Warlock Photography ( Gregory James )

@gregthewarlockking.bsky.social

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30 years of age; I enjoy awkward social encounters, learning new things, astrophysics, astronomy, photography, math and exercising my critical thinking skills. Check us out in person at the Rockland Maker’s Market with select goods at RMM’s Store!

The progression is a bit backwards—meaning the B&W version is the final edit—while the middle two are variants of the original shot; the nearly red & magenta saturated sky. The second image I added some more blues and greens into the photo in order to bring out the greyish hue of the sand & adjust the reflection of the sky on the incoming tide. It brought the sky a little closer to its natural look while increasing the vibrancy of the purples that were already there. These four photos are comprised of several individual shots, stitched together tin photoshop and process in lightroom. No AI was used, aside from the healing tool—generative fill is a nightmare and I don't recommend it... Unless you're keen on pulling your hair out. The final edits brought out a star that was not visible in the original and first step of the process. I noticed it last night. It's a tiny white dot sitting at the end of one of the cloud structures. Anyways enjoy!
The original panorama shot is 50.8Mb, so I have to compress them a little in order to upload them here. The colors are slightly exaggerated due to a “Red Filter”. There was a nice haze in the air from the mist, so it’s not too far from the original coloring.
Most of the time his throat just looks black. It’s actually iridescent—feathers that only flash ruby-red when the light hits them at the right angle, which is why he looks like a different bird from one photo to the next.
Part I: The Sentinel The introduction to our troll. Crouched into a defensive, compact ball of metallic green velvet, he keeps his back to the world, letting his brilliant plumage act as both camouflage and warning to any who dare trespass.
This beautiful male has been hitting the feeder on and off, transitioning between quenching his thirst and playing the role of sentry. He returned alongside a female around May 15th, right before El Niño began messing with the weather. Temperatures swung wildly, dropping from the 70s and 90s down to a chilly 48 to 67 degrees. The vibrant colors in his feathers are actually caused by microscopic air bubbles and keratin refracting light as he patrols his territory, showing off those brilliant ruby-red, purple, and green tones. (Females, by contrast, lack the vibrant red throat). In another set of photos to be posted at a later date, I’ll be illustrating how the weather has turned this little speedster into a feathery puffball, swaying in a state of torpor while praying for warmer days.
Washing my hands and saw the little troll in the tree, outside the bathroom window. I thought it was the female at first, but its throat turns red when it spins around. Sidenote: David Attenborough claims those colors in the feathers are caused by tiny air bubbles refracting light. 🌈
The Encounter Captured on the afternoon of April 26th, this series finds beauty in the middle of a spring chore. While trenches were being dug for garden bricks and soil turned for sunflowers, this Bronze Carabid (Carabus nemoralis) was unexpectedly unearthed from its overwintering sanctuary. Known for their resilience in the colder months, these beetles are essential nocturnal predators. This specimen, though active and eager to find new cover, paused long enough to display the brilliant, electric violet trim along its elytra—a stark contrast to the rugged, soil-dusted exoskeleton that allows it to vanish into the undergrowth. After its "close-up," the beetle was gently guided back to safety, eventually burying itself beneath the newly set bricks. The Technical Feat Macro photography typically relies on high-end prime lenses and artificial lighting. These images, however, represent a triumph of "gear-hacking" and post-processing. To achieve this magnification, a standard Sony FE 28-70mm kit lens was pushed to its limit by stacking a Raynox DCR-250 with an additional +2 Diopter.
