Desert Dueler

Desert Dueler

Posted by alexandriabrangwin on 2017-11-22 08:56:20

Tagged: , Alexandria Brangwin , Second Life , 3D , CGI , Computer , Graphics , Virtual , world , photography , Mercedes Benz , AMG , G63 , 6×6 , off , road , truck , silver , desert , highway , stopped , headlights , FBI , field , agent , outfit , Sicario , Emily , Blunt , massive , tires , tread , sand , dust , dirt , beam , differential , leather , boots , cargo , pants , tactilneck , Archer



Another from today’s walk. Believe it or not, most of the Presidio, and a good chunk of all of western San Francisco, used to be made up of grasslands covering fields of sand dunes. The City put streets, houses, and Golden Gate Park on them, while the Army installed massive forests of Eucalyptus and other trees as a show of its power and ability, creating the landscape that still remains in the Presidio today. The Presidio Trust is currently in the process of restoring these native dunes to a small part of the park, seen here, which was formerly home to a Nike missile site.

I typically do very little processing on my photos, limiting myself to lens corrections and some adjustments to contrast, saturation, and white balance, as well as some removal of my pesky sensor dust. I don’t want to get into heavy processing in general, mostly because I enjoy the part where I’m out taking photos so much more than the time sitting in front of a computer. That said, I am trying to experiment a bit more, since it can be important to know from time to time. This shot was my overprocessing experiment for the day. I liked the shadow across the dunes, but there was just no way to get the exposure right without blowing out the sky. I opted for a bracketed exposure setting the main exposure for the dunes, and going down 2 and 4 stops for the other shots to get good detail in the sky. I used an HDR merge to combine the exposures as both a black and white set and a color set, adjusted the saturation to where I wanted it, and then overlaid the color version on top of the b&w. Finally, I made the color layer slightly transparent to get a bit of the gray to come through and give it a slightly washed out look, and merged the layers for the final image.

I certainly wouldn’t want to go through all that effort on a regular basis, especially with my terribly slow computer right now, but I had some fun with it for this shot.

Posted by mike dillon on 2011-03-13 09:17:15

Tagged: , Presidio , san Francisco , SF , sand , dunes , sun , lens flare , flare , shadow , silhouette , power lines , shuttersaltw8

aye karumba !

aye karumba !

my computer crashed and i lost some of my adjusted images, so i’m going to feed my addiction by uploading old travel snaps. luckily none of the originals got lost.

Posted by GraemeNicol on 2006-12-07 05:07:21

Tagged: , australia , queensland , landscape , outback , coast , beach , gulf , carpenteria , sea , savannah , karumba , port , stones , sand , cirrus , dust



View On Black

I know this photo would not be to everybody’s taste but I have some great memories with it…….This photo was taken about 14 years ago. The first family holiday abroad (Side_ Turkey) the camara used would have been a canon EOS 650. Taken standing, no tripod………I was sorting through some old photos and negatives and found this on a negative, anyway I managed to scan the negative into the computer cleaned it up a bit (dust particles transfered during the scan) in Elements 6 and this is the result……..

Posted by ukawar on 2008-02-07 19:57:30

Tagged: , side , turkey , sun , sea , sand , eveningsky , sky , sunset

planet Earth

planet Earth

This looks computer-generated. It isn’t.

Farewell Spit is one of the strangest places I have ever seen. A giant sandbar, it is constantly growing as rock from the Southern Alps erodes into the sea. The current carries the sand – including coal-dust – northward up the coast. At the narrows between North and South Island, the complex currents cause the sand grains to settle. The bar stretches 22.5km from its 1.5km wide base at its western end. Its eastern tip, which is slightly south of its western end, grows by 15m a year, representing a steady deposition of tens of thousands of tons of sand each year.

You reach the Spit from Collingwood. The road follows the western and northern shore of Golden Bay, then ends at a gate, after which you’re on the beach. A little while later, a track crosses from the beach on the southern, Golden Bay side of the spit, to the ocean side, where it debouches on the beach. As you travel east, you travel first over a flat-lying reach of sand with no dunes. After about 3km you find yourself in the area shown here where the wide beach ends in low dunes. For the next 15km the beach runs alongside a series evenly spaced Barchan dunes that gradually get bigger. Findally, in the last 5km, the dunes are gone and the Spit seems to be trying to huddle lower and lower into the sea.

