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Peter Whitfield / 379 items

N 20 B 158 C 10 E Oct 18, 2019 F Oct 18, 2019
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Cornus Kousa Satomi.

One of my favourite plants, this Cornus variety grows in my front garden as a bush. In May/June, when this was taken, it has these lovely pink bracts that last for ages. Its big brother in the back garden is white.

Thank you for taking the time to look. I hope you enjoy the pretty pink :) Happy Friday Flora!

[Handheld in daylight, after a rain shower.
Developed in DxO Photolab 2 with very little adjustment to the colour (would you believe?). Local adjustments on the centre of the main flower to liift it a bit.
Processed in Affinity Photo reducing the saturation and vibrancy.
Dodge and Burn using a dark grey-filled layer above in Overlay blend mode. This darkened everything considerably.
I then masked this D&B layer and painted the darkening effect out using a soft brush with low Fill around the main flower. This was all to create some tonal relief in the picture.
Finally a soft dark vignette and we are done :)]

Tags:   bracts bush Cornus Kousa droplets drops flora flower Friday Flora fruit happy magenta pink pretty rain Satomi sunny tree wet

N 15 B 214 C 3 E Oct 17, 2019 F Oct 17, 2019
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Windmill.

I took this shot in March while staying in a cottage in Cambridgeshire. There was a partly restored windmill in the garden :)

This is a cap windmill built in 1842 and is quite unusual in that the cap has a gallery (a walkway) around most of it - you can just see a bit of it on the left. It was for milling grain - a considerable investment and source of income in those days.

Thank you for taking the time to look. I hope you enjoy the image. Happy Monochrome Thursday!

[Handheld in bright sunshine.
Developed in DXO Photolab 2 and Nik Silver Efex]

Tags:   windmill Cambridgeshire

N 22 B 342 C 12 E Oct 17, 2019 F Oct 17, 2019
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Newport Beach, Pembrokeshire, West Wales.

The wet, wild, riled seas off a Welsh beach last November.

I was messing about with ICMs that day. I kind of liked this one - it seemed to sum up the feeling of the moment.

I guess it’s a sort of minimalist abstract again. But I like it and it was fun to bring together. I guess I was heading for the kind of modern painting I’ve seen hanging around some galleries.

The starting image was only about half the story. The rest was some fun messing about with Nik Color Efex. Now that’s a fun playpen of toys to mess around with! I must play a bit more because there is some good, useful stuff there.

This is a combination of five of the filters: Colour Contrast Range; Contrast Only; Film Efex: Faded (which made the strongest contribution to the end result, including the grain); Pro Contrast; and Graduated Filters.

The initial development was done with DXO Photolab 2 including straightening the horizon (!). In Affinity Photo, I tidied it up the Nik result a bit with Inpainting (context fill equivalent) though I should have done that before. A slight dark vignette which helped focus the image.

I played with the crop and tried using the Golden Spiral as a guide (if, strangely, you want to know more about where I was going on that search Golden Spiral on Wikipedia) but in the end for this picture I decided placing the apex of the beach triangle on the bottom right thirds intersection worked better (more beach!).

Thank you for taking the time to look. I hope you enjoy this bit of not very much, whatever it is :)

Tags:   beach bleak November rain sand storm waves weather wind Newport Beach abstract ICM minimalist Nik Color Efex dsc-rx100m5 Pembrokeshire

N 51 B 1.4K C 28 E Oct 14, 2019 F Oct 14, 2019
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Incandescent tungsten filament.

There are no limits to my foolishness. Or so I concluded after three-quarters of an hour with this idea.

A bright idea it was. And that, at least, was part of the problem.

Brilliant! Yey! Wire. Tungsten filament. Show the coiled-coils...

Yeah...right.

Tungsten has the highest melting point of any element. Which is why it is used as a bulb filament. It’s a brittle metal though so its uses are quite specific.

And bulb filaments are usually coils or coils of coils. Why? Well, the problem with filaments is that they evapourate.

Then… poof.