The Story: Spring garden preparation is usually synonymous with sore backs and dirty hands. On the afternoon of April 26th, my wife was deep in the trenches—literally. She was hard at work conditioning the soil, restructuring bricks, and digging deep lines through the garden beds. When she finally called me out from inside the house, I braced myself. I assumed the time had come for me to take over the heavy lifting, plant the new additions, and turn over the soil. My assumption was entirely incorrect. It was a classic case of garden chicanery. She hadn’t summoned me for manual labor at all; she had called me out to introduce me to a tiny, fuzzy squatter she had unearthed during her excavations. The Subject: The squatter in question was the striking caterpillar of the St. Lawrence Tiger Moth (Plantarctia parthenos). Native to northern climates, these caterpillars are often spotted in the spring as they emerge from overwintering, foraging actively before they spin their cocoons to pupate. The macro lens reveals the intricate details of its defense mechanism: dense, bristly setae (hairs) patterned in striking bands of pale yellow and black, contrasting beautifully against its glossy, dark reddish head capsule. Technical Specifications: To capture the minute details of this St. Lawrence Tiger Moth caterpillar, a specialized macro setup was required. Stopping the lens down to f/22 was necessary to maximize the depth of field on such a small, close-up subject, which in turn required pushing the sensor to ISO 4000 to maintain a fast enough shutter speed (1/160s) to freeze any subtle movements. • Camera: Sony a7 III (ILCE-7M3) • Lens: FE 28-70mm F3.5-5.6 OSS • Macro Optics: Raynox DCR-250 with a +2 Diopter • Stability: Tripod & Remote Trigger Exposure Details: • Profiles & Body (Photos 1 & 2): 33mm | f/22 | 1/160s | ISO 4000 | 0 EV • Head-On Macro (Photo 3): 70mm | f/22 | 1/160s | ISO 4000 | +1.3 EV
I set the ISO to auto, so I could focus in F/stop and shutter speed — allowing me to chase this critter around. Sony a7 III (ILCE-7M3) FE 28-70mm F3.5-5.6 OSS Raynox DCR-250 +2 Diopter Photo 1: April 25 2026 • 4:12PM ISO12800 70mm 0ev f/14 1/125s
An Amber Snail that survived the over turning of the soil — not that I was trying to kill it; in fact quite the opposite goal was in mind.
Species: Bassaniana versicolor This spider truly earned the title “Reprieve.” It was a double rescue: first found tucked under a couch during a deep clean, then appearing again weeks later on a kitchen counter. My wife actually mistook it for a large tick at first, but after a closer look, I relocated it to an Aloe Vera plant. It immediately made itself at home in the mulch soil mix, staying perfectly still and allowing me to work through a range of long exposures—ranging from 1/80s all the way up to a deep 8.0 seconds—to pull out every bit of texture. A member of the Thomisidae family, these ambush predators are built for deception. Their bodies are incredibly flat, covered in a mottled pattern of browns, blacks, whites, and pale yellows. This camouflage allows them to press tight against living trees or forest floor debris, where they are easily mistaken for bits of dirty bark or even bird droppings. Unlike web-builders, they rely entirely on the element of surprise to snag mites and springtails. Their front legs are significantly longer than the rest, giving them a distinct sideways scuttle that mimics the behavior of a crab. Life Cycle & Dimorphism: These spiders are remarkably hardy, often overwintering as adults or nearly mature juveniles. During the cold months, they congregate under loose bark or within leaf litter, entering a state of torpor but remaining capable of activity if a mid-winter thaw occurs. There is also a significant difference between the sexes; females are the "giants" of the species, reaching nearly 7mm in length with a broad, rounded abdomen. Males are much smaller—roughly half the size of the females—and possess slimmer bodies with relatively longer legs and prominent, bulbous pedipalps used for mating.
The original video had a god awful background noise — a combination of the fish tank and the range hood. The original is 60FPS, this one is 30FPS.
