Camera photography
444 creative works found
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having given myself the afternoon to spend with redbubble I’ve decided to post a wildcard image into the fashion competion. Originally shot on velvia in available light and if you look really closely the model has a camera in her crotch. :) / This is a companion image to “Bloom” these look really good framed. hint hint :)
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The centerpiece and inspiration for this design comes from the antique Rollieflex camera. I wanted to pay homage to the antiquity of photography, one of the newest, yet most popular current art forms. The orange coloring of the camera was inspired by the French style of painting where an outline was painted onto the canvas at first and colored later by an imprecise wash. I used a sans font for the main title, with modification, and mirrored it. Check out my design blog designbysolo.com to view photographs of a printed version of this and other prints. Let me know if you find an image that is not offered in this store that you are interested in purchasing.
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Taken in the bush near Alice Springs. Waiting for the sun to come up and saw this dead tree and just had to take a shot with all the colours behind it.
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Photographer: Jo O’Brien / Model: James Price / See all out collaborations here
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Sales of this TShirt ? – 1 sale so far :) / Smile Baby – Retro Tee / A brown paper creation inspired by all the fantastic photographers i love so much on Red Bubble…. you know who you are guys and gals…. i love you all!!! / Mix Media – on brown paper – ink, pastel, acrylic, charcoal, coloured pencil, felt tip pen
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When I grow up…..! Just a bit of fun after a bottle of wine : )
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At night they still remember you. Ghosts, light, shadow, memory & the promise of a New Year. Images made with an 8×10 view camera and contact printed on silver paper- a nod to the old as an escort to the future. / / / This calendar is also available in a 9 inch wide by 13.5 inch tall oversized calendar at: “http://stores.lulu.com/lsimonutti” / Preview available.
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Ok, so this isn’t official, just a bit of fun on my part ;) I’m a MASSIVE Storm Thorgerson fan, the guy is my hero. / Look him up, you’ll understand. / stormthorgerson.com This is actually an image that will be used in David Lampard’s production of ‘Elegies: A Song Cycle’.. well, the balloons that is. The pig I added purely because I thought it smacked of Floyd, and it just had to be done. So here, just for you guys, is the silly version. The real pig-less version can be seen on my dA account here And if you’re interested in getting tickets to the production, please follow that link to the deviantART version as all the info is listed there. Digital composite of several shots taken at the same time as the balloons were released. Took a bloody long time to edit, but there are no repeats and it’s all my own work, save for the pig ;) Copyright 2008 Harmony Nicholas Oh and Mr Gilmour, if you’re watching, my rates are verrrrrry reasonable ;)
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Photograph taken on top of the Dome, Dawson City, Yukon Territory, Canada. / Summer solstice 2006, MIDNIGHT (June 22nd). / The sun that goes through the Inukshuk adds to the F-stop effect. Photography is a great way to capture what we want to remember. / Great souvenir for those of you who have traveled north to the Yukon and that have witnessed Solstice there as well. / A picture is worth a thousand words. / This one a thousand beautiful souvenirs.
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A friend asked me to do something for her photography company. I hope she will see it and smile. Medium: Vectors OTHER DESIGNS: /
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DIY How To: Through the Viewfinder Photography
by Jules CampbellThis is a ‘how to’ do the through the viewfinder or ttv technique written for all of you that have expressed interest recently. It is…
This is a ‘how to’ do the through the viewfinder or ttv technique written for all of you that have expressed interest recently. It is by no means a rule book because I think each person would approach it differently but this is how I manage it..and remember with ttv really there ARE NO RULES :) It will require you to use that creative imagination but this is honestly half the fun of it!! I should give you some background info firstly, it is rumored to have first been thought of by Mr E on Flickr back in 2005 but there are is no hard proof of this just speculation on my behalf. TTV is still really huge on flickr with hundreds of groups dedicated to the different styles and subjects of ttv eg nature, black&white, manipulated, ferriswheels, self-portraits, etc etc So firstly ..what you are going to need, the essentials; / 1- a twin reflex camera eg. Kodak Duaflex, Argus75, or any other camera that has a large viewfinder. NB Most can be picked up from flea markets or ebay for as little as $5. Most take 620 film that is no longer made/available so this is why they are so cheap plus they are a dime a dozen as they were mass produced in the 1950s & 60’s. / 2- a digital camera with a pretty good macro so you are able to zoom in nice and close to the viewfinder / 3- a tripod certainly helps but isn’t essential / 4- something to block out excess light from above that shines onto your viewfinder glass, this can be a specially made box, a round piece of cardboard, or anything else that will do the job that you have laying about. / 5- a good sense of humor and a healthy dose of patience!! Here’s some of my twin reflex kids / This is the argoflex 75 and the kodak duaflex / This is an ansco and not my gun shells there ..its goose shooting season here and I have included them for size comparison. I wouldn’t recommend the ansco to start with as its really fiddley!! / This is looking down at the ansco’s viewfinder. / This is zooming in as tight as possible with my macro lens. / This is the image that has been cropped and is now ready for what ever colour adjustments or processing you wish to do. / OK so this isn’t my image of choice here but you get the general idea.. / This is a random piece of cardboard tube that I now use to block out excess light reflecting on the viewfinder glass. / Here is the