View allAll Photos Tagged warmtones
The early-autumn garden at Bodnant catches the last warmth of the year, where grasses sway like brushstrokes against a blaze of gold and amber leaves. A darkening sky adds its drama, making every colour glow that little brighter before the rain. It’s a scene suspended between calm and change — the quiet brilliance of one season bowing out and another preparing to take centre stage.
A close-up view of the same sunset, shooting straight into the sun through the wild flora along the ridge. Simple, minimal, and completely backlit by that final burst of fiery orange.
Trying to capture the feel of a hot summer's evening, with warm mellow tones as the last rays of the setting sun strike the scene — perhaps near the lavender fields of Provence. Technical: since the sun's not actually setting for a few hours and it's a bit unpredictable, I'm shooting with a hand-held flash unit and an orange gel to simulate the sunset. Balancing that with natural daylight and a couple of different takes composited together to get the light 'just right'. Coming next week — Lughnasah / Lammas and the first harvest of summer.
the place: The Trace Too
a small piece I made for this with a little help..
There’s a story behind this empty seat, and things are not always as they seem.
And, like every story, it depends on who’s telling it. Please keep that in mind.
Every life finds its own patch of light to survive in — hers, a crack between old stone and new grass. She hesitated. Stay, or run and never know who I was. She stayed. I'm still not sure I answered the question.
Mikrolimano, Athens, Greece
Generated By Midjourney V6
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**🎬 Prompt :**
Une nature morte hyperréaliste posée sur une table en bois rustique, éclairée par une lumière chaude et directionnelle de fin de journée, avec une composition soigneusement équilibrée : au centre, un vase en céramique texturé aux motifs tourbillonnants, contenant un bouquet vibrant de fleurs fraîches (tournesols, marguerites jaunes, coquelicots rouges), aux pétales légèrement imparfaits et translucides sous la lumière.
À gauche, une bouteille de vin sombre aux reflets subtils, accompagnée d’un bol rempli de morceaux de sucre brun et de quelques biscuits rustiques éparpillés. À droite, une petite carafe en verre contenant deux tournesols, ainsi qu’une assiette avec un pain croustillant ouvert révélant une mie moelleuse, et une fraise juteuse avec des détails microscopiques de graines brillantes.
Au premier plan, une assiette avec un morceau de fromage à croûte rouge et un fromage crémeux, aux textures riches et légèrement fondantes. Des fruits (pêches ou nectarines) reposent sur la table, avec une peau veloutée capturant la lumière.
En arrière-plan, un ciel nocturne spectaculaire et irréel, inspiré de tourbillons cosmiques : des étoiles lumineuses aux halos dorés, une lune éclatante, et des spirales dynamiques de bleu profond et de jaune incandescent, comme si le ciel était vivant. Ce contraste crée une fusion entre réalisme extrême et esthétique onirique.
Style visuel : hyperréalisme cinématographique, rendu 8K, profondeur de champ faible (bokeh subtil sur l’arrière-plan), textures ultra détaillées, éclairage global réaliste avec reflets physiques (ray tracing), colorimétrie riche et contrastée, ambiance chaleureuse mais légèrement surréaliste.
Caméra : plan fixe en légère contre-plongée, objectif 50mm, ouverture f/1.8, mise au point nette sur le bouquet central.
Ambiance : calme, poétique, intemporelle, mélange de quotidien et de rêve.
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**🎬 Prompt:**
A hyperrealistic still life scene set on a rustic wooden table, illuminated by warm, directional late-afternoon light, with a carefully balanced composition. At the center stands a textured ceramic vase with swirling patterns, holding a vibrant bouquet of fresh flowers (sunflowers, yellow daisies, and red poppies), their petals slightly imperfect and softly translucent under the light.
On the left, a dark glass wine bottle with subtle reflections sits beside a small bowl filled with brown sugar cubes and a few scattered rustic biscuits. On the right, a delicate glass jar holds two sunflowers, next to a plate with a crusty loaf of bread partially sliced open, revealing a soft interior, and a ripe strawberry with highly detailed, glossy seeds.
