The phrase "and shadows in the" is correct and usable in written English.
It can be used in contexts related to descriptions of scenes, imagery, or metaphorical expressions involving light and darkness.
Example: "The artist captured the essence of the forest, with sunlight filtering through the leaves and shadows in the underbrush."
Alternatives: "and darkness within the" or "and silhouettes in the".
Claims that the picture was a composite have centred on the lighting and shadows in the photo, said to be inconsistent.
Further challenging albums – such as Monkjack (1995), with the organist Bernie Worrell, and Shadows in the Air (2001) – did not widen Bruce's audience.
Joined by a fellow birder on a lunch break from her day job, Mr. Barrett began to strategize how he'd coax the duck from the other side, which was thick with trees and shadows in the late afternoon.
Their strained chats -- grim riffs on the kind of idle palaver that occupies urban cabbies and their clients -- gather nuances and shadows in the grainy darkness, overtones of rivalry, collaboration, aggression and sympathy.
His novels include The Edifice (1971), The Combat (1972), Fella's Choice and Sacrifice (both 1974), The Scales (1976), To Borrow a Wandering Leaf (1978), and Just Before Dawn (1988); his plays The Curse (1976) and Shadows in the Horizon (1977); and his single volume of short stories Miracles and Other Stories (1973; rev. ed. 1978).
People should also be looking at the lighting and shadows in the video, whether all of the elements featured in the frame are the right size, and whether the audio is synced perfectly, said Mandy Jenkins, from social news company Storyful, which specializes in verifying news content.
He was tall, blondish, his face angled and shadowed in the lamplight.
His initial forays into fine art photography were odes to the mystery of light and shadow in the urban environment; lone figures and rounded cars dominate.
Mr. Blanchard loves to watch the patterns of light and shadow in the stand of trees, and to see them change through the seasons.
The play of light and shadow in the finished painting is melodrama, and nature seems to be reeling: trees tilt backward as if a cyclone had slammed through.
Such issues should be debated, Hadid argues, "not to nit-pick, but because it affects the amount of light and shadow in the city".
