PEOPLE 361 – GOING TO WORK 85 (MONO)

 

 


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An old and very dear friend of mine is a professional psychologist and avid people-watcher.  Her insights into everyday human behaviour never cease to fascinate and amaze me.  I had the idea sometime back of giving her a photobook of the Going To Work images (produced via Blurb) for her birthday, and that project is moving ahead.  In the course of assembling these pictures for use in her book, I have found six images that have not been posted in the Going To Work series but which really belong there, and so I am incorporating them into this series here.  This is the fifth of the six.  You can find the other images here: 1 2 3 4 : each will open in a separate window.

Caught in traffic.

Taking her chance amongst the traffic surging along Queens Road, on the edge of Bristol’s up market Clifton suburb.

The converging cars remind me of a wolf or shark pack closing in upon her – especially the sharp and down-curved “snout” of the car at upper right.

Earlier images from this series can be found here: 1, 2, 3, 45, 6, 7, 8, 9, 10, 11, 1213, 14, 15, 16, 17, 18, 19, 20, 21, 22, 2324, 25, 26, 27, 28,  29, 30,  31,  32, 33  34  35  36 37  38 39 40 41 42 43 44 45  46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 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 enlarge it further – recommended.

Technique: D700 with 70-300 Nikkor lens at 300mm; 6400 ISO; Silver Efex Pro 2, starting at the Full Dynamic Smooth preset; 2 Dec 2016.

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ARCHIVE 376 – TEALHAM MOOR, LOOKING WEST (MONO)

 

 


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Tealham Moor, on the Somerset Levels south of Wedmore: looking west along one of the water-filled ditches that border the rough track that is Tealham Moor Drove; 26 June 2015.

The water-filled ditch or rhyne (rhymes with seen) acts as the boundary between the track (which is unseen on the right) and the fields on the left – I suppose you could call it a liquid fence.  Its surface is covered in waterweed, and should man or beast be crazy enough to venture into it, the water will be at least waist deep, while the thick, oozing, glutinous black mud on the bottom will suck down your legs and not let go.  Cows coming down to drink do lose their footing and fall in, after which a tractor will be needed to haul them out.

The trees on the left – pollarded Willows – have also featured in images here and here.

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

Technique: D700 with 12-24 Sigma lens at 24mm; 400 ISO; Silver Efex Pro 2, starting at the Full Dynamic Harsh preset.

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ARCHIVE 375 – MIST LIFTING, HERONS GREEN

 

 

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A pair of Tufted Ducks in Herons Green Bay, Chew Valley Lake, as the mist lifts.

The male (drake) Tufted Duck is on the left; his little tuft or crest can just be seen sticking out from the back of his head if you click onto this image to enlarge it.

I rarely use software presets with images if the presets take everything out of my control and just produce “a look”.  But I like the look of this “look”, if I can put it like that 🙂 , and so here it is.

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

Technique: D700 with 70-300 Nikkor lens at 300mm; 200 ISO; +0.7 stops overexposure at capture; Color Efex Pro 4‘s Bleach Bypass preset; Herons Green Bay, Chew Valley Lake, south of Bristol; 6 Apr 2015.

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ARCHIVE 374 – AND IN THE BEGINNING WAS THE CAT (MONO)

 

 


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Our friends’ cat, a favourite subject of mine.  She has a very warm and friendly personality.  She seems to like our company and, wherever we are, she will come and seek us out, and then sit or lie down beside us, simply wanting to be near us, it seems.

She climbed up onto the arm of the sofa and spent a lot of time with her back to us, wagging her tail.  Then she turned around, the bright light streaming over her from the right, and gazed impassively at us for sometime.

I find cats very beautiful and never tire of photographing them – perhaps the title of this post sums up my feelings towards them.  Something spiritual, perhaps?  Quite possibly.

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

Technique: D700 with 105mm Nikkor lens used wide open; 3200 ISO; Silver Efex Pro 2, starting at the Full Spectrum Inverse preset; Bristol; 1 Mar 2015.

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ARCHIVE 373 – OUR HAZEL, IN AUTUMN

 

 


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Autumn leaves form a carpet around the Hazel in our back garden; 30 Oct 2009.

