the wooden spider

September 06, 2020  •  Leave a Comment

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

 

 

 

The wooden spider

 

 

shot with SIGMA dp3 Quattro,

the SIGMA fp and

expecially the bokeh master SIGMA 105 mm, f1.4 DG HSM Art

 

dp3Q

fp

105mm f1.4 Art

 

--------

 

 

LINK to the SIGMA 105 mm Art: 

CLICK HERE (SIGMA 105 mm Art)

 

 

LINK to SIGMA ITALIA: 

CLICK HERE (Mtrading - Sigma Foto Italia - )

 

 

 


Van Gogh's garden

August 23, 2020  •  1 Comment

 

 

marco dadone - realized with SIGMA fp and 40 mm Art -

 

These dawns

 

  with the sun rays pervading the dark green of the olive trees

turning into gold the yellow blades

full of millions of white little snails,

were painted by a solitary man during his walks before the daylight

 

 

 

 

 

Between dried poppies

and strange creatures from the hotness of summer,

 

Vincent Van Gogh came here

 

 

at first hardly able to talk,

a heart full of sorrow and a soul full of visions,

stayed one year and slowly began,

again,

to paint,

to unravel the essence of things

to see the unseen

 

 

                     

 

 

He spent there 53 week from the 8th of May, 1889, and painted 150 works of art

which means:

one,

every two or three days.

 

 

 

the emotions that take hold on me in the face of nature go as far as fainting,

and then the result is a fortnight during which I am incapable of working

(from a letter to Albert Aurier, 9 february 1890)

 

 

And at the end of his provencal time he would write to his sister:

I worked like a madman”.

 

Once he began again to paint

he couldn't stop anymore:

life, grief, pain, joy, was all in there.

 

 

 

 

 

 

 

It's coming there at the end of July

- as I did -

 

that You can feel the heart of Vincent Van Gogh beating

outside Saint Rémy de Provence,

where the fields begin in front of the peaks of the Alpilles.

 

 

 

That’s where Vincent is still walking

 

brush in one hand

 

canvas on this shoulders

 

swept on his forehead

 

infinity in his eyes

 

                     

 

He worked so deeply that now,

being here,

everything seems real just and only to the extent that it reflects his paintings.

 

And it’s so strange to wait for the sun to appear through the trees…

You’d expect that it could come out just made of oil paint,

to place itself amongst the rapid brushstrokes of the trees and the sky.

 

 

 

I discovered that it's here that under the tears of a wind called mistral,

the leaves of the sycamore trees are shaken

in the absolute blue,

as in a dream

 

 

 

and the cicades sing endlessy

on the branches and stems

like a mantra from other dimensions

 

 

 

 

I discovered that it’s here that the sight turns more intimate

 

 

and slides through shapes and time:

 

 there’s a road

to follow

into the nowherelands of the golden fields,

 

 

where all paths bring elsewhere

and the unnaturally enhanced colors take men hostage

in their territories.

 

I went there.

          

 

 

 

 

and in the middle of the wheat field

I paced my easel

and tried to paint,

until the sun pervaded my senses,

my longtime friend the crow.

 

 

That was until I realize that this is the land where men become their paintings.

 

So, without a sound, I turned

 

 

 

 

 

 

 

 

 

It had been easy then,

as a blue and black bird

through the corridors of the sky

to begin again my search, 

 

first in the tiny streets of Saint-Remy, between sun and shadows

 

 

 

then into the old monastery of Saint Paul de Mausole and its asylum.

Well the main door was locked,

but crows know other ways.

 

I went inside from a tiny window

and stopped on the floor

where Vincent himself walked on while going out in the fields,

like an early morning thief,

to steal the eternity on a canvas

 

 

 

and in a vertigo fever,

searching for more shadow relief for my shining new feathers

I entered the little church.

 

I saw the chair there,

behind the corner

the single one submerged in yellow light

a little apart from the others

where Vincent used to pray,

and still does from time to time

 

 

Then  upstairs,

his room

 

 

I knew that to see beyond

is a strange gift

it can make a soul explode.

 

 

 

 

But as Provence in summer is something between a place and a vision,

 

use that chance,

 

try to find a little of those sparks and

dream, Your own way, always,

and more than ever, if Your heart bleeds.

 

 

....

 

One last thing:

 

take a stroll along the asylum,

towards the lavender little field and then

until You'll meet the half-dried sunflower,

which seems like it’s about to speak... he is,

and that is what he would tell You:

 

 

in every shade

behind the simple shapes

around a reflection

beside those shadows

whenever You see something more

that is Van Gogh’s garden”.