In the foreground, a plate displays a piece of red-rind cheese alongside a creamy soft cheese, both with rich, slightly melting textures. Nearby, peaches or nectarines rest on the table, their velvety skin catching the light.
In the background, a dramatic and surreal night sky unfolds, inspired by swirling cosmic patterns: glowing stars with golden halos, a radiant moon, and dynamic spirals of deep blue and luminous yellow, as if the sky itself were alive. This creates a striking contrast between extreme realism and dreamlike abstraction.
Visual style: cinematic hyperrealism, 8K resolution, shallow depth of field (subtle bokeh in the background), ultra-detailed textures, physically accurate lighting with ray tracing, rich and contrasted color grading, warm yet slightly surreal atmosphere.
Camera: static shot with a slight low angle, 50mm lens, aperture f/1.8, sharp focus on the central bouquet.
Mood: calm, poetic, timeless — a fusion of everyday life and dreamlike fantasy.
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--ar 16:9
--v 6
--style raw
--q 2
--s 750
--chaos 10
--weird 50
--uplight
"Nature always wears the colors of the spirit."
A peaceful moment as the sky burns with gold and a solitary bird takes flight over the sleeping trees.
The low sun illuminates the path and the adjacent fields in warm tones. In the background, wind turbines and industrial plants dominate the open landscape.
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Goldenes Licht auf meiner täglichen Runde
Die tiefstehende Sonne taucht den Weg und die angrenzenden Felder in warmes Licht. Im Hintergrund prägen Windkraftanlagen und Industrieanlagen die offene Landschaft.
Peloponnes
Griechenland 2000
Mamiya 7II, 4/80 mm, Kodak TMY 400
Print onto Ilford MG Warmtone with Moersch ECO 4812
Variotoner MT 3 (yellow setting) after moderate bleaching
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Love the silence and stillness of the summer evenings...
Thank you for visiting my gallery. It´s highly appreciated.
Enjoy your day -and those summer evenings!
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Late afternoon sun casting an amber haze over the shore. The coastal air always hits differently right before dusk.
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Steinbach am Attersee
Oberösterreich
May 2004
Mamiya 7II, 4/80 mm, Konica Infrared, Filter IR 715
Print onto Ilford MG Warmtone with Moersch ECOMOL 1+7
Short sulfur toning MT4 without bleaching
Annecy
Haute-Savoie
Frankreich
Aug 2026
Olympus XA4 macro, Zuiko 3,5/28 mm
Ilford SFX, no filter, Rodinal 1+100, 1 h semi-stand
Print onto Oriental Warmtone with Moersch ECOMOL 1+7
The Empire State Building upon its completion, on April 11, 1931, 12 days ahead of schedule, just an amazing 410 days after construction commenced.
Lake Constance
Bregenz
2015
Hasselblad 503 CW, Makro Planar 4/120 mm, Fuji Acros
Print onto Oriental Warmtone with Moersch SE6 BLUE
Silk&Steel-Pheonix Dress
🔸Rigged for: Legacy, Perky, Bombshell, Kupra, Lara X, Maitreya, Reborn, Waifu
Available @
Raw Version
The 1911 Hispano-Suiza 15T Alfonso refers to a model of the Hispano-Suiza Alfonso XIII, a groundbreaking early sports car developed by Marc Birkigt. The Type 15T engine was a four-cylinder inline engine that powered these successful race cars, and the model was named for its admirer, King Alfonso XIII of Spain. This model, also known as the 45cr in its race version, was a lightweight and successful motorsport competitor, arguably laying claim to being one of the first true sports cars.
Key Characteristics:
Type 15T Engine:
A four-cylinder, water-cooled, cast iron engine with a T-head valve gear, producing 64 horsepower.
Monobloc Construction:
It featured a monobloc four-cylinder engine, a novel design that simplified construction and created a lighter, stronger, and more durable engine.
Sports Car Pedigree:
The 15T model was derived from a series of successful long-stroke four-cylinder racing cars, establishing the Alfonso XIII as one of the first real sports cars.
Royal Connection:
King Alfonso XIII of Spain was a loyal customer, and his purchase of a Type 15T in 1912 led to the model being named the Alfonso XIII.
