#elements
#Dhanishta #Nakshatra is the 23rd of 27 #nakshatras. If you were born when the #moon was between 23:20 degrees #Capricorn-6:40 degrees #Aquarius
#Sanskrit Name: धनिष्ठा (Dhanishta) comes from the Sanskrit words धन (wealth) and तिष्ठति (reside). One meaning of Dhanishta is “the #rich one,” indicating #good #fortune, resilience, and a strong character.
Planetary Ruler: #Mars. The Romans worshiped Mars as the god of war, a tradition that had its roots in the scriptures of #Vedic India. Mars is associated with masculinity, power, vitality, courage, and conflict.
Nakshatra Group: Monstrous. Nakshatras are divided into three classes — monsters, humans, and gods. Dhanishta is a monstrous nakshatra. People in this group are generally intuitive, strong-willed, and assertive. They may be prone to anger and violence.
Zodiac Sign: Capricorn (1st and 2nd Quarter) and Aquarius (3rd and 4th Quarter). Capricorns are peculiar and powerful. They are intelligent, thoughtful, and careful in making decisions. Aquarians are intelligent, idealistic, determined, and philosophically-inclined. They are often involved in charitable work or other spiritual or humanitarian endeavors.
Deity: The #Eight #Vasus. In Vedic theology, the Vasus preside over the #elements. In the #ancient #history known as the Mahabharata, Grandfather Bhisma was an incarnation of the Vasu known as Dyu.
Symbol: A #drum. This represents the rhythm, #dance, #music, #divine #timing, and great influence.
Power: To sanctify. Persons born under the star of Dhanishta are able to salvage and utilize things that others have discarded or perceived to be devoid of value.
Resonant Syllables: In India, the birth nakshatra is traditionally used as one means of choosing the name of a child. The corresponding syllables for the four quarters ( #padas) of Dhanishta are Ga (गा), Ghee (गी), Goo (गु), and Gay (गे). The syllable of a person’s first name is sometimes used when calculating an astrological chart if the time of birth is unknown.
Strengths
Dhanishta natives are honest and straightforward individuals. They exude confidence and are able to overcome any obstacles that come between them and their desired objectives. They are resourceful, capable, and highly intelligent. These qualities make them excellent problem-solvers — ideal people to have around no matter what the situation.
Those born under the star of Dhanishta enjoy adventure. The thrill of entering the unknown and meeting unexpected challenges head on is a joy for them. They are good-hearted souls who take pleasure in giving to others. They do not hesitate to go out of their way to help a friend in need, or even a stranger.
You are musically-inclined and multi-talented. You have many aspirations in life, and you will somehow find a way to fulfill many or even all of them, especially if you align yourself with the blessings of God.
Dhanishta Careers
Persons born in Dhanishta can do well in careers in the performance or entertainment fields, or which give them an opportunity to exercise their inborn helping nature.
Some ideal professions include:
Musician, dancer, performer, or entertainer
Doctor, nurse, herbalist, or healer
Non-profit worker or philanthropist
Real estate agent, salesperson, or investor
Weaknesses
Dhanishtas’ fortunate, confidence, and outgoing nature can sometimes lead them to become egotistical. You should be careful to actively cultivate a humble and compassionate character. Otherwise you may become overly opinionated, argumentative, and boastful. These traits can alienate friends and community members who care about your well-being.
Dhanistha natives can be inconsiderate of others feelings and needs. They may even resort to violence if opposed by others. They can be quite ruthless if their patience is pushed to its breaking point. In addition, their fearlessness may cause them to behave recklessly, indulging in intoxicants, narcotics, and other dangerous substances. They may become addicted to any one of these substances if they do not practice temperance and self-control.
You value getting things done more than anything else, and as a result, you may resort to deceit or dishonesty. However, bear in mind that the end does not always justify the means. Actions have consequences, often far worse than we initially imagine. The satisfaction offered by a noble, moral life is far greater than anything fame or wealth can provide.
Recommended: Learn more about science of the Vedas and how Vedic knowledge can help you elevate your consciousness and enhance your life.