 

 

 

 

                                      

                                         

                                                                                                                                                                                                                

 

                                                                                                                                                                                                                 And, dont' shoot at the crows.

 

 

 

 

 

 

 

 

-----------------

 

 

Shot in Saint Rémy de Provence, end of July 2020

using

SIGMA fp

with

SIGMA 40 mm f1.4 Art.

 

by marco dadone

 

 

 


what is the sea

March 24, 2020  •  Leave a Comment

 

 

what is the sea

I dont know 

 

 

 

 

a whisper from a God

 

a whisper from Godmarco dadone - sigma -

(Sigma dp0Q)

 

 

 

one lover for the wind 

 

(Sigma fp + Sigma 12-24 Art)

 

 

 

 

the other side of clouds 

 

the other side of the clouds marco dadone - sigma -

(Sigma sdQH + 12-24 Art)

 

 

 

 

the infinity after men 

 

the infinity on sight marco dadone - sigma -

(Sigma fp + Sigma 12-24 Art)

 

 

 

 

 

a balcony on blue

 

(Sigma fp + 12.24 Art)

 

 

 

 

 

a shelter for the sun

 

a shelter for the sun marco dadone - sigma -

(Sigma sdqH + Sigma 28 mm Art)

 

 

 

 

 

the gateway for outside

 

the gateway for outside marco dadone - sigma -

(Sigma sdqH + Sigma 12-24 Art)

 

 

 

 

 

 

one home for the moonshine

 

a home for the moon marco dadone - sigma -

(Sigma sdqH + Sigma 12-24 Art)

 

 

 

 

 

 

the story of a life 

 

(Sigma SD1 Merrill + Sigma 10-20 f3.5)

 

 

 

 

 

 

in the meaning of a day 

 

(Sigma sdqH + Sigma 28 mm Art)

 

 

 

 

 

 the jewels that he brings

 

a saucerful of jewels marco dadone - sigma -

(Sigma sdqH + Sigma 135 mm Art)

 

 

 

 

 

the mystic roam of waves 

 

the roaming of the waves marco dadone - sigma -

(Sigma fp + Sigma 12-24 Art)

 

 

 

 

 

 

a mirror for the sky

 

(Sigma fp + Sigma 28 mm Art)

 

 

 

 

 

 

a nest to fishermen

 

a nest to fishermenmarco dadone - sigma -

(Sigma dp0 Q)

 

 

 

 

 

 

the place of mysteries 

 

a place of mysteries marco dadone - sigma -

(Sigma dp0 Q)

 

 

 

 

 

a friend to loneliness 

 

a friend to a solitudemarco dadone - sigma -

(Sigma sdq H + Sigma 28 mm Art)

 

 

 

 

 

 

the intimacy of dusk

(Sigma fp + Sigma 12-24 Art)

 

 

 

 

 

 

 

the things when we were child

 

a simple thing when we were child marco dadone - sigma -

(Sigma dp0 Q)

 

 

 

 

 

 

one box of deepest dreams 

 

(Sigma sdqH + Sigma 28 mm Art)

 

 

 

 

 

 

an endless lullaby

 

(Sigma fp + Sigma 12-24 Art)

 

 

 

 

 

 

the place to free Your breath

 

(Sigma sdq H + Sigma 12-24 Art)

 

 

 

 

 

 

one hope cut in the dark 

(Sigma sd1 Merrill + Sigma 28 mm Art)

 

 

 

 

 

 

 

that island out of time

 

(Sigma dp0Q)

 

 

 

 

 

 

four friends brothers for life

(Sigma dp0Q)

 

 

 

 

 

 

saw something subtle there

it vanished beyond

 

 

(Sigma sdq H + Sigma 28 mm Art)

 

 

 

 

Don’t know what is the sea

 

 

will I learn 

 

 

 

 

 

 

(Sigma sd1 Merrill + Sigma 12-24 Art)

 

 

 

 

 

 

 

-------

all photos by marco dadone

 

shot in Italy

 

with SIGMA cameras and lenses

 

 

 

 

 

 

 

 

 

 

 

 


SIGMA 24 mm Art in Luskentyre - Marco Dadone

March 20, 2020  •  1 Comment

sigma 24 mm in luskentyre soul of the bluemarco dadone

During my pilgrimages around Scotland, found one place which is a special canvas for the light.

the elements melt together in a unique way, showing gold, grey, green and endless shades of blue.