Significance:
Pioneering Design:
The Alfonso XIII was significant for its advanced engine design, a pioneering effort by Marc Birkigt that would influence future engine development.
Motorsport Success:
The car achieved considerable success in various voiturette races, further solidifying its reputation as a high-performance vehicle.
Luxury and Elite Appeal:
Due to its cost, the Alfonso XIII was only affordable to the elite and was considered a symbol of luxury and prestige.
Grindelwald
Berner Oberland
Schweiz
2007
Contax G2, Sonnar 2,8/90 mm, Fuji Acros
Print onto Oriental Warmtone with Moersch ECO 4812
Selen MT1 after short bleaching
A black kite stands alert on the ground, bathed in warm sunlight. Its dark brown plumage blends harmoniously with the blurred earthy tones of the background
The Sedanette, aka fastback, and torpedo back was a design style embraced by all US auto manufacturers at one time or another. The look basically started in the late thirties, continued throughout the forties, and for most manufacturers it ended by 1952. Arguably, it was a look that people either liked or disliked. General Motors during that period gave their buying public an option offering sedans in either the fastback sedanette look, or the more conventional notchback. However, all Ford and Mercury sedans were fastbacks throughout the forties until 1949 when the "shoebox" became their standard sedan. All Chrysler Corp's sedans were fastbacks with the entire line, and no notchbacks were offered. They continued that look on some of their models right into the early fifties, and most looked like tubs. However, they did offer the more conventional notchback by the fifties also. All manufacturers offered both 2 door and four door versions, and the Cadillac above was considered a coupe in that style. Some cars were sleek and pretty, but IMO, some were downright ugly and looked like bathtubs. The Nash and Packard versions from the late forties and early fifties were quite ugly, and definitely looked like upside down bathtubs. Studebaker had some fastback models in the very early forties, but most models after the war were notchbacks. As is the case with the all original one pictured above, I happen to like the looks of the Cadillac sedanettes, very sleek looking, but the last year they offered that model was 1949, and after that it was notchbacks only.
Feuilles d'or tombent,
Le cyprès chauve s'embrase,
Reflet rouge en eau.
Golden leaves descend,
Bald cypress burns in soft flame,
Red mirrored in pond.
FP4 in Tanol N+1
Ilford MG Warmtone in VGT two tray, 2nd pass lith: Copper bleach, redeveloped in Easy Lith 4+4+900ml at about 40°C 50 seconds followed by hot water 40 seconds
A lone sunflower basking in gentle light, framed by the soft blur of summer’s stillness.
A golden face turned to the light,
Soft petals bathed in amber bright.
The world behind—a gentle blur,
As silence hums where breezes stir.
Generated By Midjourney V7
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**Prompt :**
Portrait cinématographique hyperréaliste d’une jeune femme au visage constellé de taches de rousseur, immergée dans un champ dense de coquelicots rouge écarlate en pleine floraison. Sa chevelure volumineuse, bouclée et flamboyante, d’un roux incandescent, capte la lumière du soleil comme des filaments de cuivre en fusion. Une fleur de coquelicot parfaitement ouverte est tenue devant son œil gauche, créant une composition asymétrique intrigante, tandis que son œil droit, vert émeraude intense, transperce l’objectif avec une profondeur presque irréelle.
Lumière naturelle dorée de fin d’après-midi (golden hour), avec un éclairage doux et directionnel venant de côté, produisant un contraste subtil entre ombre et lumière sur son visage. Profondeur de champ très réduite (bokeh cinématographique), arrière-plan flou saturé de rouges vibrants et de touches de vert. Détails ultra nets sur la peau, texture réaliste, pores visibles, micro-reflets dans l’œil.
Palette colorimétrique dominée par des rouges chauds, oranges brûlés et verts naturels, avec un étalonnage inspiré des films d’auteur (style pellicule Kodak Portra). Atmosphère immersive, presque onirique, avec un léger mouvement du vent suggéré dans les cheveux et les fleurs.