Other Personality Traits
You are a talented musician and artist. You have a refined sense of aesthetics and a keen ear for music and rhythm. You can make a career in any one of these areas, provided you’re able to plan ahead and manage your finances responsibly.
You do well in the limelight. You are a natural entertainer. You enjoy making people happy and making them laugh, and you like being the center of attention.
You may make friends with the wrong people. You’re not always able to differentiate between true friends and false ones. You may make mistakes when choosing your companions, and you may even wind up in troublesome romantic affairs.
You may be self-serving. You genuinely enjoy helping others, but sometimes there is a hidden, selfish motive. You have a difficult time truly setting aside your selfish interests and sacrificing for the sake of another. Of course, this is something many people struggle with.
Dhanishta Compatibility
Dhanishtas’ sexuality is symbolized by a female lion. In terms of physical compatibility, this makes them an ideal match for persons born under Purva-bhadrapada nakshatra.
Based on holistic matching, Dhanishtas are most likely to find happiness in long-term partnerships with:
For Dhanishta natives in Capricorn (1st-2nd Quarters)
Krittika in Taurus
Rohini
Ashlesha (for male natives)
Uttara-phalguni in Virgo (for female natives)
Vishakha in Libra
Uttara-ashadha in Capricorn (for female natives)
Shravana (for female natives)
Purva-bhadrapada in Pisces (for male natives
For Dhanishta natives in Aquarius (3rd-4th Quarters)
Rohini
Ardra
Punarvasu in Gemini (for male natives)
Purva-phalguni (for female natives)
Swati (for female natives)
Vishakha in Libra
Note: Compatibility in relationships is a complex science that looks at many different factors. You should always consult with an experienced astrologer who can carefully analyze the charts of both you and your partner.
Dhanishta’s Four Quarters (Padas)
Each nakshatra is divided into four quarters, also known as padas, of 3:20 degrees each. These quarters are based on a 1/9th divisional chart, known in Sanskrit as navamsha.
The moon’s position at your time of birth determines the quarter in which you are born.
First Quarter (23:20-26:40 degrees Capricorn): Leo. You are highly ambitious and expert in material affairs. You are worldly-minded and sensual. You may have marital difficulties.
Second Quarter (26:40-30:00 degrees Capricorn): Virgo. You are talkative and sociable. You easily adapt to different circumstances, and you are naturally detached, aloof, and carefree. However, you may hold grudges against those who you believe have wronged you in the past.
Third Quarter (0:00-3:20 degrees Aquarius): Libra. You are creative and especially adept in music. You are righteous and dignified. However, you may act carelessly and without sufficient forethought.
Fourth Quarter (3:20-6:40 degrees Aquarius): Scorpio. You have great power and energy, and you can easily overcome your opponents. You have a sixth sense and a strong intuition. You are actively interested in mysticism and spirituality. However, you are prone to arrogance, and you may adopt unfair means to achieve your goals.
Dhanishta in Electional Astrology
In electional astrology, also known as muhurtha, nakshatras are used to determine favorable days and times for important ceremonies and events, such as weddings, buying a new house or vehicle, commencing a project, or conceiving a child.
The electional nature of Dhanishta is Chara, “mobile.” Dhanishta is an excellent nakshatra for:
Buying a vehicle
Changing residence, jobs, or other life changes
Beginning a pilgrimage
Planting vegetables or other crops, and general gardening work
Travel
https://popularvedicscience.com/astrology/dhanishta-nakshatra/
https://www.bitchute.com/video/jY0gf6SvelOH/
#Boron is the 5th #Element on the periodic table of #elements. It is the first of 7 elements known as #metalloids, which is something between #metal & solid #non-metal
It is in the #water, the #air & the #soil & is found in small amounts on #meteors
Chemically uncombined boron, or pure boron is not found on #earth & is extremely difficult to produce
Trace boron is necessary for all plant life
23 uses for Boron/ #Boric-Acid / #Borax and counting
Yeast Infections, vaginitis & other bactericides and fungicides of skin and organs
Eye Drops
Boric acid has been a common anti-bacterial in eye drops for over 70 yearsEar Drops
Boric Acid is an effective antibiotic for the treatment of ear infections and pain reliefCancer Treatment.
