Sunshine wave
407 creative works found
-
Photo taken 4th August 2007
-
Cute starfish lying on the beach in a bikini.
-
‘Beach Series’ card by Karin Taylor A mixed media production (ink, pastel, charcoal and acyrlic). / This one was done on paper with a canvas textured surface. A lovely lady soaking up the sun. She wears a halterneck covered in orange hibiscus and a huge black sun hat!
-
Sold a mounted print November 2008 through RedBubble. Thanks to sucuri!
-
I’m very pleased with how this turned out.
-
Nothing beats a long summers day at the beach… so many wonderful memories from back in the day… makes you feel forever young! Sunshine Coast, Queensland (the man in the picture is my Dad)
-
Looking North into an incoming tide at the East beach at Lossiemouth, Moray Scotland. Nikon D80 / Manual / 1 sec. at f11.0 / ISO 100 / 18.0-70.0mm f/3.5-4.5 at 18mm / 0.3 ND soft Grad. / 0.9 ND soft Grad. / circular polarizer / tripod / hand release / wet feet :)
-
Nauweuwe Ka Honua / Hawaiian Translation: Now Comes the Heaven Born This is a composite of two images taken at the same location at the same time on Ho’okipa, Maui Hawai’i. Copyright © Sharon Mau 2009 / All Rights Reserved / My images do not belong to the public domain Featured in All That is Nature 30 December 2008 The Hula Kolani “For the purpose of this book the rating of any variety of hula must depend not so much on the grace and rhythm of its action on the stage as on the imaginative power and dignity of its poetry. Judged in this way, the kolani is one of the most interesting and important of the hulas. Its performance seems to have made no attempt at sensationalism, yet it was marked by a peculiar elegance. This must have been due in a measure to the fact that only adepts-olóhe-those of the most finished skill in the art. of hula, took part in its presentation. It was a hula of gentle, gracious action, acted and sung while the performers kept a sitting position, and was without instrumental accompaniment. The fact that this hula was among the number chosen for presentation before the king (Kamehameha III) while on a tour of Oahu in the year 1846 or 1847 is emphatic testimony as to the esteem in which it was held by the Hawaiians themselves. The mele that accompanied this hula when performed for the king’s entertainment at Waimanalo was the following: He ua la, he ua, / He ua pi’i mai; / Noe-noe halau, / Halau lea o Lono. / 5 O lono oe; / Pa-á-a na pali / I ka hana a Ikuwá- / Pohá ko-ele-ele. / A Welehu ka maláma, / 10 Noho i Makali’i; / Li’i-li’i ka hana. / Aia a e’é-u, / He eu ia no ka la hiki. / Hiki mai ka Lani, / 15 Nauweuwe ka honua, / Ka hana a ke ola’i nui: / Moe pono ole ko’u po- / Na niho ai kalakala, / Ka hana a ka Niuhi / 20 A mau i ke kai loa. / He loa o ka hiki’na. / A ua noa, a ua noa. p. 217 [Translation] Lo, the rain, the rain! / The rain is approaching; / The dance-hall is murky, / The great hall of Lono. / 5 Listen! its mountain walls / Are stunned with the clatter, / As when in October, / Heaven’s thunderbolts shatter. / Then follows Welehu, / 10 The month of the Pleiads. / Scanty the work then done, / Save as one’s driven. / Spur comes with the sun, / When day has arisen. / 15 Now comes the Heaven-born: / The whole land doth shake, / As with an earthquake; / Sleep quits then my bed: / How shall this maw be fed! / 20 Great maw of the shark— / Eyes that gleam in the dark / Of the boundless sea! / Rare the king’s visits to me. / All is free, all is free! If the author of this Hawaiian idyl sought to adapt its descriptive imagery to the features of any particular landscape, it would almost seem as if he had in view the very region in which Kauikeaouli found himself in the year 1847 as he listened to the mele of this unknown Hawaiian Theocritus. Under the spell of this poem, one is transported to the amphitheater of Mauna-wili, a valley separated from Waimanalo only by a rampart of hills. At one’s back are the abrupt walls of Konahuanni; at the right, and encroaching so as almost to shut in the front, stands the knife-edge of Olomana; to the left range the furzy hills of Ulamawao; while directly to the front, looking north, winds the green valley, whose waters, before reaching the ocean, spread out into the fish-ponds and duck swamps of Kailua. It would seem as if this must have been the very picture the idyllic poet had in