ARCHIVE: LOOKING AT CARS 36

 

 


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The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  These Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 .  Each post will open in a separate window.

Click onto the image to open a larger version in a separate window – recommended.

Technique: TG-5 at 100mm (equiv); 800 ISO; Lightroom, starting at the B&W 12 profile; south Bristol; 13 Oct 2020.
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ARCHIVE: LOOKING AT CARS 35 – CAR DOOR

 

 


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The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  These Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 .  Each post will open in a separate window.

Click onto the image to open a larger version in a separate window.

Technique: X-T1 with 55-200 Fujinon lens at 300mm (equiv); 400 ISO; Lightroom; Bristol harbourside; 14 July 2016.

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ARCHIVE: LOOKING AT CARS 34 – MOMENTS OF UNEASE

 

 

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Driving eastwards on Hearty Moor on the Somerset Levels, driving towards the rising sun.  A farmer in a huge 4×4 stopped, looked down at my little car and me, and announced that his cows were on their way down the road towards me, but “just pull over to the side and you’ll be fine!”.

Well, a narrow – in fact single track – road, there was nowhere else to go.  And so to really large, living things moving slowly down the road past me, to huge faces brushing up against the car windows and, catching sight of me within, shying away in panic; and in one unnerving instance, one of their significant bulks trying to squeeze through the little gap between the car and the hedge …

Well, you say, they were only cows, but I have two takes on this.

First, and on the positive side, I used to take paying guests on safari in Kenya, and often used to stop my vehicle in front of an advancing column of elephants, telling everyone to be very quiet and to keep still, and to let the elephants bear down upon us and flow around the vehicle like water around an island in a stream – once, one took even some greenery that had become entangled in our front bumper and ate it.   These were truly wonderful experiences, the great beasts moving slowly past us, the noises, the smells – it was said that an elephant can smell each individual occupant of a vehicle and remember the smell too!  BUT I was younger and less sensible then >>> although my hand was always on the vehicle’s ignition key, and I was in a larger, safari vehicle rather than my little car!  And having been studied for many years, the elephants of Amboseli Game Reserve were very used to people.  Although, even then, getting too near a big bull was really not a good idea.

But second, on the negative side – and much nearer home too – a cow broke out of its field near Bristol a few years back, panicked and ran off down the road.  And when confronted by a small car like mine, it ran up over the bonnet and roof in its panic, killing the driver.  And so to moments of unease on Hearty Moor, though still managing to fire off a few frames.

The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  Earlier Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 .  Each post will open in a separate window.

Click onto the image to open a larger version in a separate window, and click onto that image to further enlarge it – recommended.

Technique: X-T2 with 10-25 Fujinon lens at 36mm (equiv); 800 ISO; Lightroom, starting at the Camera Provia/Standard profile; Hearty Moor, east of Glastonbury on the Somerset Levels; 24 May 2019.

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ARCHIVE: LOOKING AT CARS 33 – MAIN ROAD, DAWN (MONO)

 

 


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Driving at dawn, in autumn: bare trees, mist, darkness and – rather unsettlingly – a fat, disheveled old man, with far more hair than is immediately apparent, photographing your passing car …

The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  Earlier Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 .  Each post will open in a separate window.

Click onto the “early morning” tag (below) to see more images from the early hours of the day. 

Click onto the image to open a larger version in a separate window – recommended.

Technique: TG-5 at 25mm (equiv); 3200 ISO; spot metering; Lightroom, starting at the B&W 03 profile; south Bristol; 22 Nov 2020.

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ARCHIVE: LOOKING AT CARS 32 – CAR PARK (MONO + COLOUR)

 

 


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Looking up at Trenchard Street Car Park in central Bristol; 16 Sept 2016.

Tilted (at capture) to produce a strong diagonal, a dynamic that I prefer to leaving things staidly horizontal.  Then processed to give an almost pure black and white look – black and white,  two blank tones that reveal no detail.   While keeping in mind that, viewed against the pure white background of my blog, the white areas would show no border to the image, so that the image can be viewed as four separate images, juxtaposed.  Restoration of the rear lights’ colour provides two small focal points.