Articles published in prominent Medical journals report the potential of boric acid in the treatment of certain cancers
Melanoma, Breast & Prostate Cancer studies have shown that boric acid can cause cancer cell apoptosis and prevent tumor growth
Apoptosis is a process by which abnormal cells are killed by the body & cancer cells are typically immune to apoptosis as the body doesn't recognize them as abnormal
But recent studies are showing that boric acid opens certain cancers to apoptosis, which means, they become known to the body as abnormal cells & the body then kills them naturallyAnti-fungal meds
It kills candida fungus & is used on fingernail and toenail fungus
It also kills more drug-resistant forms of candida glabradaFlea control in carpets
Just sprinkle a light dusting of boric acid on your carpet & it will kill fleas & any eggs that hatch
It will not kill adults howeverAs a mold and fungus killer
Mix a little boric acid & soap in water & use it as a cleaner
It will kill mold, mildew and fungus which cause illness and allergiesAntiseptic
Boric acid mixed in distilled water is a very effective antisepticCold Sores
Boric acid ointment can shorten a cold sore infection by up to 1/3 of the timeAcne
Boric Acids antibacterial properties make it a very effective for acne breakouts
Some people use it pure and some use it in an ointmentFertilizer
It’s a Crucial nutrient for plant lifeBoron comes OTC as a dietary supplement
(THAT'S RIGHT, YOU EAT IT) for boron deficiency & bone health including osteoporosis (brittle bone disease)
Ref: https://www.webmd.com/vitamins/ai/ing...Oral supplement for Menstrual cramps
AGAIN... YOU EAT IT!Athletic Performance
AGAIN... EATEN!Laundry Brightener
Forging Metal, Metal Welding, soldering & brazing
Flame retardant
Neutron Absorber
Catalyst in lead acid battery function
Treatment of chronic wounds
Used in the finishing of cotton fibers
A crucial element in cobalt electroplating
Jewelry metal working
#Harmful #elements in the #air !
https://www.youtube.com/watch?v=Y-l9GQJRl9Y
#HongKongGarden (Official Music Video)
#music #punk
Where Your #Elements Came From
#Astronomy #Picture of the Day
Fire Element | Sight, Fire & Possession ~ Be Here Now Network
~
v v v v v v
https://weebleseru.wordpress.com/2022/04/08/fire-element-sight-fire-possession-be-here-now-network/
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
#elements #elemental #magic #occult #occultism #selfcontrol #possession #fire #sight #spirit #spiritual #spirituality #mysticism #health #hindu #meditation
Geologists Solve Crucial Mystery Surrounding The Deposits of Rare Earth Elements
A handful of europium. Credit: Alchemist-hp, CC BY-SA
An international team of scientists has helped to unravel a longstanding mystery about how rare earth element deposits form underground – and sometimes seem to disappear without a trace.
Pioneering new research has helped geologists solve a long-standing puzzle that could help pinpoint new, untapped concentrations of some the most valuable rare earth deposits.
A team of geologists, led by Professor Frances Wall from the Camborne School of Mines, have discovered a new hypothesis to predict where rare earth elements neodymium and dysprosium could be found.
The elements are among the most sought after, because they are an essential part of digital and clean energy manufacturing, including magnets in large wind turbines and electric cars motors.
For the new research, scientists conducted a series of experiments that showed sodium and potassium -- rather than chlorine or fluorine as previously thought -- were the key ingredients for making these rare earth elements soluble.
This is crucial as it determines whether they crystalise -- making them fit for extraction -- or stayed dissolved in fluids.
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The above story is based on Materials provided by University of Exeter.
#geology #elements #mining #energy #rare #earth #europium #rare-earths #science
Poranguí - Live from the Red Rocks of Sedona
For years I've had a dream of taking my entire rig out amongst the red rocks and offering a musical prayer in gratitude to the Spirits, elementals & animals of this beautiful land I call home.
