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Guess the lighting

Guess the lighting
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Strobist BIKINI MACHINES (via (via (via (via imgbox - fast, simple image host) (via lisa f 503) (via ImageBam) (via (via imgbox - fast, simple image host) (via imgbox - fast, simple image host) (via ImageBam) (via ImageBam) (via ImageBam) (via ImageBam) (via (via next » page 1 of 514 Photographer Captures An Underwater Dance Of Colors The shapes displayed in Luka Klikovac’s work look like colored smoke, or maybe strange deep-sea creatures, but they’re actually mixtures of colored and black liquids immersed in water. The Serbian photographer’s photo series is called Demersal and was based on the unique motions resulting from the combination of fluids. To create this psychedelic effect, the photographer used nothing but his camera and lights capable of showing the dance of fluid shapes captured by his lenses. No digital editing resources were used afterwards, so what you see in the images are actually the precise moments when the two elements were combined. Klikovac said that the goal of his work is to create images that allow people to escape from their daily routine and that his underwater shapes should be interpreted like the Rorschach inkblot test.

spot metering with the Canon T90 - Photo.net Canon FD Forum Kerry Kennedy , Oct 04, 2008; 03:53 p.m. We seem to be discussing the T90 today. That's fine with me; it is a great camera. Don Boyd , Oct 04, 2008; 04:20 p.m. Kerry, I don't have a T-90 but I've used a Pentax 1 degree analog spotmeter exclusively for many years. Luck to You Friend Don B in Hampton Roads Stephen Lewis , Oct 04, 2008; 05:21 p.m. I rarely use the spot meter on my T90 or my Leica R8, prefering the center weighted meter for general usage, or a separate hand held incident light meter. Mark Wahlster , Oct 04, 2008; 06:50 p.m. Well I use the Spot meter quite a bit both in the T-90 and when using other bodies the Spot feature in my Sekonic L-508 other times like with bird photography if I have the time I will meter a single spot and go for the most important zone hopefully the eye or head. David Williams , Oct 06, 2008; 06:35 p.m. The other way I used to use the spot meter was when photographing motor sport. David Mark Pierlot , Oct 07, 2008; 01:15 a.m. Lex Jenkins , Oct 07, 2008; 06:05 a.m.

Jérôme Saint-Loubert Bié expose 13 affiches / ACB : Jérôme Saint-Loubert Bié Solo exhibition in two galleries Title: Jérôme Saint-Loubert Bié expose 13 affiches de Francis Baudevin, Documentation Céline Duval, Daniel Eatock, Experimental Jetset, Christoph Keller, Mevis & van Deursen, Jonathan Monk, Dave Muller, Regular, Yann Sérandour, Stripe/Jon Sueda & Gail Swanlund, Jian-Xing Too, Vier5 Year: 2007 Exhibition: Atelier Cardenas Bellanger, Paris, Septembre 15–Octobre 31 (current page),Galerie de Multiples, Paris, Septembre 8–October 9 (go to this page) 2 portfolio editions each containing 13 posters, 90 x 60 cm [25 1/2 x 22 5/8 in.], offset printing, edition of 13 + artists’ and editors’ proofs. Total print run: 100 copies of 26 posters. Invited to present a solo show at Atelier Cardenas Bellanger, I opted to double the stakes and do a double show, part at Atelier Cardenas Bellanger and part in the showroom of Galerie de Multiples. See individual posters

A Fashionable, Retro-Futuristic World In an ambiguous universe stuck between the present, the future and the 50′s, beautiful people lead a fashionable yet melancholic existence. Current and yet to be invented technology mingle with mid-century modern furniture and design. Photographer Ben Sandler captures the mood perfectly in his new series “Tomorrowland,” a world that seems cut perfectly for a movie scipt the likes of Gattaca. For more of Sandlers subtly surreal work, see his website bensandler.com Via: 1 2 3

Film is Back! Antimonide Born in Puerto Rico in 1943, Lopez came to New York when he was seven. His mother was a dressmaker, his father sculpted mannequins. Fashion and form—that apple didn’t fall far from the tree. The Fashion Institute of Technology, WWD, The New York Times: His trajectory was ever upward. Lopez’s mature style is familiar through the handful of books that have collected his pictures over the years—they’re all cult items now—but the Padilhas also serve his early years well. Maybe Lopez’s edge was honed by his engagement with the world outside fashion. Even when Lopez referred to pop art—or took on the swirling, psychedelic clichés of hippiedom—he did it his own way. Lopez was always obsessed with models. At the end of the sixties, Lopez, Ramos, and entourage decamped to Paris for seven years. In one area at least, Paris was much freer than New York. Lopez drew fast—check out the old films on YouTube—but the speed of life in Paris demanded something faster. source- style.com

Фото и рисунки, арт и креативная реклама Developing 4X5 Sheet Film: An Alternative Method by Eugene Singer for largeformatphotography.info My first experience developing 4X5 sheet films (Speed Graphic negatives) was in 1948, while attending Wayne University, in Detroit, Michigan.Ê The Visual-Auditory Dept. at the school had a darkroom that was equipped with three large stainless steel deep tanks immersed in a temperature-controlled water jacket. The film developer was never completely changed out, only occasionally replenished with fresh developer. After graduation, I used small and medium format roll film, exclusively. Tray development seemed to be the only method that produced the smooth, even development, without streaking, that I was trying to obtain with sheet film. For a while, I was seriously considering investing in a Jobo rotary development system, until I read the newly revised Ilford Tech. sheets. I wanted to obtain edge effects similar to those that Gordon Hutchings describes when using his PMK developer. The system seems to operate very smoothly.

The Dinner Party Un article de Wikipédia, l'encyclopédie libre. Description[modifier | modifier le code] La table comprend 39 places pour autant de femmes. Historique[modifier | modifier le code] Réalisation[modifier | modifier le code] Judy Chicago réalise The Dinner Party entre 1974 et 1979, avec l'assistance de plusieurs bénévoles, dans le but de « mettre fin au cycle continuel d'omissions par lequel les femmes sont absentes des archives de l'Histoire »[2]. L'œuvre est conservée au Brooklyn Museum de New York, aux États-Unis[3]. Réaction[modifier | modifier le code] Premières réactions des critiques (1980-1981)[modifier | modifier le code] The Dinner Party a provoqué diverses réactions. Cependant, les mauvaises critiques de l'œuvre ont été tout aussi catégoriques. Maureen Mullarkey a également critiqué l’œuvre, la qualifiant de moralisatrice et de fausse pour les femmes qu'elle prétend représenter[6]. Réactions postérieures[modifier | modifier le code] « À mon goût, il y a trop de vagins.

Фото и рисунки, арт и креативная реклама Box is a collective project made with cardboard and miniature furniture. 2009-2012 Some photos just draw you in and you can’t figure out why. Sometimes it’s actually the not knowing that’s the attraction. That sense of confusion is exactly what the 354 Photographers collective out of Belgium is aiming for with their ongoing project Box. “A lot of people ask us what these scenes mean and we say they can mean whatever you want,” says Maxime Delvaux, one of the collective’s members. The photo series shows darkly bizarre dioramas built into cardboard boxes. Started back in 2009, Delvaux says the Box project was initially a portfolio piece for the then-budding collective whose original members also included photographers Kevin Laloux and Nicolas Velter. The dollhouse-sized cardboard settings allowed them to control every aspect of the photo. “We wanted to play with perception [in terms of the] people and objects they were around,” he says. “We try to not explain too much,” Delvaux says.

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