Flowers By The Wayside: Leaf with complex veins (ie not tulips, orchids, grass etc)

[Ron Morse]

I guess this goes here. Damned if I know.

Finally got a bright sunny day after about 4 weeks of rain. Very nice in the high 70s

5DMII
Pentax super takumar 50/1.4 @5.6 with chipped adapter.
ISO 100
1/320

Clover

 

[Gary Ayala]

Gary,

Are these california poppies? How long ago did you get this and where? This is so rich!

Look Daniel Beck's Velvia pics up above.

Asher

These were taken back in spring, down Murreita way, just an open field by the road.

 

[StuartRae]

I guess this goes here. Damned if I know.

Finally got a bright sunny day after about 4 weeks of rain. Very nice in the high 70s

5DMII
Pentax super takumar 50/1.4 @5.6 with chipped adapter.
ISO 100
1/320

Clover

Hi Ron,

Congratulations on finally achieving Summer. We had ours the past two weeks with temperatures in the 80s and low 90s - far too hot for me - but now we're back to more typical summer weather, cool and breezy with some heavy showers.

WRT the clover, I much prefer simple little flowers, weeds if you like, to over-blown cultivated ones.

Regards,

Stuart

 

[Ron Morse]

Hi Ron,

Congratulations on finally achieving Summer. We had ours the past two weeks with temperatures in the 80s and low 90s - far too hot for me - but now we're back to more typical summer weather, cool and breezy with some heavy showers.

WRT the clover, I much prefer simple little flowers, weeds if you like, to over-blown cultivated ones.

Regards,

Stuart

Thanks Stuart, Very much appreciated.

 

[Rod Snaith]

Very nice shot, Ron. Oddly enough, I was planning on some clover and alfalfa flower shots before I knocked my hay down. Looks like you beat me to it

 

[Ron Morse]

Very nice shot, Ron. Oddly enough, I was planning on some clover and alfalfa flower shots before I knocked my hay down. Looks like you beat me to it

Thanks. appreciate it.

 

[janet Smith]

Lovely shot Ron, here are a couple more wayside flowers/weeds that caught my eye, BTW thanks for the nice comments about my Foxgloves Cem.

Teasels

Himalayan Balsam​

 

[Ron Morse]

Thanks Jan. I love the little barbs on the stalk in that first shot. The flower reminds me of our sweet pea flowers.

 

[Asher Kelman]

Timing the light: Waiting for the light in photography! A forgotten art?

Hi,

I've seen this thread for ages, and now that I have access to a scanner, I thought it's high time I contributed. I took this image about 3 weeks ago, it's early morning next to a dam, I waited a while for the sunlight to illuminate both the petals, as well as the out-of-focus grass background.

Dawid,

"I waited a while for the sunlight to illuminate both the petals as well, as the out-of-focus grass background." This is something we don't hear too often, but was the factor that defines much of the greatest work of the last century.

We have, to a considerable extent and to our pictures detriment, forgotten to learn to use the timing of the light to pain the images the way it might be discovered engaged with magic. The transient qualities of low angled light at dawn and sunset rebuild everything we see in an ever-changing way, minute by minute. I imagine we only use a small portion of this powerful paintbrush for our photography. Thanks for reminding us. You might want to put up earlier shots, where the effect was not yet as you wished to show the development of the form you hoped for.

I find magnolia flowers magificent in both colour and smell, and ironic in their short lifespan.

Indeed! To me they are like girls in spring dresses and then we might look at their mother or grandmother and say, how is that possible?

Dawid Loubser Magnoli
Technical: Mamiya RB67, Macro 140mm f/4.5 Sekor C lens at f/8,
Fuji Provia 100, scanned to ~60mp with Epson V700 and Vuescan​

But what do I like this picture. After all this flower was not chosen for being symmetrical and would likely not sell first in a flower shop! We go for symmetry and perfection! That's what a lot of photographers seem to do. Here the bloom has petals that each are positioned like arms of girls in pink dresses, in a circle, dancing to abandon!

