The tech world is notorious for its gender discrimination, but more and more women are pushing for change.
Photographer Lexi Laine, from Brighton, uses natural light which ripples through the water to set the scene for her otherworldly images.
Lebanon-based photographer Lara Zankoul creates surreal imagery for her series ‘The Unseen‘. Using a water tank, Zankoul elaborately composes various whimsical tableaus. Each life-size photograph is divided into halves by the surface of the water and features subjects in surreal settings, like a couple with human bodies and animal heads having tea. In a statement […]
Situated inside the garden of the Georgian mansion at the National Trust’s historic Berrington Hall is Studio Morison's newest structure Look! Look! Look!, a pineapple-shaped pavilion with angles akin to a folded work of origami. The pavilion is dusty pink, with an open rooftop and four openings that surround the structure’s sides, and was built with the support of Trust New Art and the Arts Council England. More
Wadi Do'an palais Buqshan Khaila Hadhramaut is a historical region of the south Arabian Peninsula along the Gulf of Aden in the Arabian Sea, extending eastwards from Yemen to the borders of the Dhofar region of Oman. The name of the region is currently retained in the smaller Hadhramaut Governorate of the Republic of Yemen. The people of Hadhramaut are called Hadhramis. Narrowly, Hadhramaut refers to the historical Qu'aiti and Kathiri sultanates, which were in the Aden Protectorate overseen by the British Resident at Aden until their abolition upon the independence of South Yemen in 1967. The current governorate of Hadhramaut roughly incorporates the former territory of the two sultanates. It consists of a narrow, arid coastal plain bounded by the steep escarpment of a broad plateau, with a very sparse network of deeply sunk wadis (seasonal watercourses). The undefined northern edge of Hadhramaut slopes down to the desert Empty Quarter. In a wider sense, Hadhramaut includes the territory of Mahra to the east all the way to the contemporary border with Oman. This encompasses the current governorates of Hadramaut and Mahra in their entirety as well as parts of the Shabwah Governorate. The Hadhramis live in densely built towns centered on traditional watering stations along the wadis. Hadhramis harvest crops of wheat and millet, tend date palm and coconut groves, and grow some coffee. On the plateau, Bedouins tend sheep and goats. Society is still highly tribal, with the old Seyyid aristocracy, descended from Prophet Muhammad, traditionally educated and strict in their Islamic observance and highly respected in religious and secular affairs. © Eric Lafforgue www.ericlafforgue.com
When colour photographs were first invented, the French millionaire and philanthropist Albert Kahn poured his entire fortune into hiring a team of photographers, which he dispatched to more than 50 countries - his aim was to make a record of all the people of the world. In Britain they captured a nation on the brink of historical change. See the amazing pictures here
© All rights reserved Old Norwegian boat-house. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ THANK YOU GUYS FOR ALL THE NICE COMMENTS ! :D
Confused, exhausted and vulnerable, they may have somehow survived and are about to be free, but these chilling colour photographs show that for victims
So sah die Welt vor mehr als 100 Jahren in Farbe aus.
After a wonderful stay on Rhodes we hopped on a boat over to the tiny, colourful island of Symi. A world heritage site, life on Symi is beautiful, simple and feels a little like stepping back in time. No lavish hotels, high rises, golf courses, nightclubs or even swimming pools. Just you, the cobbled streets, […]
When you think of old photos or historical pictures, you naturally think in terms of black and white, but as you can see from these stunning vintage photos from the turn of the 20th century, color pictures have been around for a lot longer than you think.
Explore In Memoriam Ngaire Hart's 11804 photos on Flickr!
New York based design and photography is covering his destinations with multi colors. From deserts, long roads to bridges; he had the final pictures edited to be more colorful and vibrate. And the results are more than breathtaking.
