Good capture !!!

Wonderful Capture!!!

One of the bulbs looks burned out. I like the golden tones captured on the walls. Fantastic capture.

So true, what you say. When I'm gliding up and down the pool I repeatedly notice the multiple shadows on the wall behind the loudspeakers, and have yet to take the photo. You inspire me yet again.

Light and dark side by side like a sort of Yin/Yang. The pattern reminds me of 'God Rays'. Excellent catch.

Very cool capture Tara!

Nice capture.

And what a lovely capture of the subtleties of this light and shadow, Tara! And what a beautiful chandelier as well. It gives you such a wonderful, warm feeling.

Superb capture Tara. God bless.

beautiful !!

And your photographic eye often manages to see what escapes most of us. One of the things I enjoy most about photography is discovering things that I hadn't even noticed at the time I took the photo. Our consciousness is selective - it focuses it's attention on certain things around us & ignores others, while the camera doesn't make any such distinctions - point it at a location & it will indiscriminately take in everything within the frame that you select. The plot of Antonioni's film "Blow Up" was built around this concept...

Awesome capture!

My grand mother had a lamp like that. Quite good.

This is the kind of thing I used to try to paint; the subtleties that became apparent when you really looked. This is stunning!

Really like the comments. Ala Denise, painters painted these shadows and lights and made wondrous images out of them, even if the "subject" of their paintings were people or fruit, etc. Similar to what you're doing with lights and shadows, compared to the chandelier. Like photographers, they were emphasizing the reality 'underneath' the reality, just as you do in your photography. In fact, some painters put SO much into their backgrounds---ie, with swirling darks, hidden reds and greens, etc---that their backgrounds could've been whole paintings by themselves. That's what you're bringing out here: light and shadow 'painting' these surfaces and creating a world of their own. You could make a photo just of the ceiling, here, even without the chandelier. (I realize the chandelier roots the photo---I'm not saying it doesn't belong!) Your lights and shadows turn the ceiling into silk, and you brought out the hues very clearly too---golds, greens, yellows---and you softened the edges around the ceiling and upper walls too, with shadow. More touching light and shadow work from you; you could do a whole series of just light and shadow on ceilings and walls. Scintillating capture. (Ok, here's an example not of 'lights on walls', but at least of the way a painter lets light "emerge" out of dark---I haven't time, unfortunately, to find jpgs of what you're photographing here, but this will make a similar point...When you get to the jpg, zoom: It'll take up more than your screen, but you'll want to see the details. Once zoomed, find the beginning of the man's chain: It starts on his right shoulder (which, of course, is our left). Once you've found the beginning of the chain, travel down with it, to the other side. You'll see how he paints these brilliant specks of light which float on darker specks, like crests on water. In person, these rembrandt "waves with crests" are whole sensual journeys in themselves...Then look a the left sleeve---our right: Start at the sleeve around his left wrist (our right): bright paint atop darker hues. He uses slabs of whites and yellow against murkier beiges and light browns...Then follow the folds of that sleeve until it dips to the very bottom of the painting: It's a big sensual, swooping affair, like a shadowed waterfall. (He did this kind of thing beautifully---he did wondrous sleeves as he got older.) Not the same thing as lights on a ceiling, I'll grant you, but in the same ballpark. Then, look at the "button" on his left shoulder---our right: That metal button near his neck---we take these things for granted, but it's mainly a dark circle which he delineates with white 'specks'. Small thing, but I think it's just beautiful. It's created out of specks of light. Then---just one more---look at his hat: On his right/our left, the tip of the hat is articulated with a few small dots of light, against pure dark---it's a "whisper" of an edge, rather than an edge: A hat suggested by dots of light rather than by a "hat". And his space behind it all: It's NOT filled with reds and greens (he'll do that more, later in his career). But it's filled with speckles: These are overemphasized by age and poor jpgs, but the dark is filled with little lights, created by letting the canvas show through as much as by 'age-cracks': All in all, the immense activity in light and shadow, SEPARATE of the 'main character'---just like light and shadow separate of the chandelier. That's the point. The artist finds what the naked eye often doesn't bother with. That's why I make the comparison. Here's the link, and remember to zoom, once there: Most Wikimedia jpgs show up half size at first: http://upload.wikimedia.org/wikipedia/commons/4/4c/Rembrandt_-Aristotle_with_a_Bust_of_Homer-_Google_Art_Project.jpg) (while you're there, look at the TOP of his left sleeve/our right: The striated bright lights, streaming down the sleeve; and all that gold speckling, in the far right of the sleeve: More light and dark playing across the surface...)

I love this shot for numerous reasons. I've been in a Tarkovsky-mood lately. He's my favorite film-maker, by the way, because of what he does with light and shadow, water, dripping water, flowing water, nearly motionless water, and...well...water...though occasionally, a nice, dramatic, unexpected fire might pop up, or an exquisitely lit (and shadowed) bottle: and to top it off, that stationary bottle will get a whole 10 minutes of screen time. But anyway, back to this image. I love the subtleties: the patterns of shadow are really intriguing here and they're their own drama; they go so well with the nice golden/amber/near-red tones that dominate this shot, and the molding on the ceiling really plays well with both shadows and shape. There's an artsy-artist word for that, but I can't remember how to spell it...anyway, there's this whole thing of capturing something by capturing the shadow of it, the dark-side of it, the night-side, and I love the way you do that. This is an excellent, nicely moody piece of work.

A very interesting recording, as words, Tara, and I had a smile about the anthem. You know, in Dutch language sometimes one use 'crack' in another definition. f.e. If you recommend: "keep your mouth shut". We sometimes say: "keep your crack"! Well nothing to do with your beautiful light, huh? ;-)