Thanks, Dawid, for taking the extra effort to scan this magnolia photograph and share it with us. I enjoy it very much for it's color, delicate transience and presentation in the soft field of grass.

Let me comment on the dark frame. I normally rant against them! Here, however, the darkness might be adding to the image, fusing with the vignetting and dark branches. I'd wonder whether you really feel that is better?

Asher

 

[Bart de Vries]

| m8 | apo-telyt-m 1:3.4/135mm |

 

[Asher Kelman]

Bart de Vries Untitled Berry| m8 | apo-telyt-m 1:3.4/135mm |​

Bart,

This is jam-packed with goodies! You exploit well the heterogeneity of shapes that lead up to a fully fresh delicious berry, maybe some of which are in the soft b.g. It's pleasant to look at with it's vairety of forms: clusters, nests, brushes of stigma and stamens. Altogether worth looking at again and again. I's like to commend you showing the process of getting to beauty can be beautiful too. I like especially the dimensionality of each cluster.

Thanks for sharing,

Asher

 

[Dawid Loubser]

I imagine we only use a small portion of this powerful paintbrush for our photography. Thanks for reminding us. You might want to put up earlier shots, where the effect was not yet as you wished to show the development of the form you hoped for.

Hi Asher,

Thank you for commenting on my photograph. I wish I had earlier versions to post, but I only took this one image! And by saying I "waited a while" I actually returned to this spot a day later, upon first seeing the magnolia, and that the light was not right. On that morning then, I waited about 45 mins for the sun, and then took the one image and left.

I have built up such trust in both the Mamiya RB equipment, as well as my incident light meter, that no more than one was necessary.

Let me comment on the dark frame. I normally rant against them! Here, however, the darkness might be adding to the image, fusing with the vignetting and dark branches. I'd wonder whether you really feel that is better?

I often feel that I should go back to putting no frames around the images at all, because they are so contraversial! I use about 50/50 black/white frames, depending on the image in question. With images like this magnolia, where I am 100% happy with my composition, I purposefully scan to include the irregular black edges caused by the film gate in the camera, I like the feel of it. In the same way, I often print in the darkroom with a filed-out negative carrier (very clichéd, I know, but hey, I am just getting into this "film" stuff

In conclusion, I think that you are right about "waiting for the light" being a forgotten art, and this is because we can take digital imaged with almost zero per-image cost. On the other hand, 6x7cm slide film costs a fair bit per image, and takes a lot of time to derive the final end-result. This has, in my case, forced me to be patient. And not be afraid to not take the shot when the mind's image does not meet with the image before my eyes.

With a digital SLR, I used to "snap" the picture in anyway. Perhaps even try to rescue or liven it up in post-processing. But the truth is: We cannot. The light was there, or it wasn't. Tomorrow is another day.

 

[Asher Kelman]

I have built up such trust in both the Mamiya RB equipment, as well as my incident light meter, that no more than one was necessary...................
On the other hand, 6x7cm slide film costs a fair bit per image, and takes a lot of time to derive the final end-result. This has, in my case, forced me to be patient. And not be afraid to not take the shot when the mind's image does not meet with the image before my eyes.

So Dawid,

You're using slide film. What kind that you are confident of the exposure with one shot? I presume you have a lightmeter or it's in your head? Do you print in the wet lab or just scan. Also, how do you scan?

Asher

 

[Dawid Loubser]

You're using slide film. What kind that you are confident of the exposure with one shot? I presume you have a lightmeter or it's in your head? Do you print in the wet lab or just scan. Also, how do you scan?

Hi Asher: The technical section below my posted image somewhat answer your questions: Provia 100, scanned on Epson V700. I scan using Vuescan (pathetic user interface, but good results) with multi-pass scanning. I do final finishing and output via Apple Aperture.