A coiled-coil has a long length of the metal wire (about 58 centimetres in a bulb filament, would you believe?) compressed by the coiling into a few centimetres of coil. But the main reason is the coil dramatically reduces the metal evaporation.

I have no idea how they make the coiled coils. Does anyone know? I assume it’s not an old lady sitting at a spinning wheel…

This turned out to be at the very limit of what I could achieve without much forethought on a Monday evening. 40w bulb; macro lens; three extension tubes (a first!); polarising filter acting as an ND2 light block; lowest ISO, fastest shutter, small aperture (not too small to avoid diffraction blurring); 5 second delayed-release to stop the shaking (normally 2 seconds is sufficient); lens and camera image stabilisation; manual focussing using LiveView at maximum magnification; very delicate sharpening job in post… Kudos to the photos of filaments we’ve all seen in textbooks!

At least you can see the coil here when viewed large. I’m not even sure that it is a coiled-coil. Let’s pretend not for my sake.

It’s a single exposure and not much of a composition. Only a bit of it is in focus. Frankly, if you want me to do focus-stacking with three extension tubes you’ll need to pay me more.

Of course it would have been easier to have captured a cold filament. But then I would have had to worry about the lighting, wouldn’t I?

Thank you for taking the time to look. I hope you enjoy this image of a bit of wire for the Macro Mondays theme. Happy Macro Mondays!!

(It’s less than 2cm across the frame.)

Tags:   Macro Mondays wire filament tungsten bulb light macro science lighting coil coiled twist

N 28 B 422 C 26 E Oct 13, 2019 F Oct 13, 2019
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Teazel.

Teazels are wildflowers native to Europe and Asia, though I think they are seen as an invasive introduced species in the US.

They have long been associated with the textile industry with their dried flower head forming spiky cylinders about 3 inches long, ideal for teasing out the nap in cloth and straightening fibres.

Uley, the village where I live, used to be much bigger, a town with 14 pubs and four churches (it now has only one of each, though it does have its own brewery too :)). That was in the time of the woollen industry which thrived in the valley due to the natural springs.

Teazels were cultivated in the area to satisfy the demand of the industry, and so you often find them in the local fields, like this one was.

The local Stroud cloth (typically bright red) was famous in its day and popular as trade goods with Native Americans, indeed some of the old photographs of Indian chiefs showed them wearing items made from it. Even today green baize for snooker tables is made locally.

When the woollen trade collapsed a lot of the population emigrated from the local port of Bristol, many to America but also to Australia. The town Uleybury just outside of Adelaide was settled by a clothmaker from Uley (the Bury is the hill behind).

We often get Americans wandering through the church graveyard in search of their ancestors. At least I have always assumed they weren’t ghosts :)

Teazels are a favourite of illustrators and graphic artist because of their dramatic shape. And photographers :) I thought it would make an interesting subject for a Sliders Sunday pic.

I’ll post a link to the in-camera original in the first comment so you can see how far we came.

Thank you for taking the time to look. I hope you enjoy the image! Happy Sliders Sunday :)

[Handheld in daylight.
Developed and processed in Affinity Photo to emphasise the colour and sharpen the sharp bits.
Most of the conversion was done in Topaz Studio (version 1). The Glow filter emphasises the lines and the cell-like structure in the middle of the flowerhead. One of the suggested presets (Amped Up II) turned the background to black which I quite liked so I went from there.
I tripled the width of the canvas and copied the central teasel twice, flipping both copies vertically and one horizontally. I then moved the copies to each side of the original, but fiddled with the horizontal placement so that they were more connected visually.
Cropped the result.
I used HSL layers to change the hues of the outliers to complementary colours, and increased the saturation and vibrance of them all to emphasise the graphic look.
The usual frame outline and drop shadow to finish. There didn’t seem much point in adding a dark vignette :( ]

Tags:   close-up colourful flower flowerhead glow graphic hue shift industry pattern repetition sharp Sliders Sunday spikes spiky tease teasel teazel textile three Topaz Studio triptych wildflower woollen cloth


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