This late Winter amidst all the uncertainty of our world, I met a talented heart-centered filmmaker as crazy as me and we decided to make this dream a reality. With a massive storm approaching, we hauled all the instruments, cameras & equipment ahead of schedule into one of our sacred canyons and played an improvised set into the setting sun alongside my beloved Ashley Klein. Despite getting windy and cold, we were all deeply touched by the immense grace & beauty with which the land and elemental beings collaborated with us to bring this offering to life.
Immense gratitude to our friend & film director Ian Stout along with our incredible local crew of collaborators. Also very special thanks to our sound master, Eric Zang and epic visuals by Tessa Shields.
This offering is part of an ongoing fundraiser for "The Psychedelic Therapist", a documentary film from director Ian Stout about MDMA-assisted therapy and the treatment of those suffering from PTSD. Donations go towards completing the film, as well as covering the direct cost of treatment for participants. MAPS is the fiscal sponsor, so all direct donations to the film projects are tax-deductible. Donations can be made by going to https://www.thepsychedelictherapist.com/
Credits:
Filming- Dexx Negron, Ian Stout, Lucas
Producer-Ian Stout
Post-production & visuals- Tessa Shields & Eric Zang
#music #shamanic #Poranguí #Ashley-Klein #musical-prayer to #elements #Earth #Gaia #ritual #music-as-medicine
Moon Ray Element system chart (1.0)
by Epic-Starzz
Ever wished that elements actually worked together since that what elements are for???? Introducing an element system chart! A new form of making sense of elements! Whoohhoo! :la: Hey guys so i meant to post this earlier but DA would not let me post anything for some reason. :ohnoes: But no need to fear now for i can now post it! :dummy: Ive been wanting to make this for so long and ive attempted in the past but never fully succeeded due to multiple reasons. This is a pretty big accomplishment for me because it lays down some of the basic concepts for Moon Ray that i can build off of. Ive got big plans and ideas for this project and this is very important step forward! la: Basically, these are all the elements (although there may possibly be more :) ) that exist in Moon Ray, and the whole idea behind this is that they all work together... ...
Dunes and Clouds: Photographing Symmetry in the Desert
In 1991, near the end of some book projects that took me on some lengthy photographic journeys through the American West by car for two years, I came up with the idea of creating posters of some of my black and white images for a few of our western National Parks.
My idea was to provide park visitors with a choice instead of the commonplace color posters. Some of those color posters were excellent but I felt there was a large audience who appreciate black and white. My idea, which I pitched to some of my favorite parks, was to provide the visitors with a "fine art" visual interpretation in black and white.
My original attempts were met with great interest by the various Natural History Associations. Most were already familiar with my photography because of various photographic projects such as magazine articles, gallery/museum shows, or word-of-mouth. I had completed a color slide show for Capitol Reef National Park a few years before, and my black and white work was already known by some Natural History executives of Canyonlands and Death Valley National Parks.
In this four-part series written for the ELEMENTS Magazine , I am discussing most of these posters (Read parts one and two). I'll give technical information where my memory serves me correctly, aesthetic considerations and some highlights of making the photographs on the scene. Please join me on this journey through the past!
Dunes and Clouds
The third poster I made for Death Valley is Dunes and Clouds. This was the second dunes image that was made into a poster. The Park thought my first image did not show the expansive range of the dune environment, so I proposed making a new image. I got up before sunrise at the Stovepipe Wells campground, drove a short distance, packed up my 4×5 camera which I routinely fit into my backpack for short to medium distance hikes (with the front and rear stages disconnected to fit), set my heavy Bogen tripod across the top, hung my trusty viewing cut-out card from the tripod head, and trekked into the dunes.
Shortly after sunrise I found this interesting symmetrical composition. The dunes were not sufficient to make this an expressive image but the clouds, filling the sky with patterns contrary to the foreground sand ripples, and even some clouds echoing the sand ripples, immediately made this the image I had to make. My records indicate I used a graduated ND filter in the lens shade hoping to reduce the brightness of the sky and clouds, bringing them under control in the negative. I made the exposure on TMax 100 film just as a slight breeze got up. I decided to expose a sheet of Ektachrome 4×5 color transparency film. Just as I finished the color exposure, the wind became fierce, whipping sand into my face and onto the camera. I hastily put the camera into my backpack, which was no easy task in the now raging sandstorm! I could barely see, squinting to prevent the sand particles from getting in my eyes. On the way back to the car I had to lean against the blowing wind and sand to maintain my balance.