I have never understood why people bracket their shots (especially when using negative film or digital): Taking a reading with an incident meter gives you a 100% accurate reading, no questions asked. This is usually good enough already, for most scenes. Otherwise, if you purposefully wish to under- or over-expose the scene to benefit some other aspect (such as a bright background) you are in full control as to how much you adjust exposure by. There are 0.0% unknowns in this scenario, and I have always had the feeling (sorry if I offend anybody here) that photographers who bracket shots are very unsure of themselves, or are not doing incident light metering.

For example, this shot here was the same: Potentially tricky lighting, but I took an incident reading, took the (one) shot exactly as per the reading, and it came out 100% as per my expectation. Because incident light meters do not lie, and are not fooled by the colour or intensity of reflective surfaces. Of course, the trick is knowing *which* part of the light to measure, and here I measured by pointing the incident meter away from the camera, in the sunlight, because that usually yields good results for translucent leaves.

(Provia 100, Mamiya RB67, 250mm f/4.5 old single-coated lens at f/4.5)

Lastly, even though slide film has rather poor dynamic range, I find it still handles blown highlights much better than linear digital capture, in that there is still sufficient shoulder to not blow out to a direct white in almost all circumstances - it's a gradual falloff.

 

[Asher Kelman]

have never understood why people bracket their shots (especially when using negative film or digital): Taking a reading with an incident meter gives you a 100% accurate reading, no questions asked.

There are 0.0% unknowns in this scenario, and I have always had the feeling (sorry if I offend anybody here) that photographers who bracket shots are very unsure of themselves, or are not doing incident light metering.

Your technique is works! However for digital I like to have an extra underexposed shot for the sky. That way, the sky can be built the way I like it, not by HDR, but by masked layers and selective contribution of each layer. That way the main subject can be illuminated well and the Velvia-rich skies can be delivered.

......Of course, the trick is knowing *which* part of the light to measure, and here I measured by pointing the incident meter away from the camera, in the sunlight, because that usually yields good results for translucent leaves.

(Provia 100, Mamiya RB67, 250mm f/4.5 old single-coated lens at f/4.5)

So you seem to be using the lightmeter to measure incident light but how in respect to the plant. You measure the light coming behind the plant? You point to the sky or where? and how is it different from your usual practice?

Asher

Asher

 

[StuartRae]

Gorse

Somewhere in the Duddon Valley last Tuesday.

350D, 17-55 f/2.8 IS @ 55mm, f4, 1/1600, ISO 200.

Regards,
Stuart

 

[Asher Kelman]

Stuart,

This is probably the first glimpse of this flower to most people here, certainly for me. Great that you bring us interesting native European species. I like the bright flowers and the adaptively spiked leaves. You have done well to include the spider's web too. It is so much better when the wild plant is shown as it really is in nature. Did you locate the spider? This Gorse is strikingly beautiful. How tall was the plant?

"Gorse may grow as a fire-climax plant, well adapted to encourage and withstand fires, being highly flammable, and having seed pods that are to a large extent opened by fire, thus allowing rapid regeneration after fire. The burnt stumps also readily sprout new growth from the roots. Where fire is excluded, gorse soon tends to be shaded out by taller-growing trees, unless other factors like exposure also apply. Typical fire recurrence periods in gorse stands are 5-20 years." Read more on this fascinating plant here.

The seeds, by the way are edible.


Asher

 

[Mike Shimwell]

Stuart, a lovely shot - most of the Gorse over here is past the flower stage now and our girls have collected countless seed pods over the last few weeks up in Northumberland.

Asher, Gorse bushes grow to a fair size - easily between 6 and 10 feet tall and wide and scrubby.

The adapted leaves are sharp and can hurt - one of my runs from our caravan takes me up an overgrown 'path' through some gorse and I always emerge with blood somewhere! At the right time of year they are very beautiful, substantive dark green bushes covered in intense yellow flowers - a real sight of summer up here in the north at least. Often gorse stands run alongside roads or spread in patches across the hillside.

We were discussing the seed pods with the girls a couple of weeks ago - if they catch fire they 'explode' throwing the seeds all around.

Mike

 

[janet Smith]

Hi Stuart - lovely shot, as mike says most of the gorse has finished here now too, exceptionally prickly stuff, lovely light!