I suppose that what I’m aiming at, what I like to think, is that such an image becomes less a representation of reality, and more a piece of design.  Such an attitude may seem pretentious, but it does represent to some extent “where I am” with regard to images.

The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  Earlier Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 .  Each post will open in a separate window.

Click onto the image to open a larger version in a separate window – recommended.

Technique: X-T1 with 55-200 Fujinon lens at 300mm (equiv); 400 ISO; Silver Efex Pro 2, including selective restoration of colour.

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ARCHIVE: LOOKING AT CARS 31 – STELLA AND EUGENE SET THEIR HEARTS ON THE NICE NEW CAR OUTSIDE THE SHOP WINDOW (MONO)

 

 


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I’m trying to do different things with these Looking at Cars posts and, well, here is something different – seen while looking across Park Street, in central Bristol, on 24 Apr 2013.

A reversal of reality: the inhabitants of shop windows are now real people, looking into the shop window displays of our world and playing out their materialistic tendencies.  When reality reverses, the dummies go shopping, right?  I can only hope that, when they display me on their mantelpiece, it will be with due sensitivity and prominence, and showing my best profile too …

When I’m processing images and start to see something going right, something promising emerging in front of me, I often start to hum, whistle and even sing (try not to imagine the last of these, especially if you’re under age or have just eaten).  The volume of my ravings can increase as what I’m working on really comes together, and my wife has mentioned strange noises emanating from the FATman Photos Launch Pad … and you thought you were weird … well that makes two of us then …

Anyway, when working on this, I found myself continually humming and singing snatches from Paul Simon’s “Rene and Georgette Magritte with their dog after the war”, and maybe that’s who I see these two as being.  I’ve called them Stella and Eugene because that occurred to me earlier, and I can really see him as a Eugene, but perhaps they’re really Rene and Georgette.

The tone and contrast have been added to create more of an unreal atmosphere.  I had thought about removing the small bright area near the top left corner but, because I wanted the whole diameter of the big car’s wheel, and room to spare each side, this small, pale rectangle helps balance the composition.

The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  Earlier Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 .  Each post will open in a separate window.

Click onto the image to open a larger version in a separate window.

Technique: Canon G11 PowerShot at 140mm (35mm equiv); 400 ISO; converted to mono and toned in Silver Efex Pro 2, starting at the High Contrast Harsh preset.

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ARCHIVE: LOOKING AT CARS 30 – RISE OF THE MACHINES

 

 


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Early morning on the main road in from the south.  To me, this image has a distinctly hard, cold, ruthless feel, to me there is almost a soulless malevolence here.  Thinking back to the Terminator films, is this The Rise Of The Machines???

The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  Earlier Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 .  Each post will open in a separate window.

Click onto the “early morning” tag (below) to see more images from the early hours of the day. 

Click onto the image to open a larger version in a separate window – recommended.

Technique: X-T2 with 55-200 Fujinon lens at 300mm (equiv); 6400 ISO; Lightroom, using the Astia/Soft film simulation; Temple Gate, Bristol; 2 Feb 2018.

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ARCHIVE: LOOKING AT CARS 29 – LAND ROVER (MONO)

 

 


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Geological research (and a vast amount of birding too … ) in the mountains of Oman, sometime around 1976.

Here is our campsite, two tents, the vehicle, and rock – rock everywhere – with the bare mountains all around.  I’m slouching in the shade of the vehicle on a camping stool, with my sweat-soaked hat on my knee after a long day’s work – and the photographer is my colleague Don.

It was extremely interesting exploring the interior of a country which was only just opening up to the outside world.  The interior was wild, I remember many apparently ancient sites lying open on the surface, but the going was tough.  The days were hot, I wore two pairs of socks inside stout boots to keep the heat away from my feet, and the vehicle’s bodywork was burning to the touch. Picking up a rock to examine it often involved juggling it around in the air to cool it down a bit.  There were no tarmac roads, and indeed very few roads of any size at all; we often found ourselves driving across country, or up into the many deep wadis that radiated out from the mountains’ flanks.

