Датотека:Model Rosie on a bed - In Black and White (14192377223).jpg
Оригинална датотека (5.000 × 3.551 пиксела, величина датотеке: 1,99 MB, MIME тип: image/jpeg)
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Опис измене
ОписModel Rosie on a bed - In Black and White (14192377223).jpg |
English: Model Rosie Robinson photographed on a bed in her house. Rosie has a pixie cut and is wearing a striped blouse and panties. Photo in black and white. |
Датум | |
Извор | In Black and White... |
Аутор | Lies Thru a Lens |
Author's personal comment about the photo: InfoField | "So by now, you all know Rosie - at least in the two dimensional world of photography anyway. So I won't bore you with paragraph after paragraph of how beautiful she is, what an incredible model she is, how wonderful it is to work with her. As I said after my first shoot with her, she is the most beautiful girl Ive met, the best model Ive ever worked with and such wonderful company. For each and every image of her from now on, every statement in the previous statement is implied.
So I got in my car this morning, and after the habitual stop at Costa's to wake myself up, I arrived at a set of wooden security gates at the entrance to Rosie's house. As they opened and I drove in, I parked the little Mini Cooper between the Ferrari and the Porsche and was greeted by a pair of dogs who were both bigger than the car I was too nervous to get out of. They are, for the record, named Panther and Bear; which did little to quell my worries about them eating me, or even worse, my camera. But I do them an injustice, as they are two of the sweetest and funniest dogs you are ever likely to meet. One, the aforementioned Panther, is a labrador the colour of milk chocolate and the other, Bear, a Rottweiler with a head larger than my camera bag. Luckily for me, they seemed to like me and I was allowed to proceed towards the converted barn with an furry escort on either side. However, I digress, as it was not them I was here to work with. Rosie makes a mean cup of coffee (even if it did expire around the time of the Russian revolution (1917 for anyone who cares). And it was over this cup of coffee that we spent at least the first two hours of hour shoot doing nothing else but sitting there talking. See this is the problem when a model and a photographer get on so well - they never take any bloody photos. I arrived at 11am and it was at least 1pm before I even fired off a test frame. We talked about everything, from the size of the universe to the problems with contemporary music. She listened, I spoke, I listened, she spoke. We talked about the big things, the little things, and the big things. I read her some of my book (Im an author too), we sat, we joked, we got sat on by dogs. The only thing we didn't do, was take photos. As the hour arrived somewhere around 2pm, we finally decided to take some photos and even though the light was incredibly erratic, we managed to capture some fairly authentic looking images in the various rooms in her house. Actually, its not so much of a house, rather a villa. Its a huge barn conversion with original beams littering the ceilings and a light and airy feel with allows an enormous amount of light to perforate the windows and cut its way across the room. We worked in her lounge, her landing, her hallway, her bathroom - everywhere. We got about 400 photos in all and in my opinion, they are better than the previous set we did the other day. They are more real, more believable and I think the viewer will feel part of the image. I think you will feel like her boyfriend. And speaking of her boyfriend... I met Carl at first in the morning, and finally as I was about to leave. What a great guy he is and he is Rosie's perfect match. Normally in life, people gravitate towards their opposite but with Rosie and Carl, they have found in each other someone who is both their twin and reverse. They are poles apart but on flanking pages and they are two of the loveliest people Ive met. Carl is a fascinating guy who, in some ways, is similar to myself (though I don't own a Ferrari and Im not 6ft 4). He's great guy to talk to and before I left, he, Rosie and I resumed the subject of absolutely anything and continued to talk until the sun disappeared. They are an amazing couple and Im glad I got the chance to spend a little bit of time with them in their amazing home. For once, as this doesn't happen very often in the world of photography, I think Ive gained a pair of friends. Thank you both!" |
Camera Model | Sony A7R |
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Lens | Carl Zeiss 85mm f/1.4 |
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Лиценцирање
- Дозвољено је:
- да делите – да умножавате, расподељујете и преносите дело
- да прерађујете – да прерадите дело
- Под следећим условима:
- ауторство – Морате да дате одговарајуће заслуге, обезбедите везу ка лиценци и назначите да ли су измене направљене. Можете то урадити на било који разуман манир, али не на начин који предлаже да лиценцатор одобрава вас или ваше коришћење.