“The Winter Survivor” | Dark Fishing Spider Species: Dolomedes tenebrosus This striking encounter felt less like a simple photo op and more like a mutual observation. Often mistaken for a Wolf Spider due to its size and mottled pattern, the Dark Fishing Spider is a master of stillness. This particular individual showcased the species’ incredible “freeze” defense, reacting to the rhythmic click of the shutter by tapping its legs—testing the vibrations of its environment. Beyond its cryptic camouflage, this species is a biological marvel. They are known to over-winter in a state of semi-activity, producing “anti-freeze” (cryoprotectants) within their bodies to prevent cellular damage during the harsh cold. The standoff lasted several minutes until a momentary break in eye contact gave the spider the opening it needed to vanish back into the shadows of the brickwork. Technical Specs • Body: Sony a7 III (ILCE-7M3) • Lens: FE 28-70mm F3.5-5.6 OSS • Settings: 70mm | f/20 | 1/40s | ISO 4000 • Lighting: Natural / Ambient
Hello everyone, I’m excited to get the season started! Last year was a bit of a test run, and I’m more than thrilled to be back and sharing my work with you all. Please note that pricing has been updated for the new season to better align with my standard rates. While my website is currently offline due to security concerns, it is being reassessed for a future relaunch. In the meantime, I am happy to handle all inquiries and orders directly — call and texts from VoIP’s will not be answered or taken seriously; this applies to phishy emails, as well. I’m also thrilled to announce that additional items and inventory are currently in development. As May 1st approaches, more details regarding these new offerings will be available — pending business contract. Upcoming Events Sunday Stroll May 17 | June 21 | July 19 | August 16 Maker’s Market June 6 | July 4 | August 15 | September 5 | October 3 Cruise Ship Days September 6 | September 18 | September 29 | October 10 Service & Product Menu Photo Sessions: Professional portrait sessions focused on capturing authentic beauty. • 30 Minutes: $75 • 60 Minutes: $100 • 120 Minutes: $200 Framed Prints: High-quality photography featuring curated frames sourced from Japan and local boutiques. Includes professional matte bordering. • 12 x 18: $40 • 18 x 24: $60 • 24 x 36: $90 Artisan Coasters: Custom sublimation coasters featuring original photography. • Single Coaster: $8 • Set of 2: $12 • Set of 3: $16 • Set of 4: $20 Artisan Postcards: Original designs printed on premium cardstock. • Matte Finish: $5 • Coated Silk Finish: $6 • Bundle Pricing: 3 for $15 | 4 for $20 For inquiries, custom orders, or to book a session, you can reach me directly through the Messenger button on my Facebook business page or via the WhatsApp button. To maintain a secure and personal line of communication, my professional email address will be provided upon request through those channels or in person at any of the upcoming events. Updat…
In the soft, amber glow of the "golden hour," a seasonal drama unfolds on the water. These images capture the persistent courtship rituals of the Mallard (Anas platyrhynchos). Though these birds are generally non-monogamous and form new pairs each season, the social competition remains fierce. In this series, a group of drakes began encircling a single hen. Despite her having already selected a partner for the season, these "plucky chaps" continued their display of bravado. The lighting highlights the stark, beautiful contrast between the sexes: • The Drakes: Shimmering emerald-green heads and bold yellow bills, caught here in high-contrast brilliance. • The Hen: A sophisticated palette of warm tints and earthy shades of brown, providing the perfect camouflaged counterpoint to her vibrant suitors. The narrow aperture of f/13 ensured that the intricate detail of the feather "scales" remained sharp, while the adapted Canon glass captured the gentle ripple of the bay, as the chase continued.
Through the precision of a Sony a7 III and dedicated macro optics, these images reveal a world usually hidden from the naked eye: the jagged architecture of individual snowflakes and the crystalline weight of a winter’s grasp.
Series: Rock Dove (Columba livia) An Urban Technical Study This series captures the common Rock Dove in its natural metropolitan habitat, emphasizing the intricate feather patterns and structural coloration often overlooked in urban environments. These images serve as a brief behavioral and morphological study, documented during a chance encounter. Technical Specifications: • Camera: Sony a7 III (ILCE-7M3) • Lens: FE 28-70mm f/3.5-5.6 OSS • Focal Length: 70mm • Aperture: f/10 • Exposure: 1/60s | ISO 400 | 0ev Curator’s Note: The choice of f/10 provides a deep depth of field, ensuring that the complex “checkerboard” wing patterns and the vivid orange irises remain sharp across the subject’s frame. By utilizing the 70mm end of the kit zoom, the study documents an immersive proximity; the birds displayed a characteristic boldness, frequently hopping in and out of the car window during the shoot. This unique access highlights the iridescent greens and purples of the neck nape against the grit of the asphalt. #WarlockPhotography #Photography #Photographer #RockDoves #Pigeons
Technical Breakdown: The Midcoast Maine Triptych Camera System: Sony a7 III (ILCE-7M3) Lens: FE 28-70mm f/3.5-5.6 OSS 1. Emerald Sentinel • Exposure: ISO 6400, 38mm, f/6.3, 1/13s. • Sensor Performance: Shooting at ISO 6400 on the a7 III pushes the sensor's dynamic range. The local noise reduction mask was essential here to clean up shadow luminance noise while preserving the high-frequency detail of the spine tips. • Optics: At 38mm and f/6.3, the lens provides a wide enough field of view to capture the surrounding crevice while maintaining a sharp focal plane across the urchin's center. • Stabilization: The 1/13s shutter speed relies heavily on the lens's Optical SteadyShot (OSS) to prevent motion blur at this focal length.