I developed the negative N+1 (over-develop) to increase contrast, knowing that the graduated neutral density filter would prevent the clouds from blowing out and losing detail. I was surprised to see minimal dust spots on the film, and the exposure was excellent! All the desired image values were recorded well on the film. Even so, this was a difficult print to make. The values were uneven, so substantial burning and dodging had to be done to achieve a well-balanced clean image (something I feel is necessary for a symmetrical composition like this).
I showed a mock-up to the Park personnel and was given the "thumbs up" for a sand dunes poster. Fortunately, the poster was relatively easy to print. Using a high-density black ink and pms409 grey ink (which the printers nicknamed "Radeka Grey"), on glossy paper, it was mainly a matter of printing with enough black density to yield a visually satisfying image. My trilogy of posters for Death Valley was complete!
The article is courtesy ofELEMENTS Magazine. ELEMENTS is a monthly magazine dedicated to elegant landscape photography, insightful editorials and fluid, clean design. Inside you will find an exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Bruce Barnbaum, Christopher Burkett, Chuck Kimmerle, Christian Fletcher, Charlie Waite, Rachael Talibart, Erin Babnik and Freeman Patterson, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
_About the author: Lynn Radeka’s professional photography career spans more than 50 years. Influenced in his early work by Ansel Adams and Wynn Bullock, both of whom critiqued his prints, he continues to pursue a technical and aesthetic mastery of the medium of photography. His love of the grand landscapes and intimate details of the American West was born on his first trip to Death Valley in 1966.
Lynn Radeka’s Black and White photography has been featured in eight National Park posters and is represented by several galleries throughout the United States and Europe. He also has the honor of being a featured photographer in the recent book publication "World's Top Photographers: Landscape." Lynn Radeka currently leads photography workshops in Death Valley, Utah and New Mexico with many more locations planned for the near future._
#inspiration #analog #deathvalley #desert #elements #elementsmagazine #film #filmphotography #fineartlandscapephotography #landscape #landscapephotographer #landscapephotography #lynnradeka #storybehindthephoto #storybehindtheshot #travel
Photographing in Black and White: Seeing Beyond Color
By removing color, we change how the viewer’s eyes see the photograph. No longer dependent upon color cues, we must find our visual information in the physical characteristics of shape, form, texture, and lines.
In my presentations, I often ask why, if color photography were so wonderful, black and white was invented first. It is, of course, a joke. A little friendly rivalry. The truth is that I love color photographs. They can be meaningful and inspirational. I have the utmost respect for those who do it well. But I was never one of them.
I am not alone. There are many photographers who, like me, photograph almost exclusively in black and white. We are in the minority, however. There are even more who photograph in black and white part-time. We have each chosen to create and present some or all of our work this way, and we do so for our own reasons. Some are rebelling against the popularity of color photography and others have a love for what are considered traditional landscapes. But many, like me, simply don’t have a meaningful creative response to color.
In order to understand what black and white photography has to offer, we need to get some perspective. When we look at a color photograph, the first thing we mentally process is that the scene is depicted in color. Only after that do we begin to study the physical characteristics of the objects in the frame such as shapes, forms, textures, and lines.
These attributes, along with color, help define the look and feel of everything in front of our camera. When we remove the layer of color, either in the field or during processing, what remains are the four descriptive physical attributes. It is in the study and presentation of these – shape, form, texture, and line – in which black and white photography excels. I refer to it not as working without color but seeing beyond it.
So, how can we recognize and make use of these characteristics to improve our black and white photographs?
Forms
In art terminology, a form is simply an object that appears three-dimensional. Forms show a range of tones and represent their subject matter. A tree looks like a tree, a rock like a rock, and a platypus like a… well.. like a duck mixed with a beaver, but you get the point. They look what they are and what we expect them to be. Forms are what we most often see when we are looking at traditional landscape photographs.