Coal measures underly the bay, and the coal dust carried in the wind and by the waves gives the sand an unearthly series of patterns. The Bay was once the site of coal mines, but all that remains today are a few rusting relics. It was also once the site of a minor gold rush – hence the name of the bay, which had earlier, and perhaps more honestly, been first called Murder Bay (some white sailors got their tickets punched), and later Massacre Bay (some Maori got curtailed).

The Spit was classified as a Ramsar site in 1976.

Posted by Kalense Kid on 2010-01-10 10:22:51

Tagged: , New Zealand , South Island , Golden Bay , landscape , Farewell Spit , sand , ripples , huge , isolation , desolation , is what you feel , NZ101: Farewell Spit , tasman-nz



The Alexandrian Order on manoeuvres in the desert

Posted by alexandriabrangwin on 2014-11-29 18:43:43

Tagged: , Alexandria Brangwin , Second Life , 3D , CGI , Computer , Graphics , Virtual , world , tanks , desert , Abrams , M1A1 , Tusk , charge , rommel , pose , pointing , commander , dust , sand , wind , diesel , smoke , rolling , camo , landscape , The Alexandrian Order , woman

Feathered death

Feathered death

Blogged in The Woodwork: Faking long exposure

Feathered Death
Baker Beach, San Francisco, California

Nikon D3, Nikkor 14-24mm f/2.8G
Aperture 2.0 (raw fine tuning, spot & patch, straighten, white balance, dodge & burn) nik Color Efex Pro (contrast color range, bi-color user defined, bleach bypass, glamour glow) Photoshop (heal)
1/60sec @ f/18, iso200, 14mm (14mm)


Visiting Baker Beach.

While returning to the car, I passed near a seagull looked at me guiltily and then flew away. I was curious what it was looking at and noticed that it was a dead bird whose legs had been caught in some cloth flotsam and had been washed ashore.

This photo was taken handheld in aperture mode which was adjusted to have as much depth of field possible and still be well above the shake limit. The 14mm has no trouble focusing close but the dust on the lens left a lot of blemishes that appeared easily after post processing. I’m going to have to look into a good portable cleaning solution as the surface would take forever to clean with a LensPen. I remembered to bring my GPS with me (with batteries) so the location data is accurate (though I forgot to adjust my camera for daylight savings time so I had to shift things over 3600 seconds).

I used dodge and burn to try to reclaim some dynamic range in the overexposed background (burn) while getting some feather detail in shadow (dodge). The spot & patch algorithm was very poor for dust spots in the sand so I had to heal that (as well as lens dust) in Photoshop.

I used contrast color to get better separation between sand and sea, a bi-color to magnify that effect even more and “postcard” the image without messing with the saturation, and then bleach bypass and glow to create the otherworldly look around the dead bird. Most of these filters were not applied to the bird itself using a negative u-point.

I tested the new dodge and burn tool in Aperture 2.0.1 update. It worked very well, but I’m disappointed that it has to generate a TIFF file in order to work. It’d be nice if it used the RAW file and just stored sidecar files that had the masks. The weird thing is if you edit using an external editor and then edit in Photoshop, it loses the version with your dodge and burn edits. In fact, 2.0.1 and 2.0 before it has introduced many, many bugs involving preview generation and versioning. For instance, if you replace the PSD file or edit a PSD file that you’ve already commented, it will reimport the EXIF and IPTC information and smash all your edits in Aperture. Besides the fact that you can no longer use the PSD-replacement trick (to preserve metadata from external creation tools like PTMac and DxO Optics Pro via PSD generation), it destroys all your IPTC work you might have done before round tripping with Photoshop. That is stupid. Another example is preview generation on expanded canvases with a alpha channel that has been colored in are rendered transparent no matter what in the original and then exported as black. So effectively those parts of the image become unusable! (Workaround: save a copy as PSD with alpha unchecked and than overwrite the current PSD) WTF? I mean this stuff worked in Aperture 1.0. Apple has taken the common-sense way of handling versioning and trashed it in order to make room for the API which isn’t really ready yet. They could have done much better if they asked the service to generate previews and gave it the ability to store sidecars. This would be far more versatile than the current stuff which is no better than Photoshop at this point (though the RAW rendering support will be change that for us DxO Optics Pro users). There is no need to actually save the rendered TIFFs—and why TIFF anyway? Those files are huge. Why not store losslessly compressed JPEG2000s are 1/2 the size of TIFFs for photos).

