STANTON DREW 60 – FROSTY MORNING

 

 

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Early morning in the village.

Already posted images from this early morning shoot are here: 1 (with context) 2 3 4 5 6 .  Each will open in a separate window.

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

Technique: X-T2 with 55-200 Fujinon lens at 300mm (equiv); 1600 ISO; Lightroom, using the Velvia/Vivid film simulation; Color Efex Pro 4; rotated; flipped; Stanton Drew, in the Chew Valley south of Bristol; 14 Dec 2018.
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ARCHIVE 398 – DRAIN, WITH KERB, DASHED WHITE LINE AND SKID MARKS (MONO)

 

 

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Drain, with kerb, dashed white line and skid marks; Thatcham, Berkshire; 1 June 2016.

Street scene in downtown Thatcham: shapes, textures and (mainly) curving lines.

Color Efex Pro 4 has been used to give the end result the look of black and white infrared film.

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

Technique: D700 with 24-120 Nikkor lens at 24mm; 400 ISO; Color Efex Pro 4.

POSTSCRIPT: to me, someone who admittedly doesn’t get out much, the curving lines are streaming out across the image from sources along its left margin.  The kerb has just missed the drain, and arrows on through the picture’s lower right corner.  The skid marks are spraying out upwards, towards the image’s upper margin.  But the white line is more accurately set, and we have caught the moment in which it first impacts on the drain’s periphery.  And if all this imagined dynamism – seen through a child’s eyes maybe –  is real, then this isn’t a still life at all, it should not have been originally posted in this blog’s Still Life category, and I have, as the phrase so happily puts it, shot myself in the foot …

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ARCHIVE 393 – RECTANGLES WITHIN RECTANGLES

 

 

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Caravans, Newquay, Cornwall; 10 Sept 2013.

A series of pale boxes, apparently floating in blackness.  The one on the right displays a slightly curved roof, and is leaning gently away from the vertical.  Otherwise, these are a series of rectangular shapes containing many other rectangular shapes.

There is an earlier photo in this style, including a tree, here .  It will open in a separate window.

Technique: D800 with 70-300 Nikkor lens at 300mm; 1600 ISO; Silver Efex Pro 2’s Pinhole preset.

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ARCHIVE 389 – RIVER REFLECTION, BRISTOL BRIDGE

 

 

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Reflection in the river at Bristol Bridge.

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

Technique: X-T1 with 55-200 Fujinon lens at 290mm (equiv); 1600 ISO; Lightroom; rotated; Bristol; 11 Nov 2016.

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ARCHIVE 385 – FAST FOOD OUTLET (MONO)

 

 

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Table and seats outside a fast food café in Newquay, Cornwall; 11 Sept 2013.

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

Technique: D800 with 70-300 Nikkor lens at 135mm; 800 ISO; Silver Efex Pro 2’s High Contrast Smooth preset.

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ARCHIVE 383 – THE TIDE COMING IN

 

 

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The tide coming in, seen from the end of Western Pier at St Ives, Cornwall; 27 Sept 2012.

This is a picture of the shallow wavelets of the incoming tide moving over the clean sand in St Ives Harbour – it was taken at the same time as another(!) The Tide Coming In.

I like the dark purple-blues here, the black lines of the incoming wavelets, and golden brown of the submerged sand.  The picture is starting to look more like a painting and, as always, I’m happy with that.

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

Technique: D700 with 70-300 Nikkor lens at 300mm; 400 ISO; manipulated in Capture NX2.

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ARCHIVE 379 – ROWING BOAT ON THE COBB

 

 

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Interior of a 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 recogniseable reality.  There is another rectangular shape on the right of the frame.

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

Technique: Olympus OM-4 with 21mm Zuiko lens; Fuji Provia 400 colour slide rated at 1600 ISO; rotated 90 degrees anticlockwise.

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ARCHIVE 378 – RAY IN NEWQUAY AQUARIUM

 

 

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The camouflaged upperparts of a Ray, lying on the bottom of its tank in Newquay Aquarium, Cornwall; 6 Nov 2007.

This picture is not completely sharp because it was taken looking down through moving water.  But with this wonderful colouration and patterning, I don’t think that matters at all – in fact the whole hazy blueness of the image adds to its atmosphere.

Technique: F6 with 24mm-85mm Nikkor lens; Fuji Provia 400X colour slide, rated at 1600 ISO.
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OUTER SUBURBS 12 – MODERN LIFE 2: SHATTERED COLOUR

 

 

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Something colourful, lying shattered, on the road

There is an earlier Modern Life post here: 1 .

The first image in the Outer Suburbs series, with context, is here: 1 .  Subsequent images are here: 2 3 4 5 6 7 8 9 10 11 .  Each will open in a separate window.

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

Technique: TG-5 at 57mm (equiv); 1,000 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 3 Sept 2018.
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OUTER SUBURBS 8 – WHERE IS THIS PROJECT AT NOW???

 

I’m very much feeling my way forwards with this new Outer Suburbs project.  There seems to be the distinct opportunity to become totally immersed in moody black and white, but I want to do some (at times very saturated) colour too.  The project may be stretching me a bit, or at least making me think about things in different ways, which has to be a plus.  One or two things about the actual photography are mentioned below.

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Early morning shower

Much of this photography looks at details, and for this reason I am at the moment favouring the flat and dull light of overcast days, days when the only shadows are those underneath parked cars.  This is very different from my usual photography, where I often look for dramatic, directional lighting and then decide what to do with it.  The TG-5’s metering works well with this type of overcast light shot, and I’m getting more used to using the non-articulated screen.  Also this little camera remains completely out of sight on my trouser pocket, and is eminently easy to carry around.  The 25mm-100mm (equivalent) zoom range works very well with the types of subject I’m looking at here – though I have to admit to missing my habitual 300mm at times!

Most of my current subjects are static; I’m not sure how well the TG-5 will handle movement – but this may simply reflect my lack of expertise with the camera.

Also (OMG!!!) I’m using Lightroom instead of Silver Efex Pro 2 for some of the black and white!  That this would not long ago have been heresy probably reflects a certain snobbishness on my part, but if I can achieve something workable with LR, I’ll sometimes use it.  I’m using LR in a slightly more radical / extreme way, and with the mono I’m conscious of time-saving, which may not be a good attitude to cultivate.

The first image in this series, with context, is here: 1 .  Subsequent images are here: 2 3 4 5 6 7 .  Each 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.

Technique: TG-5 at 38mm (equiv); 800 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 18 Aug 2018.

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