The boulders, branches, and mountains in this scene all show three-dimensional characteristics; thus, would be considered artistic forms. | 24mm, f/8 @ 30 seconds, ISO100
Forms are easily recognized so people have little trouble in understanding what they are looking at. That accessibility brings the viewer into the scene, evoking feelings of inclusion, appreciation, and comfort.
Forms can be categorized as either geometric or organic. Geometric forms have regular, precise, structured outlines and often appear, even if natural, as being manmade. They include buildings, roads, telephone poles or automobiles. Naturally occurring objects such as crystals or basalt formations, with their straight edges and sharp angles, can also be considered geometric.
rganic forms such as a leaf, mountain range or meandering stream have irregular or wavy outlines and often appear to be from the natural world. As their outline is less mathematical than a geometric form, they have a softer, more relaxing presence in the photograph.
Shapes
Shapes are similar to forms but appear as two-dimensional and have little interior detail. For example, if a sphere were considered a form, then a simple, white circle would be considered a shape.
As with forms, shapes can be categorized as either geometric or organic. Due their precise structure, geometric shapes can be quite abstract and powerful. Organic shapes, because their outlines are more free form and less formulaic, are often less abstract but can still be a powerful compositional element, especially if juxtaposed against their geometric kin.
The organic shapes of the blown snow contrast with the decidedly geometric shapes of the parking lot lines. | 24mm, f/13 @ 1/60, ISO100
Of course, as with all things artistic, there is often no clear defining line between shapes and forms. Some elements, such as a smooth, dark tree trunk, might exhibit characteristics of both form and shape. The categorization, however, is not important. What is important is that we recognize the qualities of objects in our frame and what they add to or take away from our composition. Only then can we make smart and informed creative decisions while photographing and processing (printing).
Juxtaposing the accessibility of forms against the abstractness of shapes leads to unique and compelling compositions which will be sure to hold the viewer’s attention.
The uniformly spaced, rectangular windows against a dark background play against the haphazard brush marks on a bright white wall. | 45mm, f/8 @ 1/30, ISO100
Lines
When we think of lines, we often think of leading lines – roads, sunrays, fences, etc. – which orient us towards, and thus draw attention to, our main subject. But lines are much more. They are one of the most common elements in our compositions. Lines exist as individual objects which are often very strong and stark compositional elements, but also create the outlines and interiors of objects in our photograph and in this regard are often overlooked.
By getting a low angle, these wavy street lines become a strong focal point in an otherwise unremarkable scene. | 45mm, f/8 @ 1/60, ISO100 
This old grain elevator is, due to heavy post-processing, reduced almost entirely to a study of lines. | 85mm, f/5.6 @ 1/125, ISO100
Lines can be as straight as an arrow or curved like a bow. They can wind lazily, be sharply angular or even form a circle. Their orientation is important. Lines which are parallel or level with the frame appear static and dull, but lines which are angled up at to the right often appear dynamic and energetic (at least in Western cultures whose text reads from left to right).
The distant trees form lines which direct the viewer’s eye to the foreground evergreen which, in turn, points the eye towards the dynamic line at the top of the frame. | 24mm, f/11 @ 1/45, ISO100
Texture
Although not a stand-alone element like form, shape or line, texture plays a critical role in defining the visual characteristics of an object’s surface. Smooth objects such a birch tree or a patch of white snow on a cloudy day will show little texture, whereas rougher surfaces such as the trunk of an oak tree or a bale of hay may show rich texture.
The rough texture of these hay bales integrates with the rough textures of both the foreground grasses and the background saplings. | 50mm, f/11 @ 1 second, ISO100
Textures can also be manipulated by technique. A body of water on a windy day, photographed with a fast shutter speed, will emphasize details of the water’s surface (texture). That same body of water, photographed with a shutter speed measured in many seconds, appears smooth and silky. Either is a valid creative decision.
Texture is necessary to help define a form’s structure, and to give it a three-dimensional look. Without texture, objects appear flat, metallic, plastic or even glassy. That is why the heavily edited, overly smoothed faces of social media influencers look so phony to our eyes.
