STILL LIFE 161 – MASONRY

 

 


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Surface of a wall near the railway station.  Pale cream or honey-coloured stone, perhaps Bath Stone from the Jurassic, used ornamentally amongst certainly older rocks.

A picture about differing colours, shapes and, above all, textures – enlarge it to see the rocks’ rough textures.

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

Technique: X-T2 with 10-24mm Fujinon lens at 36mm (equiv); 200 ISO; Lightroom, using the Velvia/Vivid film simulation; angled camera; Lower Approach Road, Temple Meads Station, Bristol; 28 Apr 2017.
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STILL LIFE 160 – LOOKING AT CHAIRS 5

 

I’ve sampled the excellent food in Rosemarino’s Italian restaurant several times now, and taken some pictures while waiting for my meal to arrive.  Two photos (including a chair) are already posted here and here.

Now, looking at chairs some more, here are more Minimalist views of this restaurant’s simple but completely adequate seating.  My favourite amongst them?  Probably the second image down, for its simple silhouettes and pale, pastel colours – and also, looking at this image naively, the question: which are in the foreground, the colours or the silhouettes?

Which (if any!) of these images do you prefer?

The first post in this series on chairs, which contains context and an image, can be found hereSubsequent posts are here: 2 3 4

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

Technique: all of these images are jpegs straight out of the X-T2; aside from application of the X-T2’s in-camera film simulations, there has been no post-capture processing whatsoever.  All were taken with the 55-200 Fujinon lens at 305mm (equiv); 400 ISO; spot metering.

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STILL LIFE 155 – TWO YELLOW CHAIRS, BACK TO BACK

 

 


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Two chairs, back to back, beside a window.

Sitting in Browns, waiting for the third breakfast of the long morning – a repast which might have equated to what we Brits call Elevenses, except that it was just after ten.

I always sit at any table that looks across the room towards the windows onto the street, because these provide good cross- and backlighting.

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

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 1600 ISO; Lightroom; Browns Restaurant, Bristol; 19 May 2017.
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STILL LIFE 156 – LOOKING AT CHAIRS 4

 

 


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Decaying public seating in central Bristol; 14 June 2013.

I focused on the rotting wood and let the rest look after itself – a benefit of cameras with smaller sensors is that they increase depth of focus.  The out of focus metal armrest lower right brings both depth and a graceful curve to the composition.  The rear leg of the seat introduces more curves, and the pavement is a neutral, segmented backdrop.

The dull, overcast day, with it paucity of shadows, was right for this kind of photo.

And I received the usual puzzled stares – “What’s that daft old **** doing?!” – as I slowly circled what had attracted my eye.

The first post in this series on chairs, which contains context and an image, can be found hereSubsequent posts are here: 2 3

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

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STILL LIFE 154 – BROAD PLAIN

 

 


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Shafts of morning sunlight softly caress a façade – or rake harshly across it, laying bare its every jagged line and texture – its just a matter of how we look at things in the moment.

But the window keeps its privacy in cool shadow; also for the moment.

Analysis: this is a picture of a window (oh, you’re thinking, he’s sharp …), but to me (but maybe not to you …) its more an assemblage of shapes, textures, light and shadow.  Apart from the window’s frame it has Minimal colour but, as so often happens, presenting in it black and white would certainly lose something – the very faint yellow below the window, for example, adds something I think.  I’ve talked about a method of photography where the photographer looks for good light and then thinks what to do with it, how to use it, and I know I’m not alone in this.  Here is an example.  The morning sunlight was slanting across the façade, and I walked along, looking up at the interplays of the light with the building, thinking what might be possible.  And, as always, a telephoto was useful in picking out details from the overall scene.

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

Technique: X-T2 with 55-200 Fujinon lens at 305mm; 200 ISO; Lightroom; Broad Plain, central Bristol; 26 May 2017.
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STILL LIFE 152 – ADVERTISEMENT

 

 


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Close up of an advertisement.

Click onto the image to open a larger version in a separate window, and click onto that image to enlarge it yet again.

Technique: X-T2 with 55-200 Fujinon lens at 150mm (equiv); Lightroom; central Bristol; 7 July 2017.
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STILL LIFE 150 – STAIRS IN AN ALLEYWAY

 

 


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Street art and a flight of steps, off Quay Street in the city centre.

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

Technique: X-T2 with 55-200 Fujinon lens at 84mm (equiv); 400 ISO; Lightroom, using the Provia/Standard film simulation; Bristol; 19 May 2017.
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STILL LIFE 148 – LOOKING AT CHAIRS 3 (MONO)

 

 


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Chairs beside a table; outside the Hurtwood Inn Hotel, Peaslake, Surrey;  25 Mar 2012.

The first post in this series on chairs, which contains context and an image, can be found here Subsequent posts are here: 2

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

Technique: D700 with 24-120 Nikkor lens at 120mm; 800 ISO; Capture NX2; converted to mono, and toned, in Silver Efex Pro 2.

UPDATE: there are four objects in this near abstract image, a table and three chairs (together with the briefest glimpse on their substrate, the floor on which they’re standing, at lower right).  None of these four objects is seen in its entirety, due to the objects overlapping each other, and to parts of them being cropped out by the image’s frame.  Presentation in black and white and the chairs’ wickerwork textures enhance the abstract effect, the textures in particular making each chair seem to consist of disparate patterned shapes.
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STILL LIFE 147 – SHADOWS OF THE NATURAL WORLD

 

 


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A meeting of the Natural and Unnatural worlds; shadows of roadside trees on bland, precise, sterile, retail architecture.

Click onto the image to open a larger version in a separate window, and click onto that image to enlarge it yet again.

Technique: X-T2 with 10-24 Fujinon lens at 36mm (equiv); 400 ISO; Lightroom, using the Velvia/Vivid film simulation; Broadmead shopping centre, Bristol; 11 Aug 2017.
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STILL LIFE 145 – ROADSIDE WITH PAVEMENT AND DRAIN

 

 


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Somewhere in central Bristol, I can’t remember where.  The pavement is upper right, with the little granite blocks set in it, and it continues around to upper left, with yet more granite blocks and some larger granite setts.

The rest is the road, with two very different surfaces, a round manhole cover and a square drain.

And there is both history and modernity here.  Modernity is represented by the double yellow lines which, loathed by motorists, indicate no parking on penalty of a fine or, far worse, gratis life membership of the Conservative Party.  But the real interesting bit, the history, is that little, straight line of serrated metal on the pavement’s edge, that starts on the right between the drain and the pavement, and then runs up towards the left.  These serrated iron edges to Bristol’s kerbs date from the early 20th century, and were installed to prevent the iron-clad wheels of horse-drawn carts from damaging the stone pavements – you can find out more about them here.

Click onto the image to open another version in a separate window, and click onto that image to enlarge it.

Technique: X-T2 with 10-24 Fujinon lens at 32mm (equiv); 200 ISO; Lightroom, using the Classic Chrome film simulation; 11 Aug 2017.
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