Since approaching this area in middle-west Harris, Outer Hebrides, it's clear that we are not goin' to an everyday place

 

It is like landing on another planet
 

 

...and find a slice of heaven

 

approaching marco dadone

 

So it's with blue in my mind that I was back, impatient to see the turquoise of the Hebridean sea, the dark blues at dawn with Harris hills emerging from the night, the pale tones of a dull morning and the vibrant match between a flaming sun and the ocean at sunset.

What I did not know was that this time, Luskentyre would have revealed its soul to me in a special way.

Time to take my SIGMA SDQH and try the  SIGMA 24 mm f1.4 DG HSM   by SIGMA FOTO ITALIA .

 

 

Three dawns in Luskentyre, that's a wide area of dunes, hills, ocean and islands, do mean a lot of beauty.

There is  a special luminescence, even with bad weather. 

 

First shoots as the light illuminated the scene, that came straight from the land of dreams to my eyes:

the mystic connection, Luskentyremarco dadone SIGMA 24 mm art

the mystic connection

(Sigma SDQH + Sigma 24 mm Art)

 

then from my nest, the show began

 

from cold colors to the typical hebridean tones

 

 

There's little more words to use.

I shooted all these images with the SIGMA 24 mm Art, trying to squeeze it in every conditions and use it in an "ethereal" and more sperimental way, to empathize the feelings of so much magic that was everywhere.

So wide open at f1.4 to capture the "scene into the scene",

and often with Intentional Camera Movements (ICM),

together with long exposures to achieve more depht.

 

Here, before the first dawn in Luskentyre.

The silhouette of the photographer is melting with the immensity of the sea, sand and sky changing from night to day, his soul is emerging amongst the wild elements of nature as in a dream, a spider at the corner of the heavens web

photographer's dreaming marco dadone SIGMA 24 mm art

the photographer in dream

(Sigma SDQH + Sigma 24 mm Art

0.9 soft ndgrad and 0.6 hard nd grad, single shot at f/16, 13 seconds, iso 100, i.c.m.)

 

 

 

Luskentyre feel 1marco Dadone Sigma 24 mm art

Luskentyre feel I

 

 

Luskentyre feel IImarco dadone Sigma 24 mm art

Luskentyre feel II

 

 

Luskentye feel IIImarco dadone SIGMA 24 mm Art

Luskentyre feel III

 

 

Or simply letting the movement of the wind free itself, to reveal something like a presence...

spirit of the dunesmarco dadone SIGMA 24 mm art

spirit of the dunes

 

 

the placemarco dadone SIGMA 24 mm Art

take me to the place

 

 

 

call of the seamarco dadone SIGMA 24 mm Art

sea's calling

 

 

 

windswept heaven marco dadone SIGMA 24 mm art

windswept heaven

 

 

lossmarco dadone SIGMA 24 mm art

loss

 

Inside from the dunes, another word of discoveries

 

luskentye heightsmarco dadone SIGMA 24 mm art

 

and, when going away, one last goodbye from the sky

 

----------

 

so, just some soulscapes.

thanks to the Scottish Landscape Photographer of the Year competition, to have awarded this image

 

Thanks to Lea Tippet and Willem Eelsing 

(the shot up there is Willem while shooting in Luskentyre, captured from the highest sand dunes),

we made a true adventure team this time

----

 

 

THESE ARE ALL SINGLE-SHOTS,

TAKEN USING SIGMA SDQH WITH SIGMA 24 mm ART

(except the very first one with SIGMA DP0Q).

------

a blog by

MARCO DADONE (click on name for the full website)

https://www.facebook.com/marco.dadone.landscape.photography

https://www.facebook.com/marco.dadone.marcodadofoto/

https://www.instagram.com/marco_dadone_photography/?hl=it

 

All items used by SIGMA

SIGMA 24 mm ART lens provided by SIGMA FOTO ITALIA at https://www.m-trading.it/sigma-m-13.html

 

 

 

 


LAGUNE - my take on SIGMAfp - marco dadone

January 21, 2020  •  Leave a Comment

 

 

Got the smallest full frame of them all from Sigma Foto Italy (here) and squeezed it my own way on the landscape side.

It was a nice travel, until I met the phantom of the catfish of Venice. 

The camera was surprisingly good.

-------

 

 

It all started here,

in that white house south of the big lagoon

 

 

 

that was a nice occasion to try the SIGMAfp first, this really small full frame camera (35 mm full size effective 24.6 millions pixel bayer sensor in 370g of weight).

Went fast and furious since the beginning of course! a 200 seconds exposure at iso 20 (yes ISO 20!) and the image of my peerie home of dreams came out extremely clear, permitting me to capture all the movement of the clouds between the sunset and the incoming night.