 

[StuartRae]

Asher, Mike and Jan,

Thanks for the comments.

This was the only gorse bush still in flower, but there's always one that gets it wrong I've got a solitary blackberry blossom in my garden among the berries and autumn leaves.

Regards,

Stuart

 

[Cem_Usakligil]

The context (i.e. the wayside) emphasized

I have been wanting to post some pictures of flowers by the wayside with a little bit of a twist. Most of the flower pictures posted here are close ups which makes a lot of sense since it allows us to focus on the beauty of them. But since the title of the thread mentions the wayside as the context, I gave myself the assignment to picture some flowers by the wayside whereby the environment and not only the flower is the major element of the picture. Also, I've decided to shoot all pictures at a fixed focal length of 17mm, the widest lens I have. And finally, I have concentrated on creating unconventional compositions if possible. After a brief walk around the town, these are what I came home with. So please tell me, have I accomplished these goals or should I keep on trying? Any other suggestions? Thanks for you comments.

​

Cheers,

 

[Asher Kelman]

Cem,

Immediately, my response is that you have advanced our way of visualizing immensely. Thanks so much! What lens did you use? More comment to follow!

Asher

 

[Cem_Usakligil]

...What lens did you use? ..

Hi Asher,

I had my EF 17-40 L f4 on the 5DII. I have set the zoom at 17mm and did not change it for the whole shoot.

Cheers,

 

[janet Smith]

And finally, I have concentrated on creating unconventional compositions if possible. After a brief walk around the town, these are what I came home with. So please tell me, have I accomplished these goals or should I keep on trying?

Hi Cem

Mission accomplished I would say, I like the idea - and the resulting photographs! My preferences are No's 1 & 3, wish I had a 17mm!

 

[Bart_van_der_Wolf]

I have been wanting to post some pictures of flowers by the wayside with a little bit of a twist. Most of the flower pictures posted here are close ups which makes a lot of sense since it allows us to focus on the beauty of them. But since the title of the thread mentions the wayside as the context, I gave myself the assignment to picture some flowers by the wayside whereby the environment and not only the flower is the major element of the picture.

Hi Cem,

Mission accomplished, indeed.

# 1 & 3 are my favorites. I especially like the first one:

I creates a mysterious atmosphere, with the superposition of the backlit leaves in the foreground on top of the tree in the background, it almost looks like a composite, which it's not. The repeating red/orange also ties the fore and background together. You have a good eye for these things.

Number 3 is one the most literal expressions of the thread's title I've seen.

Cheers,
Bart

 

[Cem_Usakligil]

....I creates a mysterious atmosphere, with the superposition of the backlit leaves in the foreground on top of the tree in the background, it almost looks like a composite, which it's not. The repeating red/orange also ties the fore and background together. You have a good eye for these things.

Thanks, I try . I assume that you have noticed the statue of the horseman to the left? The horse prances along with the same V shape created by the building and the tilt of the camera.

..Number 3 is one the most literal expressions of the thread's title I've seen.

It is indeed. One doesn't get closer to the wayside than this ;-).

Cheers,

 

[Mike Shimwell]

Cem, you did great. Now how does number 1 work - I still haven't worked out how everything fits together?

Mike

 

[Cem_Usakligil]

Cem, you did great. Now how does number 1 work - I still haven't worked out how everything fits together?

Mike

Hi Mike,

This is a long, overhanging branch of a rose plant. The main trunk is behind my back, I have crouched under the branch with a single rose at the end of it to shoot upwards. The branch leading from the top is hidden behind the leaves, and you can't see it enter the frame which creates a strange impression. You can see a partial shadow of it if you look carefully. It was very windy and the branch was shaking wildly. So I had to take a few shots before I could get this one right.

Cheers,

 

[Rachel Foster]

I, too, would like a wide angle.

 

[Mike Shimwell]

I, too, would like a wide angle.

Something like this perhaps

Mike

Sorry Asher - OT