Abstract NON-nature Photos

zzffnn

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I like both of your sets, but this one stood out especially. How did you get this effect without light reflection from the surface from which droplets were bouncing off? Did colors came from one gel'ed flash or multiple flash guns?

Usually, surfaces that water can bounce off would be very reflective. Yet, we don't see any reflection in the frame. Was that surface way beneath those framed droplets, from the view of your macro lens?

Thank you for sharing.
 
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CO_yeti

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I like both of your sets, but this one stood out especially. How did you get this effect without light reflection from the surface from which droplets were bouncing off? Did colors came from one gel'ed flash or multiple flash guns?

Usually, surfaces that water can bounce off would be very reflective. Yet, we don't see any reflection in the frame. Was that surface way beneath those framed droplets, from the view of your macro lens?

Thank you for sharing.
Thanks and sorry for the late reply...

That group is actually of fireworks. The technique is to pull out of focus during a 1.5 - 2.0 sec exposure. You usually have to stop down quite a bit, which can give interesting shapes to the light streaks depending on the lens. I use vintage glass because it's all I have with hard focus stops and that is critical. Otherwise it's a lot of guess work and luck to isolate one or two explosions and get the exposure and focus right.

It's one of my favorite subjects, but I missed out this year because I was in the mountains off grid.
 

phigmov

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Jeffcs

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Mack

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I was looking at the color gamut increase of an Olympus Workspace TIFF image and one made by processing in DxO PhotoLab3 along with a profile made from LumaRiver Profile Designer and thought the "color explosion" in ColorThink Pro 3 was cool. Both are off a x-rite SG digital Colorchecker card. The smaller dots are the Workspace TIFF image and the larger outer ones are the DxO and Lumariver PD combo TIFF.

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Jeffcs

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thenextpage

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All taken with E-M1ii & 17mm 1.2
 

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junkyardsparkle

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