The visual impact of texture is highly dependent upon lighting and post-processing. It is essential to defining form so it is not something we can ignore. As with everything else in our frame, we need to be aware of the way it affects our composition. Too much texture may well be distracting. Go easy on that structure slider in Lightroom; likewise, too little may look odd.
Each of these four elements plays a critical role in black and white photography and is what the medium does best. It is our responsibility, as creative photographers, to not only recognize their presence and power, but to compose these various elements into a cohesive and compelling photograph.
The foreground lines and shapes direct the viewer’s eye to the start of the soft-textured, distant hills. | 120mm, f/11 @ 1/250, ISO100
P.S. -- There are some scenes – no matter how compelling the shapes, forms, textures or lines – in which color is important and so defining that the image fails without it. In that case, no matter the skill or talent of the dedicated black and white photographer, the fight was over before it even began. So if we can’t beat the color photographers we will, at least in these cases, join them.
The garish and contrasting colors of this room are vital to the identity of this image. If we remove these colors, this image is destined to fail. | 24mm, f/8 @ 1/6, ISO100
**The article is courtesy ofELEMENTS Magazine. **ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials, and fluid, clean design. Inside you will find exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Freeman Patterson, Bruce Barnbaum, Rachael Talibart, Charles Cramer, Hans Strand, Erin Babnik, and Tony Hewitt, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
_About the author: Chuck Kimmerle is a U.S.-based, fine art landscape photographer who prefers to work in the reticent and quiet areas located in between the popular, overcrowded, and over photographed, destinations of grand beauty. While his style is rooted within the foundations of traditional landscape photography, his observations and interactions are both contemporary and introspective.
If you feel a connection to Chuck's work, please consider supporting him by purchasing one of his exquisitely crafted prints, or by simply sending a note of appreciation. _
#editorial #educational #blackandwhite #chuckkimmerle #elements #elementsmagazine #fineart #fineartlandscapephotography #fineartphotography #landscapephotography #techniques
Photographing Waves: One of The Most Rewarding Subjects
Waves are some of the most rewarding subjects for photography that I know. For starters, if you miss one, another will be along very soon! Of course, they are also unpredictable and can be dangerous. What is fascinating is that no single wave will be exactly the same as any other wave that has existed since the beginning of time. Mind-blowing stuff.
When you’re starting out in wave photography, it is helpful to have a rudimentary understanding of different types of waves and what you’re likely to encounter on different beaches. Wide beaches with shallow falls typically experience long, rolling breakers. These graceful waves are a pleasure to photograph. The curl of a rolling wave is attractive but this perspective can be elusive as the topography of the coast often fails to offer a side-on angle.
This story is brought to you byELEMENTS Magazine. ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials and fluid, clean design. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
Some photographers take to the water with waterproof camera housings and capture amazing moments within or even underneath waves (although not on the beaches where I make photos!). Obviously, this approach is for confident swimmers and, if you want to try it out, I strongly recommend that you first spend time getting to know your location and how to navigate the waves there safely. However, if it isn’t safe to swim or you’d simply prefer to stay on terra firma, don’t give up just because you can’t access the popular “curl.” A front-on perspective can also work; the moment a breaker starts to drop is often all that’s needed to break the line and add visual interest.
On steeper, narrower beaches, there may be backwash. This is when water that has travelled up the beach falls back with enough power that, when it meets another wave, the water is pushed upwards, creating a wall. This is a marvellous subject and you can go wide to show the impact in its setting or zoom in tight to explore the textures. “Clapotis” is a sort of backwash wave. This lovely French word describes the moment that a wave, having bounced off a quay or cliff, crashes into another wave. The shapes often seem to defy gravity. This sort of photography is more like sports or wildlife than landscape work. Fast shutter speeds, responsive focusing and quick reflexes are the order of the day. I suggest you use high-speed continuous or burst mode and run off 3 or four frames for each wave.
As with everything, it pays to know your location and to have done your research. For example, if the wind is blowing from the north, there’s little point in visiting a south-facing beach backed by cliffs. However, if the land behind the beach is flat, a strong offshore wind may be ideal as it will hold back the waves, making them pile higher, and you’ll get spindrift off the top. Equally, think about the tide and the light. There are usually fewer waves at low tide. Harsh midday sun is difficult, and you’ll likely need a polariser to mitigate the shiny patches of water whereas backlit waves can be gorgeous when the sun is low.