By the way Aperture 2.0 lost support of JPEG2000. (It was buggy in Aperture 1.0). That’s bad because I save my scanner output as high quality JPEG2000’s since they have 48bit dynamic range and yet are about 1/20 the size of a TIFF with almost no noticeable loss in quality. Support all Quicktime-compatible image formats for import! This is why I buy expensive computers, Apple. (Thumbnails should still be JFIF (JPEG) simply because the algorithm for working with JPEG2000’s seems a bit slow even on a fast computer.)

When I do a lot of Photoshop and Aperture 2.0 work, the hard drive starts swapping in a bad way and won’t stop. Very frustrating. What should have been a 15 minute postprocessing ended up wasting 3 hours because of bugs in Aperture and swap.

Finally, I decided not to provide the full resolution versions of the images and added a border around the image (but no watermark). This should still be good enough, if not better, for use under the Creative Commons in websites and blogs, but if you need a print-quality (larger than postcard size) version of the photo, this way you’ll have to contact me for the image. The border design and information is a rip-off of various parts from my favorite photographers: Kevin Kubota, Tony Sweet, Russ Morris, Ryan Brenizer, Jim Goldstein, and Andrei Zmievski.

Click for original photograph (If you cannot view this, add me to your contacts and I’ll add you to my friends. If you are already a contact of mine then just jet me a message and I’ll fix your status.)

Posted by tychay on 2008-04-02 11:47:48

Tagged: , heal , digital glamour glow , Bay Area , white balance adjustment , equipment , descriptive places , camera , nature , Pacific Ocean , places , colors , California , outdoor , Apple Aperture , digital bi-color user defined , dead , San Francisco , Nikkor , 14-24mm f/2.8G , brown , Northern California , digital color contrast range , Nikon D3 , Photoshop , portrait orientation , handheld , post-processing , subjects , nik Color Efex Pro , raw fine tuning adjustment , wildlife , spot & patch adjustment , orientation , dodge & burn edit , sand , animal , shooting traits , straighten adjustment , hiking , blue , Apple Aperture 2.0 , United States , Baker Beach , digital bleach bypass , ocean , water , beach , lens , expired , bird , photo specs , sky

Just Secondlife – Rolling Thunder

Just Secondlife - Rolling Thunder

Posted by alexandriabrangwin on 2015-09-14 09:17:34

Tagged: , Alexandria Brangwin , Second Life , Patricia Chenier , 3D , CGI , Computer , Graphics , Virtual , world , Just Cause , Xbox One , tribute , fight , battle , Mercedez-Benz , G63 , AMG , 6×6 , offroad , desert , dust , sand , storm , firing , dual , MP7 , H&K , smoke , blur , fast , driving , standing , up , top , Adventure , adventurer , adventuring , military , uniform

Rust & Dust

Rust & Dust

Posted by alexandriabrangwin on 2015-09-12 11:18:08

Tagged: , Sinjane , Second Life , 3D , CGI , Computer , Graphics , Virtual , world , road , warrior , goddess , independant , woman , Mad Max , Interceptor , V8 , supercharged , XB , Falcon , GT , desert , sand , post , apocalyptic , wasteland , shotgun , leather , armor , dust , storm , horizon , repose , contemplation , stand , pose , heroic , heroine

2011 – A Photographic Reflection

2011 - A Photographic Reflection

Camera: Canonet QL17 GIII
Film: Ilford Delta 400
Location: Cape Kiwanda – Pacific City, Oregon

*Note* The following I admit is a bit long, and is more of a free flowing thought than a well written piece reflecting on my photography experiences over the past year.