mind. This smiling, yet rock-walled, amphitheater was the vast dance-hall of Lono-Halau loa o Lono (verse 4)-whose walls were deafened, stunned (pa-á-a, verse 6), by the tumult and uproar of the multitude that always followed in the wake of a king, a multitude whose night-long revels banished sleep: Moe pono ole ko’u po (verse 17). The poet seems to be thinking of this same hungry multitude in verse 18, niho ai kalakala, literally the teeth that tear the food; also when he speaks of the Niuhi (verse 19), a mythical shark, the glow of whose eyes was said to be visible for a great distance in the ocean, A mau i ke kai loa (verse 20). Ikuwá, Welehu, Makali’i (verses 7, 9, and 10). These were months in the Hawaiian year corresponding to a part of September, October and November, and a part of December. The Hawaiian year began when the Pleiades (Makali’i) rose at sunset (about November 20), and was divided into twelve lunar months of twenty-nine or thirty days each. The names of the months differed somewhat in the different parts of the group. The month Ikuwá is said to have been so named from its being the season of thunderstorms. This does not of itself settle the time of its occurrence, for the reason that in Hawaii the procession of the seasons and the phenomena of weather follow no definite order; that is, though electrical storms occur, there is no definite season of thunderstorms. Maka-li’i (verse 10) was not only the name of a month and the name applied to the Pleiades, but was also a name given the cool, the rainy, season. The name more commonly given this season was Hooilo. The Makahiki period, continuing four months, occurred at this time of the year. This was a season when the people rested from unnecessary labor and devoted themselves to festivals, games, and special religious observances. Allusion is made to this avoidance of toil in the words Li’ili’i ka hana (verse 11).” Excerpt from The Unwritten Literature of Hawai’i ~ Sacred Texts Canon EOS Digital Rebel XTi
-
Sun and water
-
A dawn shot from the East Beach at Lossiemouth, Moray, Scotland. The Bin of Cullen, which is further down the East coast, can be seen in the distance. Just a beautiful morning. Nikon D80 / 1/8s at f22.0 / ISO 100 / 18.0-70.0mm f/3.5-4.5 at 18mm / 0.9 ND soft Grad. / 0.6 ND soft Grad. / tripod / manual release
-
Another dawn shot from a series I shot from the East Beach in Lossiemouth, Moray, Scotland. The Bin of Cullen, which is further down the East coast, can be seen in the distance. Nikon D80 / Manual / 1/6s at f11.0 / ISO 100 / 18.0-70.0mm f/3.5-4.5 at 18mm / 0.9 ND soft Grad. / tripod / remote release
-
Not the dawn I was expecting but eventually up she came through a low mist. This was taken from the East beach in Lossiemouth, Moray Scotland. Nikon D80 / Aperture Priority / 1/8s at f16.0 / ISO 100 / 18.0-70.0mm f/3.5-4.5 at 18mm / 0.9 ND soft Grad. / Exposure compensation -1 stop / Tripod / Hand release
-
Cove Bay is a small cove located near to the village of Hopeman which in turn is located West of Lossiemouth. I spent many a happy hour here as a youth and camped in the grassy banks of the cove on many occasions. A special place for many I would guess. Drove across there tonight in time for the sunset. This shot was taken some 20 mins. after sundown when I noticed some bird footprints in the sand and tried to replicate a similar but different ‘S’ curve using the two rocks, the water run-off and the waves. Lossiemouth and Hopeman are located in Moray, Scotland. Nikon D80 / Manual / 1.5 sec. at f16 / ISO 100 / 18.0-70.0mm f/3.5-4.5 at 18mm / 0.9 ND soft Grad. / 0.6 ND soft Grad. / Manfrotto 190XPROB / 804RC2 / Hand release Challenge winner in Highland and Islands Photographers ‘Seascapes of the Highlands and Islands of Scotland’
-
Doing it in the shadows / Coolum Point Perry was pretty big seen a couple of ladds get absolutely smashed this fella was on a 600metre ride took it all the way / was a bueatifull thing / nikon d300 / nikon 80-400mm lens
-
A5 Black ink illustration This was inspired as a follow on to a painting i did for The Butterfly Foundation last year, Nature Colours Beauty ... It loosely represents the notion beauty exists in all life & is greatest in it’s natural state. With wings comes the ability to fly… a freedom to soar towards tha sun, above the forest & the sea… the sky is no limit.
