ARCHIVE 499 – SHADOW OF A FOOTBRIDGE

 

 

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Shadow of a footbridge in Bristol’s Castle Park; 7 Oct 2014.

The ground here is a dark tarmac path that runs below the bridge.  I find my eyes being attracted up to the bright leaf, but then being drawn back down along the various lines towards lower right – only to be attracted back up to the leaf once more.

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

Technique: Canon G11 PowerShot at 28mm (equiv); 200 ISO; Color Efex Pro 4.

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OUTER SUBURBS 229 – SHOP WITH BLUE SHUTTERS

 

 

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Shuttered shop, and a door.  Close in with a wide angle lens.

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Technique: TG-5 at 25mm (equiv); 1600 ISO; Lightroom, starting at the Camera Natural profile; Bedminster, south Bristol; 29 Jan 2019.
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ARCHIVE 489 – ROWING BOAT

 

 

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Rowing boat on The Cobb, at Lyme Regis, Dorset; 3 Nov 2004.

The sunlit seat of the boat makes a powerfully gleaming, rectilinear shape on the left, which contrasts with its curved shadow further right.  The boat’s scratched and battered floor provides an abstract background – with a small but darkly gleaming sprig of wet seaweed adding the sole touch of recognisable reality.

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

Technique: OM-4 with 21mm Zuiko lens; Fuji Provia 400 colour slide film rated at 1600 ISO; rotated 90 degrees anticlockwise.
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ARCHIVE KENYA 9 – BOUND FOR KENYA

 

 

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As we take off from Heathrow, bound for Kenya, the incredible Olympus OM-2 calculates the exposure for the image in real time during the shot, and captures the lights of the airport, blurred by the aircraft’s speed, as we climb up into the night sky; September 1979.

I remember the anticipation of returning to Kenya after periods on leave in the UK.  There were photos like the one above, and I always sat on the left of the aircraft to photograph the sunrise.  And then, having been in the UK for a couple of months – even during beautiful summers – there was once more the intense visual excitement of being back in Nairobi, over a mile above sea level and in that incredible, overhead, equatorial sunlight. The colours were blazing, and by contrast the UK seemed somewhere else, on a visually more drab world.

But one thing that the equator doesn’t have are England’s lovely long summer evenings – sunrises and sets are far faster affairs near the equator!  And the rainfall was convectional so that, often, the day would start fine and clear, and clouds could be seen building up all morning, as the harsh sunlight sucked the moisture back up out of the ground >>> only for the whole lot to come back down again as torrential rain during fierce thunderstorms in the afternoons.

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THE ARCHIVE KENYA SERIES

I’m re-posting photographs that I took in Kenya over 30 years ago.  You can find more context here .  Click onto the “Archive Kenya” tag (below) to see more of these film images from Kenya.

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OUTER SUBURBS 228 – CAR BESIDE FENCE, EARLY LIGHT 2

 

 

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Walking in the lockdown, and – deja vu – finding another car beside another new fence lit by the bright, early morning sun; this one had just been sprinkled by a light rain shower.

The earlier post is here .

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 100mm (equiv); 1600 ISO; Lightroom, starting at the Camera Vivid profile; south Bristol; 1 May 2020.
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ARCHIVE 484 – HARBOUR SHALLOWS

 

 

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Sunlight twinkling in shallow water, Mevagissey harbour, Cornwall; 4 Oct 2006. 

A bright sunny morning, and we walked down to Mevagissey’s harbour.  The tide was out, and there were shallows above the dark rocks of the harbour’s floor.  The sun shone brightly, and as the shallow water was pulled this way and that by wavelets and currents, the bright reflections skittered around ceaselessly and fast – and I needed a high shutter speed to capture a frozen moment of this transient beauty.

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Technique: F6 with 80-200 Nikkor lens; Fuji Provia 400 colour slide film, rated at 1600 ISO.

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ARCHIVE 477 – REFLECTION

 

 

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Small boat moored in Mevagissey harbour, Cornwall, on a still morning; 24 Oct 2012.

There are four sets of lines here.  First, those of the reflection, which those on the right side of the boat (as we see it) seem to swing away from – maybe these two sets of lines are diverging from a common source. 

Then, left of the boat’s sharp bow, the lines on the boat’s side are more or less horizontal, and divided from the others by the bow. 

Finally, the mooring ropes and the boat’s bow produce a near vertical trend at sharp angles to everything else.

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Technique: D700 with 70-300 Nikkor lens at 300mm; 3200 ISO.

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ARCHIVE 467 – BRAKE LIGHTS IN A TRAFFIC QUEUE

 

 

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Brake lights of two white vans in a traffic queue, seen through a wet bus window in Bristol; 28 May 2013.

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Technique: Canon G11 PowerShot at 140mm (35mm equiv); 200 ISO; rotated 90 degrees clockwise.

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ARCHIVE 464 – MOORING LINES ON A BEACH

 

 

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Mooring lines on the beach in St Ives harbour, Cornwall;  27 Apr 2006.

This picture was  taken looking down onto the beach from West Pier.  It might look good in mono, but I think that the subtle colours of the sand and the seawater add something to this Minimalist shot.

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Technique: Leica Minilux; Fuji Provia 400 colour slide; rotated 90 degrees clockwise.

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ARCHIVE 461 – TWO SUNLIT CHAIRS (MONO)

 

 

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Two sunlit chairs outside the Hurtwood Inn Hotel in Peaslake, Surrey;  25 Mar 2012.

I focused on the nearer chair, and made sure that it exits the frame through the top right corner.  The second chair is left semi-focused, and is reduced to three elements – its rear, left hand leg, which casts a shadow on the ground; the lit but unfocused wickerwork of its left side; and the shadow cast by its upright back.  All structure (ie detail) has been taken out of the backdrop, to remove any distraction from the chairs. 

The result is a combination of two, featureless black areas (the shadow from the unfocused chair’s back, and its black leg), the variously lit and textured, illuminated parts of the chairs, and the shapes made by the creamish (toned), negative space between them.

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Technique: D700 with 24-120 Nikkor lens at 120mm; 400 ISO; converted to mono, and toned, in Silver Efex Pro 2.

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