Point of view makes all the difference and there are so many variations on the standard, head-height position. If you can get low, your waves will stand proud of the horizon. Not every beach gets big waves, but they all get waves of some sort, even if just from the wake of passing vessels. If you lie on the beach, even small waves can look mighty.
Alternatively, try a higher point of view, a clifftop perhaps. Photos taken from above are no longer about the size of the waves. Instead, they make the pattern the star of the show. Waves leave in their wake wonderful shapes that we never see from beach level. Next time you watch the sea from a cliff, notice the beauty of a wave’s footprint.
The sea is always moving so shutter speed is probably your biggest decision; 1/800 or faster will freeze the waves, capturing all the detail. However, slower shutter speeds are also hugely enjoyable. I particularly like ¼” as it keeps the wave’s overall shape, but the details seem like brushstrokes. In my photos, “Theia” and “Twist,” the waves are the same basic shape, but one is caught at 1/800 and one at ¼”. While we’re experimenting, how about adding some intentional camera movement. I like shutter speeds close to 1” and subtle movement so that I can still see the idea of a wave within the blur. I prefer not to use a tripod for ICM. I’m not looking for perfection here – I want the result to look like a painting and paintings aren’t perfect, at least the good ones aren’t.
If you’ve ever tried to photograph waves and been disappointed, I suggest you try a longer focal length. It will suck the viewer into the action and the wave will almost certainly look more exciting. Most of my storm waves were captured using a 70-200mm lens. More recently, I’ve been using a 100-400mm. This is harder because, at 400mm, it’s difficult to see enough of the sea to find the best waves. I’m enjoying the challenge. Long focal lengths offer a way to create difference. The casual viewer will see the big scene, but they won’t notice the curious textures within a wave. For this kind of work, you have to compose like a photographer of abstracts, thinking only of shape and colour, rather than the subject as a whole.
So far, I’ve concentrated on waves alone but waves as they break against the shore also make exciting subjects, stirring our imagination with awe and even fear. As these photographs tend to reference scale and location, they are often more documentary in style; however, that’s not always the case. I happened to publish my photograph, “Face-of” during the voting for the U.S. presidential election. This was entirely coincidental (I’m British), but several people commented that the picture represented the clash of candidates and ideologies! People will always find metaphors in the sea.
I’ve outlined just a few of the possible ways to photograph waves. As with any subject, the best approach is to be open-minded and willing to experiment. Try everything and see what happens, then make changes based on your experience. Be prepared to make a lot of bad photos (remember, this is more like sports than landscape photography). Above all, make sure you take time to just watch and listen to the waves. The sea’s music is beautiful and inspiring and I firmly believe you will make better art if you let it into your soul.
Safety
I don’t want to spoil the flow of the article with a homily on safety but I feel it would be irresponsible not to mention it at all. Waves can be dangerous. It’s important that you know the relevant tides, wind direction and speed. Working on a falling tide is safest. If it’s not safe to get as close to the waves as you would like, come back another day with a longer lens. Trust your instincts – if you feel at risk, you probably are. Lens hoods are good for keeping spray off the lens and I recommend that you always wipe everything down with fresh water after you leave the beach.
**The article is courtesy ofELEMENTS Magazine. **ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials, and fluid, clean design. Inside you will find exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Freeman Patterson, Bruce Barnbaum, Rachael Talibart, Charles Cramer, Hans Strand, Erin Babnik, and Tony Hewitt, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
About the author: Rachael Talibart is a professional seascape and coastal photographer. Her critically acclaimed photographs of the ocean and coast have been featured in the press all over the world. Rachael is represented by galleries in Europe and the USA, her work is frequently exhibited and her limited-edition prints are collected internationally. She is the author of three monographs, including ‘Sirens’ and, most recently, Tides and Tempests. Rachael owns f11 Workshops, providing location and online photography training and she leads international photography tours for Ocean Capture. You will find Rachael Talibart’s series “Oceans and Odysseys” in the ELEMENTS Magazine.
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