When this file was uploaded to Wikimedia Commons, it was available from Flickr under the stated license. The Flickr user has since stopped distributing the file under this license. As Creative Commons licenses cannot be revoked in this manner, the file is still free to use under the terms of the license specified. See the Creative Commons FAQ on revoking licensing.
العربية ∙ català ∙ čeština ∙ dansk ∙ Deutsch ∙ English ∙ español ∙ فارسی ∙ suomi ∙ français ∙ galego ∙ magyar ∙ հայերեն ∙ Bahasa Indonesia ∙ italiano ∙ 日本語 ∙ 한국어 ∙ македонски ∙ മലയാളം ∙ Nederlands ∙ polski ∙ português ∙ português do Brasil ∙ русский ∙ sicilianu ∙ slovenščina ∙ svenska ∙ ไทย ∙ Tagalog ∙ Türkçe ∙ українська ∙ 简体中文 ∙ 繁體中文 ∙ 正體中文(臺灣) ∙ +/− |
This image was originally posted to Flickr by Lies Thru a Lens at https://www.flickr.com/photos/44133834@N02/14192377223. It was reviewed on 29. мај 2014. by FlickreviewR and was confirmed to be licensed under the terms of the cc-by-2.0. |
29. мај 2014.
Personality rightsAlthough this work is freely licensed or in the public domain, the person(s) shown may have rights that legally restrict certain re-uses unless those depicted consent to such uses. In these cases, a model release or other evidence of consent could protect you from infringement claims. Though not obliged to do so, the uploader may be able to help you to obtain such evidence. See our general disclaimer for more information. |
28. април 2014
Sony Alpha 7R енглески
0,00625 секунда
85 милиметар
image/jpeg
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Датум/време | Минијатура | Димензије | Корисник | Коментар | |
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тренутна | 17:41, 29. мај 2014. | 5.000 × 3.551 (1,99 MB) | Tm | Transferred from Flickr via Flickr2commons |
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Метаподаци
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Произвођач камере | SONY |
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Модел камере | ILCE-7R |
Експозиција | 1/160 сек. (0,00625) |
F број | f/4 |
ISO осетљивост на светло | 64 |
Датум и време сликања | 16:25, 28. април 2014. |
Жаришна даљина сочива | 85 мм |
Ширина | 5.000 п |
Висина | 3.551 п |
Дубина боје |
|
Састав пиксела | RGB |
Оријентација | Нормално |
Број делова | 3 |
Водоравна резолуција | 300 тпи |
Вертикална резолуција | 300 тпи |
Коришћени софтвер | Adobe Photoshop CC (Macintosh) |
Датум и време последње промене датотеке | 21:54, 12. мај 2014. |
Режим експозиције | Ручно |
Exif верзија | 2.3 |
Датум и време дигитализације | 16:25, 28. април 2014. |
Брзина затварача | 7,321928 |
Отвор бленде | 4 |
APEX осветљеност | 3,3375 |
Компензација експозиције | 0 |
Највећи број отвора бленде | 0,96875 APEX (f/1,4) |
Режим мерача | Тачка |
Извор светлости | Непознато |
Блиц | Блиц није активиран, обавезно без блица |
Простор боје | Дештеловано |
Резолуција фокусне равни X | 2.049,0672912598 |
Резолуција фокусне равни Y | 2.049,0672912598 |
Јединица за резолуцију фокусне равни | 3 |
Изворна датотека | Дигитални фотоапарат |
Врста сцене | Директно фотографисана слика |
Прилагођена обрада слика | Нормалан процес |
Режим експозиције | Ручна експозиција |
Бела равнотежа | Аутоматска бела равнотежа |
Однос дигиталног увеличања | 1 |
Жаришна даљина за филм од 35 мм | 85 мм |
Тип снимања сцена | Стандардно |
Контраст | Тврдо |
Засићеност | Ниска засићеност |
Оштрина | Нормално |
Коришћени објектив | 85mm F1.4 ZA |
Оцена (од 1 до 5) | 0 |
Датум последње измене метаподатака | 22:54, 12. мај 2014. |
Јединствени ID изворног документа | C48E490EE5E340CB6778EE5F6AE18BF2 |