What a difference a year makes. A year ago my only experience with film photography was using the family 35mm point and shoot and disposable cameras as a kid; hardly what you would call a comprehensive understanding of the medium. Like most of the world, I had been caught up in the digital revolution. Megapixels, large LCD screens, and various other technical jargon dominated my train of thought as I spent the past two years shooting with a Canon XSi. I bought the camera with my tax return in 2008, not sure I’d even enjoy photography enough to justify its then price of 750 dollars. Turns out I loved it and photography quickly became a growing passion of mine.

Yet as the years went on, I became more and more disenchanted with the digital medium. The more I read online looking for tips and tricks on how to achieve better results, the whole thing started to feel more like a mask for graphic design than photography. Shoot it blind and fix it later in Photoshop. Now I know this is a generalization, but I can’t help but state my opinion on the matter. I just didn’t want to get caught up in the gear arms race and bogged down in post production. Don’t even get me started on HDR. Needless to say my interest in photography was in a stage of flux.

My entrance into film photography was gradual and timid at best. The learning curve seemed daunting plus several mental barriers needed to be conquered, most notably the lack of instant results. When you grow up in a society where everything is instant; text messaging, on-demand television, the internet this barrier proves difficult to defeat. Furthermore I had no idea really where to purchase film, get it developed, scan it into the computer to share on Flickr. It’s no wonder so many hobbies are abandoned almost as soon as they begin, the interest just isn’t strong enough for one to push through the initial learning curves.

I credit a good friend of mine for pushing me towards film (she doesn’t realize it, I should probably thank her). While discussing photography with her she brought up the Holga toy camera, up until that point I had never heard of it. On a whim I bought one. My first few rolls produced less than exciting results (you can find them on my photostream if you wish to see), yet the spark had finally been lit and my interest in film was taking off. Wanting a way to motivate myself to shoot more film I decided to do a 365 project with the Holga, which I aptly named the Photography Squared Project. The project lead me to discover a local processing lab (Panda Lab), film shot (Glazers), and forced me to learn how to scan my own film into the computer. Plus I have taken more than a few images I consider to be good, always a good way to boost ones confidence.

Suddenly I was shooting almost exclusively film; overall I’d say it’s been an 80/20 split not bad for a guy who was unsure about the whole medium a mere 12 months ago. It’s gone beyond the Holga as well; friends and family have been gracious enough to donate old cameras that have been collecting dust in their closets for years. I was gifted a Canonet, Menolta X-700 and SrT102, and a Pentax K-1000. Perhaps the best decision I made all year was purchasing a pinhole camera from Zero Image.

Pinhole photography has been such a freeing experience, where once I was stressed out by settings and features on the camera, I am now focused on exploring the landscape and composing an image. This is by no means an easy transition to make (and in some instances I am still working on it), but an important one nonetheless. I believe the moment one stops worrying so much about equipment and technical jargon and focuses more on creating the image itself is when their photographs start to improve dramatically.

I feel this post is boarding on becoming one long ramble, and I’ve no doubt lost many of you already (to those of you still reading I thank you). So I will end with this. The past year has been a truly enlightening experience photographically. Film has reawakened my interest in photography in ways digital never had or could. Not everything has gone perfectly smooth, but that’s ok. Mistakes offer lessons and experience which can be applied in the future. I look forward to the adventures to be had in 2012, and the advances I will make in my photography. If this past year is any indication, much fun will be had.

Posted by J.Sod on 2011-12-27 17:35:54

Tagged: , Canon , Canonet , Canonet QL17 GIII , Rangefinder , Canon Rangefinder , Canon Film Camera , Film , I Shoot Film , Ilford , Ilford Delta 400 , Ilford 400 , ASA 400 , Black and White Photography , Film Photography , Oregon , Pacific City , Pacific Ocean , Ocean , Water , West Coast , Cape Kiwanda , Reflection , Photographic Reflection , Self-Portrait , Self , Portrait , Bluffs , Beac , Sand , Morning