I wanted to give a better impression of what it looked like without the high glare and spaceman. I feel rather impressed by the level of details the photo holds at 24in x 24in ( approximately 61cm x 61cm )
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Coastal Luminance: Port Clyde at Twilight Location: Port Clyde, Maine Date: February 2, 2026 Timeframe: 16:45 – 17:25 This collection captures the transitional stillness of a Maine winter evening, documented during the "blue hour" at Port Clyde. Utilizing extended exposure durations and specialized filtration, these works explore the intersection of tidal movement and atmospheric light through a low-profile lens. Technical Narrative The series was captured using a Sony a7 III paired with a 28-70mm lens. To achieve the vivid, magenta-leaning spectral profile and enhanced contrast, an FLD filter was employed, saturating the cool tones of the horizon. By shooting at ISO 50 with a consistent aperture of f/6.3, the technical focus remained on temporal manipulation. Low-angle perspectives were utilized to emphasize the foreground texture, while exposure times ranging from 1 to 20 seconds effectively "froze" the incoming tide into sculptural, silken ripples, transforming the Atlantic’s surface into a static, glass-like state. Artistic Perspective The result is a monochromatic study in purple and deep indigo. The long exposures serve to deconstruct the chaotic energy of the surf, replacing it with a sense of profound serenity. By positioning the camera close to the shoreline, the compositions highlight the rhythmic, frozen patterns of the water as it meets the kelp-covered basalt. From these meticulously captured foreground undulations to the soft gradients of the horizon, this set invites the viewer to experience the immense, colorful silence of a mid-winter dusk on the coast.
SDR A Study in Chromatic Long-Exposure The Work Violet Tide is a masterful intersection of timing and optical filtration. Captured at the edge of the incoming tide, the work utilizes a 20-second long exposure to soften the Atlantic's kinesis into a glass-like surface of deep magenta and indigo. By deploying an FLD (Fluorescent Daylight) filter, the photographer has intentionally shifted the natural twilight spectrum into a surrealist palette, finding an electric vibrancy within the coastal dusk. Technical Narrative Executing this vision required a disciplined approach to light management. Shooting at a low angle at 40mm, the composition emphasizes the leading lines of the ridged sand, which serve as conduits for the reflected sky. • Optics & Filtration: The combination of an FLD filter and a dedicated lens hood allowed for deep color saturation while maintaining critical contrast, preventing stray light from softening the frame's edges. • Exposure Architecture: Using the Sony a7 III's expanded ISO 50 and an aperture of f/6.3, the photographer achieved a 20-second shutter speed without the need for heavy neutral density stacking, preserving the subtle textures of the receding shoreline. • Dynamic Range: Presented in both HDR and SDR, the piece showcases a vast tonal range, from the darkest silhouettes of the treeline to the luminous, high-chroma peaks of the cloud formations. Artist: Warlock Photography Date: February 2, 2026 | 5:13 PM Location: Coastal Maine
Der Mond Sony a7 III Commander Optics 420-800 Lens X2 Vivitar Converter Jan 29th 2026, 4:10PM & 4:35PM Artistic Summary The first plate, captured with an ND4 filter, offers a subdued, naturalistic view of the moon against the darkening sky. The subsequent plates, taken as the afternoon light faded, transition to a 1600mm perspective. These final images provide an intimate look at the lunar highlands and the prominent cratering of the southern pole, maintaining sharp clarity despite the absence of motorized tracking or mechanical stabilization. The series highlights the versatility of the Sony a7 III paired with a Commander Optics 420-800mm system. To achieve the extreme reach required for these detailed crops, a Vivitar 2x Converter was utilized, pushing the effective focal length to 1600mm in the latter frames. Operating entirely in manual mode with manual focus, these images were captured without the aid of a tripod or a star tracker. Instead, the photographer ( Myself ) employed a “bracing technique”—securing the camera to the arm—and utilized continuous shooting modes to mitigate the inherent vibrations of such high-magnification handheld work.