-
Back at my favourite rock :)) Taken from the shoreline looking North West from Lossiemouth, Moray Scotland. This image was featured in Masters Of The Scenic and Mood & Ambience – Strictly Photos. Nikon D80 / Manual / 15 sec. at f22 / ISO 100 / Nikon 18.0-70.0mm f/3.5-4.5 at 18mm / Hitech 1.2 ND soft Grad. / Hoya Pro1 Circular PL / Manfrotto 190XPROB / 804RC2 / Cable release
-
The ubiquitous tyre on the sand at low tide. I used the NDX 400 for this, combined with a polariser, from memory. Still working with the laptop and not happy with the viewing of images. Canon 5D Mk II, 35mm, f/14, 22 seconds, ISO 100, NDX 400, Singh Ray warming polariser, tripod. Time 12:44pm SEASCAPES / INDUSTRIAL / PANORAMAS / LANDSCAPES / NEW ZEALAND / INFRARED / PEOPLE
-
Cross processed dicky….. Just trying to prepare some images for competitions….what does everyone think of this colouring, too much? Canon 5D, 16-35mm at 21mm, f/16, 1.3” Another from the SS Dicky Series Seascapes / New Zealand / Frogs / Lensbaby / Infrared / Industrial / Spam / Panorama / Landscapes / Real Estate Series / People
-
Another dawn shot and an outgoing tide from the East Beach at Lossiemouth in Moray Scotland. Nikon D80 / Manual / 1.5 sec. at f16 / ISO 100 / Nikon 18.0-70.0mm f/3.5-4.5 at 18mm / Hitech 0.6 ND soft Grad. / Manfrotto 190XPROB / 804RC2
-
The Moray Firth. Taken from Lossiemouth, Moray, Scotland. I’ve never really been a fan of HDR images. Most of them seem unreal to me. In saying that I have been playing with Photomatrix Pro for a while. Anyway, earlier this evening I was again inspired to revisit HDR after viewing this image by James Coard. What you see is a 4 shot HDR generated via Photomatrix. It was then tweaked in Nikon Capture NX2 and Photoshop. Many thanks for the inspiration James. Nikon D80 / Manual / ISO 100 / Nikon 18.0-70.0mm f/3.5-4.5 at 18mm / Hitech 0.6 ND soft Grad. / Manfrotto 190XPROB / 804RC2 / Cable release
-
Definately the best time to fish, the fish are hunting for dinner, and the fading light makes it harder for them to see you. the big fish have learnt over their life, to watch for the shadows on the shore. This guy was fishing in the deep gutter you see to the left of the shot, the incomming tide fills these gutters, and is a hot spot for fishing. The beautiful sunset just adds to the experience. Sunshine Beach, Noosa Heads, Queensland, Australia. Canon 5D Mk II, 35mm. Available large, and best viewed large!
RedBubble is a great place to find art, design, photos and writing from over 80,000 talented people.
You can buy their stuff
On stunning greeting cards, awesome t-shirts or beautiful prints to hang on your walls.
Risk Free Returns
It’s really simple. If you’re not happy with your purchase for any reason, we’ll fix it.
About RedBubble
Since February 2007 we’ve shipped over 332,500 items to more than 70 countries around the world.
Join In
Sign up for your free account, upload your work, join some groups and share your creative genius with the world.