The Land Rover was rugged, tough, very basic and an absolutely wonderful vehicle for these conditions.   There is a jerry can visible in the roof rack: we carried most of our water and spare petrol up there above our heads – which in the case of the petrol was distinctly unnerving, but luckily we never turned the vehicle over.   The water was solely for cooking and drinking, washing being a luxury that had to wait until we got back to our base at Sohar, on the Batinah coast.

The terrain was mentally as well as physically taxing, since nearly the whole landscape was in shades or brown or maroon, so much so that the rare patches of greenery, near water, were often quite shocking, even strident, to the eye.  Flying home, the endless greens of England were a definite shock too.

Before going to Arabia, we had been trained to give and receive intravenous injections of serum that would counteract snake bites and scorpion stings.  I can’t recall seeing any snakes, but scorpions were common under stones, especially near water.  During our training, the sight of the large, intravenous needle, and then having to stick it either into myself or someone else, to extract a little blood from the vein before injecting the serum, always made me pass out.  I would feel my head getting tighter, and then wake up lying on the floor, looking up at a ring of laughing faces looking down at me.

And so the scenario was all too predictable – Don would be stung or bitten, and collapsed, flat out on the desert floor.  I would rush up with the large needle, push it in – and then there would be two of us flat out on the desert floor …  We were very careful, and this scenario never unfolded – the worst sting I had was from a hornet that landed on my neck.

The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  Earlier Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 .  Each post will open in a separate window.

Click onto the image to open a larger version in a separate window – certainly recommended.

Technique: Don took this, and looking at it I would guess he used his Olympus OM-1 with a 135mm Zuiko telephoto.

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ARCHIVE: LOOKING AT CARS 28 – A CAR, WATER AND ME

 

 


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Leaning over the wet bonnet of a car I’ll never be able to afford – and, increasingly eschewing materialism as I am – which I’m totally happy not to own.  I’m on the left, glorying as I often do in the TG-5’s f2 wide angle lens, the equivalent of 25mm in full-frame format.  I’m holding my glasses as well as the camera because I can’t see well through the camera’s screen with them on >>> LOL! getting old!  And I’m looking along the slightly curving streaks of water towards the car’s windscreen wipers at far right.

The picture is rotated 90 degrees clockwise.  Occidental eyes enter images on the left and move towards the right, so that my eyes move along the water streaks towards to the darker wipers and (hopefully!) stay on them, rather than exiting the image.

Click onto the “early morning” tag (below) to see more images from the early hours of the day. 

Click onto the image to open a larger version in a separated window – certainly recommended.

Technique: TG-5 at 25mm (equiv); 1600 ISO; Lightroom, starting at the Modern 01 profile; rotated; south Bristol; 19 July 2020.

The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  Earlier Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 .  Each post will open in a separate window.

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ARCHIVE: LOOKING AT CARS 27 – MAN IN A CAR

 

 


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Another early morning in the city.  I walked up Crow Lane, away from the harbour’s glistening waters, and photographed the clown poster.  Then, as I turned squinting into the bright morning light, there was a man, silhouetted, sitting in his car and totally immersed in his phone.  If I had to pick a single, important facet of this image, it would be the tiny point of light visible through his otherwise silhouetted glasses: to me, this brings him more alive, rather than being just a blank silhouette.

The Looking at Cars series: looking back through the nine years of the FATman Photos archives (and some new images too), I’m posting pictures of cars in various contexts and styles.  Earlier Looking at Cars posts are here: 1 (with context); 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 .  Each post will open in a separate window.

Click onto the “early morning” tag (below) to see more images from the early hours of the day. 

Click onto the image to open a larger version in a separate window – recommended.

Technique:  a telephoto zoom is ideal for this sort of quick, close in, intimate shot – the Fuji 55-200 (a 85-300 35mm equivalent) is often the only lens I carry.  And, when out photographing, I make a habit of frequently looking behind me – and especially so if the light is coming from behind me – and of doubling back on myself >>> you never quite know what might be lurking back there!   X-T2 with 55-200 Fujinon lens at 300mm (equiv); 400 ISO; spot metering for the highlights; Lightroom.

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