side view..if you insist on being really anal about it you get some ideas for building the exact fit to your camera from flickr here If you would like a really indepth tutorial I can recommend Russ Morris’s here A few other points I’d like to add….some may wonder why go to all this trouble when you can do all of this with photoshop (fake ttvs) well my answer to that is I really like being able to see what image I want to create in the field and quite frankly it is so much more fun and creative to be actually ‘out there’ doing it! Secondly I don’t think all images or concepts are suited to the ttv style so this will be a matter of trial and error to see what fits for you. Lastly -the ttv style is all about embracing age and the antique-look of an image so think carefully about your post processing. Alot of ttv actually looks wonderful all on its own and I think many would be shocked at how little I actually do to some ttvs. Please use this link if you wish to find out more about the different processes and for free photoshop downloads here / that help achieve the vintage, grungey look. A great one to start with is urban acid :) Here’s a few more … / An urban acid ttv There you go…I think thats it?? Let me know if you need to know more or perhaps I’ve left something out…and don’t forget there is a Through the Viewfinder / group for ‘real’ ttvs when you are all ready to go!! Cheers Everyone!! Jules :)
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Dedicated to Paul B, pictured here taking one of his shots. My deepest sympathy to you and your loved ones, Paul. Plastic People / Seascapes / New Zealand / Frogs / Lensbaby / Infrared / Industrial / Spam / Panorama / Landscapes / Real Estate Series / People
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This photo was taken with another of my eccentric little cameras…this time a tiny little Russian Lomo…The camera is about the size of a packet of cigarettes and was originally developed by the Russians as as spy camera…. It never really worked all that well as a spy camera being somewhat large for the task at hand and unreliable as all get out but eventually the arty farty camera tragic fraternity found out about it and it was a big hit with them… I got an authentic and numbered one fairly recently and have been doing some road tests on it in order to take it with me to Antarctica. This is the first chance I’ve had to post some of the results from it here on Redbubble ..hope you like them… I’m quite impressed myself and am looking forward to using it to spy on some penguins while I’m away :)
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This shot was taken using a pinhole camera made out of a Milo tin. / A pinhole camera is a camera without a glass lens. / The tin is fully blacked out and a pin sized, extremely tiny hole is made. / The shutter of a pinhole camera usually consists of a hand operated flap of some light-proof material to cover and uncover the pinhole so as to not expose the film or paper inside the tin. / Pinhole cameras require much longer exposure times than conventional cameras because of the small aperture; typical exposure times can range from 5 seconds to hours or days. / The film used here is Agfachrome (transparency/positive) RSX II 50 ASA, 120 roll film and is placed inside the Milo tin in complete darkness of course. / The location is the corner of Brunswick & Johnston Streets, Fitzroy, where the Provincial Hotel stands. / Warning: absolutely no Milo was discarded to make this pinhole camera. oh yeah, please view it large.
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“There are always two people in every picture: the photographer and the viewer.” -Ansel Adams Isabella following in the footsteps of good ole Mom. I love her trenchcoat and that trigger happy shutter finger. I adore this child of mine. /
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Tutorial: Photographing the Milky Way with a standard DSLR camera
by Cain DohertyI have an improved and better formatted version of this tutorial in my wordpress blog....
I have an improved and better formatted version of this tutorial in my wordpress blog. This tutorial will cover the development of my image Milky Way from Apollo Bay using a Canon 350D, a wide angle lens, Adobe Photoshop and an image alignment program called hugin. For this to be repeatable you must be shooting with clear dark skies, free from light pollution. I used settings of Tv: 20 sec, Av: f/4, focal length: 17mm and ISO speed: 1600. A shutter release cable is also a great tool and can keep your camera clicking as it sits on the tripod. The more images taken, the better for the final result, because this will improve the signal to noise ratio that plagues digital sensors during long exposures. A tracking mount is not necessary with a 20 second shutter speed because the rotation of the night sky is undetectable at such a wide angle. Please read the following steps for more information. All images are hyperlinked to larger sizes. 1) Download this zipped folder containing four of my unaligned shots of the Milky Way. 2) Load them into hugin_0.7_beta_4. 3) Manually align images with control points – don’t automatically align. I aligned three images to a common one. Enlarge the screenshot for details. 4) Click Edit – fine tune all points. 5) Click View – preview window. 6) Click Center and Fit buttons to achieve this view. 7) Click Edit – Optimise. 8) Click Stitcher – image format – multiple tiff . Final screen before clicking Stitch Now . 9) If you don’t want to worry about learning how to align the images with hugin, then you can download this zipped folder containing the four prealigned images of the Milky Way. 10) Load each image onto a new layer in photoshop adjusting the blend mode to screen which is good at lightening images without lightening the darkest areas. 11) Add a medium contrast curves layer. 12) Add colour balance layer: shadows (-90,-25,-10), midtones (-15,-5,-20), highlights (0,-5,30). 13) The final result For comparison’s sake, shown below is a typical accompanying jpeg to a raw file I began with for one of the individual images. I used Adobe Camera Raw to extract the jpegs provided in step 1 for processing. In closing, I’d like to point out this is not the only way an image like this can be captured; there is myriads of possibilities. I have developed this simple and inexpensive method by just experimenting with the tools at my disposal. Comments are welcomed. If you haven’t done so already, please check out another tutorial I have written: Layer Masks and Transparency Gradients for The Heart.