It was very dark at the time of the shoot, and the effect -no photoshop added- was exquisite, like the aurora lights displayed in the wetlands' sky.

 

(SIGMA fp + SIGMA 12-14 art at 13mm, 20 sec. at iso 20)

 

 

 

The same house half an hour before, permitted me to test the "freshness" of the capture capabilities of the camera.

That is a non-techincal profile, yet essential to me. It expresses how the look and feeling of the image compares with the scene You are witnessing, so not only resolution and depth of field, but also accuracy in color rendition and the overall look.

That was a pleasant surprise as the image was very "crunchy", that marvellous sunset was shining indeed

 

(SIGMAfp + SIGMA 12-24 Art at 12 mm, f/11, iso 100, 1.33 sec)

 

 

 

 

I felt I had to go

a call from the north was everywhere

in the cry of the seagulls in the winter winds,

in the slow movement of the waters around me.

 

So I took a last look at my well known bricks

 

 

(SIGMAfp + Sigma 12-24 art at 14 mm, f/14, iso 100, 1/2 sec)

 

 

 

 

and in a moment I was in the sky

flying like a bird upon the water canals of that flat land

heading north.

 

 

Oh the pleasure to shoot with a "true" 12 mm on a full frame body... it's really wide!

By the way, the SIGMAfp has a dedicated COLOR button with interesting feature, as the "sunset" mode which gently enhances the pink and reds. You can also choose the intensity of the color mode itself. That is a precious feature specially when You like to shoot the images ready for any use.

 

(SIGMAfp + Sigma 12-24 Art at 12 mm, f/9, 920 100, 1/5 sec)

 

 

 

 

I first landed amongst frozen blades of grass for a little rest, in the fields between Emilia Romagna and Veneto.  

 

 

That was the occasion to try one of the best lenses from SIGMA, the 28mm Art with its smooth bokeh here at f2.2.

(SIGMAfp + Sigma 28 mm Art, f2.2, iso 1.600, 1/1250 sec) 

 

 

 

 

when I reached the liquid valleys

I did hide between lost relics from time to time

to speak with my companions the windswept seabirds

as the travel was long

 

(SIGMAfp + Sigma 12-24 Art at 13mm, f/11, iso 8,  6 sec)

 

 

 

 

I've always loved the still seafields

in their shine for the yellow of the sun rising from the water

 

 

what a capture it was with the SIGMA 12-24 Art, at f/22 all the sun rays display

(SIGMAfp + Sigma 12-24 Art at 24mm, f/22, iso 6, 20 sec.)

 

 

 

 

 

Then I met the open sea,

the wide Adriatic with all the colors of the incoming sunset.

 

 

Here I tried a very long exposure of 200 seconds at iso 6: ISO 6 is incredible ! The colors popped out, the sea, sand, clouds, melted in an unique way, and I did not have to use a heavy ND filter

 

(SIGMAfp + Sigma 12-24 Art at 12mm, f/11, iso 6, 200 sec.)

 

 

 

 

It was on those shores I found a boat

apparently waiting for me, between the mists of the following morning.

 

I went onboard

the boat leaved without a sound.

Being so tired I could not help to fall

in a deep sleep

 

 

High ISO rendition with the SIGMAfp is great. Here's a shoot at ISO 1600 without any tripod help, which means freedom to shoot in almost every conditions of light.

 

(SIGMAfp + Sigma 12-24 Art at 12 mm, f/5, iso 1600, 1/200 sec)

 

 

 

 

While I was sleeping we floated amongst weightless waters

I woke up where the little ship leaved me

by a stone ladder

rising from the green and blue water of a canal

in the village of glass, Murano.

 

 

The sharpness, expecially with a master lens as the Sigma 28 mm Art, is very good.

Here I lowered ISO till 50 to achieve my 50 seconds exposure at f/16. The possibility to adjust ISO range to lower values, under 100 and till ISO 6, means great possibilities.

 

(SIGMA fp + Sigma 28 mm Art, f/16, iso 50, 50 sec.)