This composition captures where the turbulent movement of the heavy, cobalt sky is rendered motionless upon the water’s surface. By utilizing a low-angle perspective, suggests that the clouds’ very essence has been preserved within the icy stillness of the bay.
Description: This joint presentation of still and motion photography documents the Full Wolf Moon at its peak illumination on the night of January 3, 2025. To achieve this perspective, the artist utilized a simple 1600mm configuration, stacking a telephoto lens with a 2x converter. This extreme focal reach allows for an intimate look at the lunar rays and the high-contrast textures of the craters. The included video serves as a transparent look at the photographer's process, capturing the "atmospheric boil"—the shimmering heat waves that create a constant, fluid movement across the lens. While the still images freeze this motion into a detailed topographical map, the video highlights the raw, living nature of long-range astrophotography. Together, these pieces offer a professional and honest record of a celestial event, captured through the lens of patience and technical precision. Technical Breakdown for the Series: • Optics: Commander Optics 420-800mm with Vivitar 2x Converter. • Exposure: Balanced with an ND4 filter to manage the 7:13 PM brilliance. • Format: High-resolution digital stills and 4K observational video.
Title: The Ascendant Gibbous: New Year’s Eve Artist: Warlock Photography Series Date: December 31, 2025 Technical: Sony a7 III 1600mm f/13 1/13s ISO 500 & 600 Description: This series documents the waxing gibbous moon in its final transition toward the first full moon of the new year. Captured during the late afternoon of December 31, 2025, these images utilize a 1600mm focal reach to examine the expanding illumination of the lunar disk. The composition emphasizes the prominent ray systems and the "seas" of the lunar maria, which are rendered with striking clarity as the sun reaches a higher angle over the moon’s near side. By meticulously adjusting the ISO between 500 and 600 at a consistent 1/13s shutter speed, the artist captures the increasing luminosity of the phase while preserving the delicate textures along the western limb.
Title: Orbital Textures No. 1231 Artist: Warlock Photography Description: This minimalist work strips away the context of the night sky to focus entirely on the moon as a textural object. The artist employs an ISO 320 setting to ensure a clean, grain-free transition between the illuminated lunar dust and the shadowed craters. Through careful exposure and the specialized use of a 2x converter, the image invites the viewer to examine the moon not as a distant light, but as a tangible, weathered landscape—ancient, scarred, and perpetually in motion. Photo Taken December 31st, 2025 at 12:09am
Title: The Terminator at 1600mm Artist Note: This image, captured on December 28th at 4:20 PM, demonstrates the power of extreme telephoto compression in lunar photography. By pairing a Sony A7 III with a Jintu 420-800mm lens and a Viltrox 2x Converter, the moon is rendered at an effective focal length of 1600mm. The photograph focuses on the lunar “terminator”—the line dividing the illuminated and dark sides of the moon—where the low-angle sunlight provides maximum texture and depth to the cratered surface. Despite the use of an ND4 filter to manage light intensity, a steady 1/5s exposure was utilized to pull fine detail from the lunar Maria. The resulting image offers a professional-grade look into the geological complexity of our nearest celestial neighbor. Shutter Speed (1/5s): This is quite slow for 1600mm. At such an extreme focal length, even minor vibrations or the moon’s own movement can cause slight blurring. The minor softening in the image is a common result of a 1/5s shutter speed at that magnification, likely requiring a very sturdy tripod and a remote shutter or timer. ( EQ & Star Tracker have been assembled. )