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This was taken in 1964 in the East End of London. This was before Playstations, and probably the only ‘toy’ these kids shared between them was a skipping rope. Old bomb sites still held a fascination though as a form of amusement and exploration, as can be seen here. It was taken using a Yashica Mat 120 film twin lens reflex camera that took me six months to save up for. I used Tri-X B/W film and printed on a hard grade of paper to get the punchy contrast, a characteristic of all my early B/W work. This image was photographed digitally from the original print in my portfolio.
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To give an indication of the sheer size and scale of this cloud mass, on the bottom right of this image there are some full-sized pine trees and that small white dot next to them is a huge lighthouse sitting on the end of an island. . . Digital Camera
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Seascapes....
by Mel BrackstoneI’d like to say first and foremost I love the bubble for allowing me to show off my work, particularly as I’m still learning, which means…
I’d like to say first and foremost I love the bubble for allowing me to show off my work, particularly as I’m still learning, which means that the quality of my work when I first came here wasn’t as good as it is starting to get now. I can thank the lovely helpful people I’ve met along the way for helping me focus better on what works and what doesn’t. As much as I loathe the negativity in the forums, I read some of the threads there and learn from them too, so thanks so much everyone for your support, or not, it’s all making me a better photographer. I’ve got a secret to share, regarding my seascapes. I’ve been lucky enough to have a friend who is very keen to get the perfect seascape shot, and for that reason I’ve been getting up at 2am or so to drive out to his place so we can then continue on to beaches 2 or more hours away, just so we can be there before dawn. The weather has to be right, there has to be clouds, the tides need to be doing the right things, and there needs to be rocks as foreground and or middle ground interest. In the 18 months that we’ve been following this course, we’ve managed to capture some amazing photos, and the shoot that gave me all these latest photos was the best so far. It’s taken his dedication to getting the conditions right, and a little bit of work from me with a camera and PS to produce this work, so please, when you look at my seascape photos, say thanks to Nick Lagos, its all down to him. His shots are a million times better, believe me! For those of you who may be interested in what kit I’m using, I have a battered Canon 5D, I use a 16-35mm f/2.8 L lens, and I bought the Lee filters to fit the wide angle so that I don’t get vignetting. I use both ND and ND grey grads, and combinations of them all, but only 2 at the most. My Manfrotto 190D tripod is not as heavy as it should be, but does a reasonable job, and I always have the cable release tied around the stalk between head and legs. I’m using the 322 RC head on the tripod, but I also really should have a level to put onto the hot shoe….keep forgetting to buy one…other than that I shoot in raw and small jpg, so I can run a quick slideshow on a laptop if necessary, or even when I get home to the clunker. I use ps and photomatix to get the best out of the shots, and my ability to use ps has been learnt through going through tutorials on the net and in manuals. Since maths and me don’t get on, I really have no idea why things work, only that sometimes I get a good result if I do “this” or “that” I get a lot of inspiration from the artists here, I can’t thank you all enough for showing me new subjects and processes. Once I read about some new technique I’ll google it and find out more. I recommend this to anyone who may want to improve their work. I’m technically challenged when it comes to using a camera, although I’m learning more and more the longer I shoot. I’ve only been shooting semi-seriously since 2004, and only came off P on my camera in late 2005. I still don’t shoot on M, unless I’m after a particular result that I want to try….and that’s how I work….hit and miss :) It’s all been digital, starting with a Canon G2, then powershot pro1, then 20D. So, thats my story, sorry if it’s a little boring, but I needed to clear up some misconceptions that I might actually know what I’m doing! There’s absolutely no truth to that rumour, its all down to Nick’s need to get the “Big Pic” and I’ve just been swept along with his enthusiasm. As all his loyal subjects will attest, he’s the best thing that’s happened to us, those of us who’ve been lucky enough to be taken into the fold, / so once again, thanks Nick, the legend lives on buddy!
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