Archive for the ‘Macro Photography’ Category

At the Penang Botanic Garden   Leave a comment


At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

At the Penang Botanic Garden

Flora of Myanmar   Leave a comment


Flora of Myanmar (Burma)

Flora of Myanmar (Burma)

Flora of Myanmar (Burma)

Flora of Myanmar   Leave a comment


Flora of Myanmar

Flora of Myanmar

Flora of Myanmar

Flora of Myanmar   2 comments


Flora of Myanmar

Flora of Myanmar

Flora of Myanmar

Flora of Myanmar   Leave a comment


Flora of Myanmar

Flora of Myanmar

Flora of Myanmar

 

Weekly Photo Challenge ~ Details in ” The Traditional Artist at Work “   1 comment


Weekly Photo Challenge ~ Details in ” The Traditional Artist at Work “

I am not an expert on Macro Photography due to my poor patience – by the time a senior citizen focussed on an insect and ready to shoot it, it just flew away. Macro photography in nature is definitely not my cup of tea at all. I am submitting a photograph of a traditional artist painting more intricate details on the Taoist Door Guardians or Gods, in a local clan association heritage building. Detailed artwork is actually  done by his memory and past experience. Hope it passes the Photo Challenge on “Details” – the artistic ones.

SP Lim

Weekly Photo Challenge ~ Details " The Traditional Artist at Work "

Weekly Photo Challenge ~ Details ” The Traditional Artist at Work “

From Wikipedia:-

A door god (simplified Chinese: 门神; traditional Chinese: 門神; pinyin: ménshén) is a Chinese decoration placed on each side of an entry to a temple, home, business, etc., which is believed to keep evil spirits from entering. It is also seen in other East Asian countries such as Korea, Japan and Vietnam.

The custom of pasting pictures of door gods on doors dates back to ancient China. In theHan dynasty, people believed that peach wood has spiritual properties and can ward off evil spirits so they started making auspicious carvings on peach wood and hanging them around their homes. Following the invention of paper, paper gradually replaced peach wood as people started drawing and writing on paper instead. In earlier times, Shentu and Yulü were the most common choice for door gods. People drew portraits of them on paper and pasted them on doors. In the Tang dynasty, two generals – Qin Qiong and Yuchi Gong – became door gods when Emperor Taizong ordered portraits of them to be made and pasted on gates in the hope of attracting good luck and scaring away evil spirits. Other folklore heroes and mythological figures were subsequently added to the repertoire.

The door gods usually come in pairs, facing each other; it is considered bad luck to place the figures back-to-back. There are many different door gods, of which the most common ones are Qin Qiong and Yuchi Gong. Portraits of Wei Zheng or Zhong Kui are used on single doors.

 


Details

Discover the intimate details of something unexpected, and share your images with us.

If you’ve followed my previous photo challenges, you’ll know that I am enamored with nature. I love the exotic and the mundane, the wondrous and the earthy. One of my favorite things about nature is her details — the intricate vascular system of a leaf, the wispy patterns in clouds at sunset, or luminous beads of dew on the delicate filaments of a dandelion seed. When distilled down to the details, a weed becomes a lovely piece of art.

“If your photographs aren’t good enough, you’re not close enough.” — Robert Capa

A macro photograph of dewdrops on dandelion seeds. Photo by Jen Hooks.

A macro photograph of dewdrops on dandelion seeds. Photo by Jen Hooks.

Fun Fact: This image was shot with my phone and an inexpensive clip-on macro lens called an olloclip. You don’t need fancy equipment to capture tiny details!

For this week’s challenge, try to look past the big picture and take a more intimate approach. Zoom in on details in unexpected places — it can be something from the natural world, or it can be human-made. We’re excited to see what you find with your lens.

 

<a href=”https://dailypost.wordpress.com/photo-challenges/details/”>Details</a&gt;

Flower on Tuesday   Leave a comment


PSP AGM 004-002

Photo 101 ~ Day Sixteen: Treasure & Close-up   2 comments


Day Sixteen: Treasure & Close-up

In our developing country, there are no treasures of exceptional materialistic value. As for myself, my treasure chest is my dry box of my photographic equipment of my DSLR Cameras, Lenses, Flashes, and other useful photographic appliances. This is due to my passion for photography after my retirement. Apart from these treasures, my photo archives of many photographs produced by these photographic equipment, is also my treasure. I did not take any close-up for this assignment as I just zoom in using a 17 – 40 mm lens and no macro lens was used.

SP Lim

Photo 101 Day 16

My treasure chest is my dry box of my photographic equipment of my DSLR Cameras, Lenses, Flashes, and other useful photographic appliances

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Day Sixteen: Treasure & Close-up

In the absence of a wooden chest full of gold doubloons, any object or experience that is deeply meaningful can be a treasure. Items, places, people — we all cherish something, or someone.

What’s your treasure? Perhaps you found a coat at the thrift store like the one your grandfather wore, or took a once-in-a-lifetime trip through the Himalaya. Maybe you treasure your children, or your cat, or a quiet space in the woods. Show us an image that represents a treasure to you.

