View allAll Photos Tagged wideformat
This is an ephemeral waterfall that appears for a few seconds with each ocean wave that crashes on the rocks during high tide. The image is cropped to resemble an image taken with a Hasselblad Xpan format mounted with a 90mm lens.
Quote by Sylvia Voirol
Another pic from the storm we had on 8/8/12. Likely my last rainbow post for a while.
Have a great week!
a man sits, checking his phone. a woman walks, looking down. two more walk past, one of them doubled in the mirrored wall behind. none of them see each other. the platform says olympia-einkaufszentrum.
Leaving Chicago is bittersweet. On the one hand, it's home. On the other hand, seeing wide open spaces without people is also required to maintain sanity.
February may be a little early, but regardless, I’m ready for some tulips. Photographed at Reiman Gardens in Ames, Iowa.
Developed with Darktable 4.8.0
A case where development went horribly wrong but for a few frames that turned out ok. I never was able to make Digibase work for me. Oh well, at least I got one or two cool shots.
Aegerisee (Lake Aegeri), Kanton Zug, with the Wildspitz under the glowing moon.
Fuji TX1
Kodak Portra 400
Digibase C41
Nikon Coolscan 9000ED
A storm front rolls into the Aegeri valley at dusk. The snow capped Urner alps watch silently in the distance, immovable in their resistance to the coming onslaught.
Aegerital, Kanton Zug, Switzerland
Fujifilm TX-1, Fujinon 45mm f/4
Kodak Portra 400
Digibase C41
Nikon Coolscan 9000ED
It was tough to decide whether to crop to square or not. I settled on having lots of depth :)
Nikon Z6, Nikkor 18-35mm f/3.5-4.5
The sky was on fire this evening as we headed to the highest point in our neighborhood to snap her incredible display.
Night settles over the Long Island City waterfront as a mosaic of apartment windows lights up the sky. Shot from the piers by the historic “Long Island” gantries in Gantry Plaza State Park, Queens, with low clouds drifting over the East River and the promenade lamps leading the eye through the frame.
I am starting to understand my father. There are certain cars that "got away" or were unattainable for whatever reason. For me, this is one of them: the last generation's Honda Accord Coupe. The other: a Volvo C30.
Taken on yesterday's dog walk. I'll probably re-vist it, when there's better light, so I can stop down more, getting more in focus.
I had forgotten how much I enjoy shooting wide, with the 18-35mm.
Nikon Z6, Nikkor 18-35mm f/3.5-4.5
A day in the life of the Aegerisee.
Hard left: Fronalpstock
Distant left, the Urner Alps.
Center: Chaiserstock, Tuerlistock & Wildspitz (K. Zug)
Distant right of center: Rigi Kulm (K. Schwyz)
Lake: Aegerisee, Kanton Zug, Switzerland
Fujifilm TX-1, Fujinon 45mm f/4
Kodacolor 200
Nikon Coolscan 9000ED
Happy 2nd day of Roidweek to you all!
Taken with the Polaroid Image 1200 & IP Color Spectra 3.0 Factory Seconds film (02/17)
#Polaroid #PolaroidSX70 #SX70 #SX70600 #Conversion #600Conversion #Flora #Flowers #Yellow #Pink #Impossible #ImpossibleProject #Instant #Spectra #WideFormat #Image #Image1200 #InstantPhotography #Winter #Film #FilmWins #Polaroidweek #SnapItSeeIt #Roidweek #RoidweekRoidweek #NoFilter #TheNetherlands #Wierden
Taken in 1996 from the Kowloon side of Hong Kong Harbor, near the ferry terminal and bus depot. I have long put off scanning this image, because it is a very dirty transparency, and took hours to spot in Photoshop, but it was worth it. The final image was printed 28x12 on Museo Max paper.
Plaubel Makina Wide 69 camera, 55mm Nikkor
Kodak Ektachrome 64 f/5.6 at about 2 minutes
The western suspension span of the Bay Bridge reads here not as infrastructure but as pure graphic notation — three towers stepping into the distance, their X-braced steel frames dissolving progressively into marine haze until the third tower barely registers against the Oakland hills behind. I chose a position well out on the water, likely from a ferry or watercraft, to achieve this strictly lateral elevation: no convergence, no foreshortening, just the cable geometry playing out in strict profile against a sky that the hour has turned into a wash of peach and pale gold. The compression of a longer focal length flattens the spatial intervals between towers, making the repetition of the suspension catenary feel almost rhythmic — a visual cadence that reinforces the engineering logic underlying the whole structure. Charles Purcell's 1936 design understood spectacle, and this light makes that ambition legible again. The freighter threading beneath the eastern span grounds the composition in working-harbor reality, reminding us that this crossing was built as much for commerce as for commuters. The monochromatic silhouetting of the towers against the diffuse dawn sky reduces everything to form and interval, stripping away the bridge's notorious visual complexity and leaving only what matters structurally: tension, compression, and span.
© Graham Daly
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This image was captured shortly after sunrise down at Ballycotton which is located on the east coastline of County Cork in Ireland.
Used a LEE 0.9 Graduated ND Filter to control the highlights in the sky and a LEE 0.9 ND Filter to lengthen the exposure time.