 

 

 

 

It was clear I was in the big lagoon now

and moving from a little island to another

 

I reached the most colorful village ever seen 

 

 

(SIGMAfp + Sigma 12-24 Art at 15 mm, f/4, iso 640, 1/250 sec)

 

 

(SIGMA fp + Sigma 12-24 Art at 12mm, f/4, 120 1250, 1/160 sec)

 

 

(SIGMAfp + Sigma 12-24 Art at 14mm, f6/3, iso 640, 3.2 sec)

 

 

 

 

Burano was incredibly shining

too for my little head

so I faced the day feeling high for the thin winter air

and drunk for all that beauty in a floating nutshell

 

 

(SIGMAfp + sigma 12-24 Art at 19mm, f5/, iso 400, 1/320 sec)

 

 

 

(SIGMAfp + Sigma 28 mm Art, f/6.3, iso 800, 1/320 sec)

 

 

 

this is one straight from jpeg, handhold at iso 1600, jpegs are really usable ready as they are:

(SIGMAfp + Sigma 12-24 Art at 21mm, f/5.6, iso 1600, 1/640sec, jpeg) 

 

 

 

that is too directly from the jpeg, and here's the joy to shoot on a full frame with an effective 12 mm wide, with scenes like this it's amazing

 

(SIGMAfp + Sigma 12-24 Art at 12mm, f/8, iso 400, 1/8 sec., jpeg)

 

 

 

 

 

until the land of the island

did end.

 

Time to take my wee boat again, as it waited there,

and leave that place for my bigger call

 

 

(SIGMAfp + Sigma 12-24 art at 12mm, f/14, iso 100, 8 sec.)

 

 

 

 

Also this time,

when onboard, I felt asleep.

 

I ended somehow lying on the wooden jetty

in front of Rialto bridge at night.

 

 

(SIGMAfp + Sigma 28 mm Art, f2.8, iso 400, 1/1000 sec., color mode: cinema)

 

 

 

 

No proper dawn came

but a black and grey tone covering everything,

I've been into too many colors

now the shades were claiming my sight.

 

The first one I met, was the stone Lion

welcoming me in an old Venice

eaten by the salted sea.

 

 

 

(SIGMAfp + Sigma 28 mm art, f1.8, iso 640, 1/1000 sec)

The black and whites are very good, with a huge amount of choices for post production in the SIGMA dedicated software, to achieve exactly the result You want.

 

 

 

 

a town from times long gone

displaying all her decadence.

I had lost my colors and felt upside down

like this old Queen of the seas.

No winter winds and windswept seabirds,

just a sense of wandering without direction

 

 

 

(SIGMAfp + Sigma 28 mm Art, f/13, iso 50, 20 sec.)

 

 

 

 

(SIGMAfp + Sigma 28 mm Art, f2.5, iso 320, 1/160 sec) 

 

 

 

 

 

Behind the corner,

someone I knew

 

 

(SIGMAfp + Sigma 28 mm Art, f1.4, iso 640, 1/4000 sec)

 

 

 

 

  the phantom of the king catfish of Venice

 as he absurdly claims to be called,

was waiting for me from such a long time.

 

the eyes were into mine,

and then turned to a doorway rising from the canal;

all the colors,

as we proceed into the narrow way

began slowly to come back

 

 

 

(SIGMAfp + Sigma 28 mm Art, f2.8, iso 400, 1/1000 sec., color mode: cinema)

 

 

 

 

until on the other side of the passage

while deep tones of lights returned

my phantom disappeared into the open lagoon.

 

In his place

in front of me, the ship

with the golden comb

 

 

(SIGMAfp + Sigma 28 mm Art, f/4, iso 1600, 1/500sec, color mode: sunset)

 

 

 

 

"Get onboard when the last sunray makes the comb shine"

 

I heard in his last whisper before his voice melted into mine

 

So I did with a jump

and in a while we travelled though the night.

 

 

That's how the evening become a dawn and I approached, at last, 

the most enchanting view 

 

breathing all the colors in a crowdless San Marco square

and feeling the winter winds in my breath,

again.

 

 

 

All was found, Venice did shine.

Sometimes we just need eyes to see

and a right time to catch.

 

 

(SIGMAfp + Sigma 12-24 Art at 12mm, f/18, iso 8, 50sec)

 

-----------

 

 

 

and in front of San Giorgio,

after all, it was just the beginning of another

working day 

 

 

"the working day"

(SIGMAfp + Sigma 12-24 Art at 17mm, f/5.6, iso 500, 1/640 sec)

 

 

 

 

 

but where did the phantom go?

Sometimes, when I look at the mirror,

I have no doubt.

 

 

------------------------------------

 

 

 

 

 

ALL IMAGES REALIZED WITH SIGMAfp

using SIGMA 12-24 Art and SIGMA 28mm Art

by Marco Dadone

-----

SIGMA for ITALY: here (Mtrading

 

more about the SIGMAfp: click HERE 

 

 

 

more about me and the unbearable phantom catfish of Venice:

my fb page HERE

and HERE

(marco dadone landscape photography)

-----

 

 

 

 

thanks for visiting