Today’s Tip: Get close to your subject — either use the zoom function in your camera, if it has one, or physically move closer to it.

Often, our goal is to capture as much of the scene as we can. Zooming in (or focusing on) a particular detail can produce a beautiful image and help you tell a more interesting story.

When I first photographed this tart, I stood above the table and captured the entire thing on a platter. But when I squatted to get up close and personal, a prim rectangle of cream and fruit transformed into a luscious, glistening pile of jewels heaped on a pillowy bed. The first version was nice, but this one created a mood — all because I crouched a little.

Photo – not included

We tend to take photos from the same vantage points: a landscape from far away, or an ensemble of friends where everyone’s bodies are in the shot. In my case, a plate of food so that the entire dish is visible.

Today, zoom in. Get close. Show us the twinkle in your son’s eye. A glint of gold. One perfect flower in the garden. Show us your treasure.

Cheers,
Josh R. and the WordPress.com Team

A Trip to the Monkey Cup Garden at Penang Hill   1 comment



A Trip to the Monkey Cup Garden at Penang Hill

From Wikipedia:-
A vine (Latin vīnea “grapevine”, “vineyard”, from vīnum “wine”) in the narrowest sense is the grapevine (Vitis), but more generally it can refer to any plant with a growth habit of trailing or scandent (that is, climbing) stems or runners. The word also can refer to such stems or runners themselves, for instance when used in wicker work.
In the United Kingdom, the term “vine” applies almost exclusively to the grapevine. The term “climber” is used for all climbing plants.

Nepenthes, a genus of carnivorous plants known as tropical pitcher plants or monkey cups Pandorea pandorana, the wonga wonga vine Parthenocissus quinquefolia
1-PSP PgHill Outing 70D 297

Nepenthes rajah /nɨˈpɛnθiːz ˈrɑːdʒə/ is an insectivorous pitcher plant species of the Nepenthaceae family. It is endemic to Mount Kinabalu and neighbouring Mount Tambuyukon in Sabah, Malaysian Borneo. Nepenthes rajah grows exclusively on serpentine substrates, particularly in areas of seeping ground water where the soil is loose and permanently moist. The species has an altitudinal range of 1500 to 2650 m a.s.l. and is thus considered a highland or sub-alpine plant. Due to its localised distribution, N. rajah is classified as an endangered species by the IUCN and listed on CITES Appendix I.

The species was collected by Hugh Low on Mount Kinabalu in 1858, and described the following year by Joseph Dalton Hooker, who named it after James Brooke, the first White Rajah of Sarawak. Hooker called it “one of the most striking vegetable productions hither-to discovered”. Since being introduced into cultivation in 1881, Nepenthes rajah has always been a much sought-after species. For a long time, the plant was seldom seen in private collections due to its rarity, price, and specialised growing requirements. However, recent advances in tissue culture technology have resulted in prices falling dramatically, and N. rajah is now relatively widespread in cultivation.

Nepenthes rajah is most famous for the giant urn-shaped traps it produces, which can grow up to 41 cm high and 20 cm wide. These are capable of holding 3.5 litres of water and in excess of 2.5 litres of digestive fluid, making them probably the largest in the genus by volume. Another morphological feature of N. rajah is the peltate leaf attachment of the lamina and tendril, which is present in only a few other species.

The plant is known to occasionally trap vertebrates and even small mammals, with drowned rats having been observed in the pitcher-shaped traps. It is one of only two Nepenthes species documented as having caught mammalian prey in the wild, the other being N. rafflesiana. N. rajah is also known to occasionally trap small vertebrates such as frogs, lizards and even birds, although these cases probably involve sick animals and certainly do not represent the norm. Insects, and particularly ants, comprise the staple prey in both aerial and terrestrial pitchers.
1-PSP PgHill Outing 70D 186

Although Nepenthes rajah is most famous for trapping and digesting animals, its pitchers are also host to a large number of other organisms, which are thought to form a mutually beneficial (symbiotic) association with the plant. Many of these animals are so specialised that they cannot survive anywhere else, and are referred to as nepenthebionts. N. rajah has two such mosquito taxa named after it: Culex rajah and Toxorhynchites rajah.

Another key feature of N. rajah is the relative ease with which it is able to hybridise in the wild. Hybrids between it and all other Nepenthes species on Mount Kinabalu have been recorded. However, due to the slow-growing nature of N. rajah, few hybrids involving the species have been artificially produced yet.

Inserted by SP Lim
1-PSP PgHill Outing 70D 178

Carnivorous plants are plants that derive some or most of their nutrients (but not energy) from trapping and consuming animals or protozoans, typically insects and other arthropods. Carnivorous plants have adapted to grow in places with high light where the soil is thin or poor in nutrients, especially nitrogen, such as acidic bogs and rock outcroppings. Charles Darwin wrote Insectivorous Plants, the first well-known treatise on carnivorous plants, in 1875.

True carnivory is thought to have evolved independently nine times in five different orders of flowering plants, and is represented by more than a dozen genera. This classification includes at least 583 species that attract, trap and kill prey, absorbing the resulting available nutrients. Additionally, over 300 protocarnivorous plant species in several genera show some but not all of these characteristics.

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