link to me in Baltimore freezing my butt off, showing off the simple technique of shooting a rental car with 9 exposures. (don't mind the bags under my eyes... that's jetlag and aging for ya)
Okay, I shoot 9 exp because... well, my D200 can do it. It's digital and free. Now I typically take one shot. A test shot, with my metering on the largest matrix mode there is, to get an overall average of the scene's exposure. Plus with going further + and -, you cover more of the tonal range, so hopefully that contributes to a better overall final image.
But before I do that, I still need to find a shot that is interested and well composed on it’s own. Okay, got one? That was easy.
I use a tripod and remote trigger on Ch (high speed shutter) to snap all the shots at once. But take a single shot first to make sure the MAIN SUBJECT looks properly exposed.
If the mid-range looks to be exposed properly, then I'll know that it's what I want. Now I shoot 9 exp at 1stop intervals. Thus, if my scene normally would be shot at 1/60th, that means I'll be capturing the tonal range from +/- 4stops. There is a better chance that I'll get exposures of the darkest areas and brightest areas that way. So:
1/60, 1/1250, 1/640, 1/320, 1/160, 1/40, 1/20, 1/10, 1/5
So right there that covers more range and thus get more tonal coverage.
But that's only the tip of the ice cream. Now is time to get the images on the computer and process them.
Here is a quick 10 minute video on how I process the images with Photomatix and then Photoshop CS3
So in Photomatix, I roughly use these settings:
Strength: 100
Saturation: 100
Light Smoothing: (either the 4th or 5th button) this has a dramatic effect on your overall image
Luminosity: Usually 10. Less = more halo affect on horizon, but does work better with the 4th Light Smoothing button.
Play around with these the most, as they will influence your image the most.
Tone:
white: 100
black: 100
Gamma: between 1.40 and 1.15
Color:
Temperature: between -2 and 4
Saturation Highlights: 10
Saturation Shadows: 10
Micro:
Micro-contrast: 10 (love me a good contrast)
Micro-smoothing: 5-30 (30 being smooth, 5 being pretty dramatic, but also lots of noise in the sky)
S/H:
Highlight Smoothing: 0
Shadow Smoothing: 0
Shadow Clipping: 0 unless I want some areas dark
Process. Save.
Once I get my photo into CS3, I take my time to dodge/burn the photo so all those little weird dark areas that Photomatix creates are all evened out. Once it's all even... ready for this, I:
Create a dupe layer
change it to: SCREEN (which makes it really bright)
adjust it to about.. I dunno, 30% or so until it looks properly exposed
Then flatten
Then use DODGE/BURN to even out the exposure and any areas that appear too dark/light
Create another dupe layer
change it to: SOFT or HARD light to exaggerate the colors a bit
adjust it appropriately.
Flatten
Once I do that, I might use the SPONGE tool to either saturate or desaturate the colors so it's even on the photo.
Now for the sky, if I want crazy clouds or colors, I use a magic wand or something to select the sky and thencreate another layer.
open up OPTIKVERVE'S VIRTUAL PHOTOGRAPHER and go through some of the presets in there. My personal favorites are:
Photocopy
Radiant
Landscape
Etc. Then I apply it, and adjust my layer, between 20 and 80%, depending on how much it changes the image
LARGE VERSION for educational purposes only.
That's about it really. There might be other things I do, but I always dodge/burn to even out the shadows and highlights. While the colors are vivid, I don't like things looking too crazy... usually.
Procrastination, master level. I wanted to use this roof technique for at least 3 years for a bigger medieval MOC , but for whatever reason, I never finished it. Alright, "finished" is an overstatement, I never really carried on with it. The ground floor of the building only collects dust ever since.
Maybe this decade.
It is a tedious, but very fun technique:
- get some nets
- get some cheese slopes or tiles
- put two round bricks on each of them (did I say that it is tedious?)
- insert the connected pieces into the net, repeat it some hundred times.
- that's it!
What do you think of this?
Just testing out an interesting lightroom technique from the Adobe Photoshop Lightroom Killer Tips website. It could be done in ACR or another raw processing program as well (I'm assuming).
I thought it gave a haunted/ghostly quality to this shot of a staircase leading to a locked gate at Fatehpur Sikri outside of Agra in India. Supposedly the technique includes scaling back on the saturation, but I liked the effect of keeping saturation close to normal on this shot.
Fatehpur Sikri, India
August 2007