Two members of the Ramon Obusan troupe wait backstage to perform Yakan dances in Basilan, Philippines by Steve Mccurry
A headless model wears Façonnable
Colour nuance Flesh is never an even all-over colour, but there can be a temptation to paint it as if it were, and this is especially the case with monsterous flesh tones. In reality the apparent colour of skin can vary a great deal and this is dependant on many factors. For example, compare an area of skin that gets exposure to the sun to one that is covered up. In some areas blood is more visible through the skin giving a redder appearance. Look at your hand, the knuckles and fingertips may appear pink but if you make a fist, the knuckles will look lighter as the skin is drawn more tightly over the bones. You should bear all of this in mind, especially when painting something like a Plaguebearer where 90% of the paint job will be flesh tones. Bringing variation into the flesh tones will add realism and interest. It will also be a lot more fun to paint! The introduction of a couple of new colours from the palette at this stage will further push the contrasts and bring greater nuance to the overall scheme. Boreal Tree Green and Screamer pink fit into the green/red colour scheme but, as they are cooler than the greens and red already used, they extend the colour range. These ‘new’ colours should be used sparingly both as glazes and to pick out details. The mini is now ready for some highlighting and texture work. Highlighting Much of the highlighting has already been created as a result of the base colour showing through the shading, but a little extra work will really make a difference. For the highlights, I mix the Rakarth Flesh base colour with a little of the Sherwood Green. I then gradually add increasing amounts of ivory to this mix as I build up successive highlights. These painted highlights are relatively discreet but they add greatly to the overall contrast and feeling of volume. At the same time as adding these highlights it is possible to introduce some painted texture. This will give the impression of the light catching on a textured surface rather than the smooth surface that is actually there. The idea is to create distinct marks during highlighting rather than the ‘usual’ smooth blends. These marks will describe the surface texture. Naturally enough different marks will give the impression of different types of texture. For example, a series of painted strokes can resemble wrinkled or sagging flesh whereas stippling will give a rough appearance. In exactly the same way that skin colour can vary so can it’s texture and some areas will be rougher or smoother than others. Texture provides the painter with another type of contrast that can be introduced to a mini, but it is important not to go over the top. Remember that the smooth areas are just as important as the rough ones for the overall effect. At this stage the bulk of the skin tones are painted, but don’t be afraid to go back over what you have done to further refine some areas. Glazes of dilute colour (I use both ink and paint) can adjust and enhance the mini’s appearance. They are particularly useful for ‘knocking back’ or introducing a little more colour to the highlights. If the highlights are too harsh, or chalky looking, glazes will tone them down and blend them in. I often slightly over-highlight on purpose and then glaze back down. This can result in a more integrated looking highlight rather than something that looks painted on top of the other colours. Refining the textures and details I don’t think it’s an exaggeration to say that mini painting is all about contrast! Contrasts in colour, shading, texture, shine and saturation are some (among many) of the factors that a painter can manipulate to gain a desired effect. One aspect that often gets overlooked is contrast in the degree of finish. Which is to say that some areas can be given far greater attention and worked on more than others. This is particularly useful when you wish to create a strong focal point. The face and stomach areas on the plague bearers are perfect for this sort of treatment. Both feature sculpted detail and are natural focal points. The face is the most obvious area to pay extra attention to. The plague bearers are a little unusual in that they have (in most cases) only one eye and no nose! This can make it difficult to work a clear expression onto the face so it’s worth spending some time on the eye to bring the face to life. Using red tones around the eye and mouth will also help with this and make them look suitably gruesome. The stomach area features a combination of sculpted detail that can be enhanced and plain areas where extra texture and detail can be painted on. I decided to paint a combination of sores, peeling skin, cracks and heavy sagging on my miniatures. These extra details can be painted anywhere on the mini and it’s good to have a concentration of them painted on and around a focal point. But try to avoid distributing them evenly over the mini like raisins in a cake. Most of this work is painted freehand but you can use a sponge to get it started off. This employs a technique very similar to that used to create paint chipping on armour. Tear off a small piece of sponge and use it to dab a rough speckled texture onto your mini. The trick here is to use a colour that is only slightly darker than the area you are dabbing it onto. Unlike the armour chipping techniqe you want to create a soft low contrast texture. Sponging generates a random texture that can then be further enhanced with highlights and glazes. Apply highlights to the lower edges of the sponged areas to create the illusion of rough pitted skin. A more elaborate texture can be generated by adding further highlights, glazes and shadows over the sponging. As well as painted texture you can add some ‘special effects’ in the form of slime and drips. I’ve covered this topic here: A step-by-step guide to adding slime and drips to a miniature. Project Nurgle Part 7 - adding slime to Gutrot Spume. I decided to paint the Plagurbearer’s swords with true metalics to provide some contrast to the flesh and, in addition to that, I’ve applied a layer of heavy rust and corrosion using baking soda. I’ve covered this topic here: Using baking soda to add texture to a mini.
It might come as a surprise, but it wasn't long after photography became widespread that experiments with color took place, creating vivid images which
After a wonderful stay on Rhodes we hopped on a boat over to the tiny, colourful island of Symi. A world heritage site, life on Symi is beautiful, simple and feels a little like stepping back in time. No lavish hotels, high rises, golf courses, nightclubs or even swimming pools. Just you, the cobbled streets, […]
My visual inspirations / mood board has moved to itchban.tumblr.com Hi friends! Visual Inspirations episode 025 has arrived! The Visual Inspiration series is my continued effort to look outwards for external sources of visual inspiration to help expand and focus my own visual aesthetic. I believe