Composition centrée mais organique, cadrage serré type portrait 85mm, ratio cinémascope, qualité 8K, HDR, rendu photographique extrêmement détaillé. Ambiance poétique, mystérieuse, sensuelle mais naturelle.
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**Prompt:**
Hyperrealistic cinematic portrait of a young woman with a freckled face, immersed in a dense field of vivid red poppies in full bloom. Her voluminous, curly hair blazes in a fiery copper-red, catching the sunlight like strands of molten metal. A single, perfectly open poppy flower is held in front of her left eye, creating an intriguing asymmetrical composition, while her right eye, a striking emerald green, pierces the lens with almost surreal depth.
Golden hour natural lighting, soft and directional from the side, casting gentle shadows that sculpt her facial features with subtle contrast. Extremely shallow depth of field (cinematic bokeh), with the background dissolving into a rich blur of saturated reds and hints of green. Ultra-sharp focus on the skin, revealing fine texture, visible pores, and delicate imperfections, with micro-reflections shimmering in the eye.
Color palette dominated by warm reds, burnt oranges, and organic greens, with film-style color grading inspired by Kodak Portra. The atmosphere feels immersive and slightly dreamlike, with a faint suggestion of wind moving through her hair and the surrounding flowers.
Organic yet centered composition, tight framing with an 85mm portrait lens, widescreen cinematic ratio, 8K resolution, HDR rendering, extremely high detail. Mood is poetic, mysterious, and natural with a quiet sensuality.
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--v 7 --ar 3:2 --style raw --q 2 --s 200 --chaos 8 --seed 12345
My old Willow tree
low water, Lake Constance
Bregenz
2025
Olympus 35 SP, Zuiko 1,7/42 mm, Kentmere Pan 100, Rodinal 1+25
Print onto Oriental Warmtone with Moersch ECO 4812
Selen MT1, 1+15, 1 min
We headed out into the Molise countryside specifically to catch the eclipse, even if the trip was far from meticulously planned. When we arrived, a heavy, stubborn haze was blanketed across the horizon, threatening to block the view completely. As the evening went on, the thickest layer gradually melted away, but the eclipse itself remained elusive. There was no visible moon bite out of the sun disc, and surprisingly, not even a noticeable drop in ambient light—just an incredible, uninterrupted warm glow over the rolling hills.
Griechenland 2000
Mamiya 7II, 4/80 mm, Kodak TMY 400
Print onto Ilford MG Warmtone with Moersch ECO 4812
Variotoner MT 3 (yellow setting) after short bleaching
Rosa dorata al tramonto, i petali sfumano dal giallo al rosso come fiamme gentili che accendono la luce del giorno morente. Un istante sospeso tra calore e grazia.
Golden rose at sunset, petals blending from yellow to red like gentle flames igniting the fading light. A moment suspended between warmth and grace.
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5905
Am Ahornboden wandern ist vor allem im Herbst ein unvergessliches Erlebnis. Der große Ahornboden im Karwendel in Tirol ist nämlich für seine unfassbar schöne Laubfärbung berühmt. Und zieht dann mit seinen über 2000 Bäumen jedes Jahr unzählige Menschen zum Wandern an. Nicht umsonst wurde der Große Ahornboden sogar zum Naturdenkmal erklärt.
Hiking at Ahornboden is an unforgettable experience, especially in autumn. The large Ahornboden in the Karwendel in Tyrol is famous for its incredibly beautiful foliage color. And then attracts with its over 2000 trees every year countless people to hike. It is not for nothing that the Große Ahornboden was even declared a natural monument.
Holga 120N, Kodak Plus-x @ ISO 400 in eco film developer 21,5 minutes.
The seagull is faster than the Holga shutter.
Kentmere Fineprint VC Warmtone.
Left Ecomol 1+6 1:30 minutes.
Right 6/10 f-stop overexposed, copper bleach 1+1 1:30 minutes,
redeveloped with Easy Lith 1+100 40°C 1:30 minutes.
Am Rohrspitz
Gaißau, Vorarlberg
2022
Hasselblad 503 CW, Distagon 3,5/60 mm, Ilford HP5+, Rodinal 1+25
Print onto Oriental Warmtone with Moersch Meritol
Selen MT1