Used away from the horizontal, the fisheye lens has given the whole photo the appearance of showing an elevated ridge in the ground.  Back beyond the Hazel’s trunks, the patches of green lawn appear to be sloping down to either side.  And the nearest leaves seem to be bulging up towards the camera, and to be swirling in a circular fashion – which is an effect I like.

Technique: D700 with Sigma 15mm full frame fisheye; 800 ISO.

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ARCHIVE 370 – WATER LILIES IN THE NORTH DRAIN

 

 


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Water Lilies in the North Drain, Tealham Moor, on the Somerset Levels; 25 July 2009.

I like the Minimalism here – just thin, green plants against a dark background – looking almost as if they are floating up into the air on a dark night! 

And then there is the way the leaves weave a sinuous line back through the picture, and the increasing dimness of the stems of those further away.

Technique: D700 with 24-120 Nikkor lens at 120mm; 200 ISO; spotmeter reading taken from the nearest leaf.
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PEOPLE 347 – GOING TO WORK 76

 

 


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Going To Work In The Modern World.

Earlier images from this series can be found here: 1, 2, 3, 45, 6, 7, 8, 9, 10, 11, 1213, 14, 15, 16, 17, 18, 19, 20, 21, 22, 2324, 25, 26, 27, 28,  29, 30,  31,  32, 33  34  35  36 37  38 39 40 41 42 43 44 45  46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 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: D700 with 70-300 Nikkor lens at 300mm; 25,600 ISO; Lightroom; Temple Gate, central Bristol; 23 Dec 2016.
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ARCHIVE 368 – TADHAM MOOR, WITH FRIESIANS (MONO)

 

 


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Tadham Moor, looking northwest towards Tealham Moor, on the Somerset Levels; 29 Aug 2013.

On the right, Jack’s Drove runs northwards towards the bridge over the North Drain.  Droves originated as networks of tracks that enabled farmers to access their fields without crossing those of other farmers.  A few of these droves, like the one here, are now tarmac roads, usually single track or nearly so.  The trees include many Alders, which thrive in this area’s perpetual wetness.

On the left, Willows overhang the rhyne (local dialect for a water-filled ditch; rhymes with “seen”) – they were often planted alongside these waterways to strengthen the banks.

And in the centre, the rhyne curves around the end of a field, at once helping to drain its water and also providing a fenceless barrier – the only fences being very small affairs where the fields’ gates are accessed by little bridges across the rhynes.  And, finally, the ubiquitous Friesian cattle – curious about this lensman, as always.

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

Technique: D700 with 12-24 Sigma lens at 12mm; 200 ISO; Silver Efex Pro 2, starting with the Full Dynamic Harsh preset.

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ARCHIVE 367 – THE RISING SUN ALONG HURN DROVE (MONO + COLOUR)

 

 


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The rising sun lights a willow along Hurn Drove, on Ash Moor, to the northwest of Polsham, on the Somerset Levels; 28 Oct 2014.

Early morning, driving slowly in shelter and shadow, travelling through a world of grey.

But as I turned out onto Hurn Drove, the upper reaches of Our Star broke the horizon and shades of gold were all around.

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

Technique: D700 with 70-300 Nikkor lens at 300mm; 6400 ISO; Silver Efex Pro 2, starting at the Low Key 1 preset and selectively restoring colour.

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PEOPLE 343 – GOING TO WORK 73

 

 


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Walking to work across Bristol Bridge, around sunrise in early December – and three things to talk about here.

First, I’m on her radar.  Although I was quite far back with a big telephoto, she looked up from her phone, the autofocus was already locked on (more on that below) and I fired a single frame. Awhile back, I’d planned to approach people in the street and ask their permission to photograph them.  But, although that may be something for the future, I’ve only actually done that once so far, and the resulting image was really not very good.  On the other hand, as those familiar with this Going To Work series will know, I’ve taken many more or less candid portraits on Bristol’s streets – and I like these better.

With this kind of photography, there’s often the fear/worry that people will object to having their photograph taken but, so far, the only comments that I’ve received have been apologies for getting in the way and obstructing my shots!  This may of course be due to the fact that I’m photographing early in the morning rush hour: the vast majority of people appear totally focused on getting to work, walking head down and with fixed expressions.  However, if someone were to say something, I would smile and say something simple like “Hello, I’m Adrian Lewis, and I’m here photographing the morning rush hour.”, and then await their response – putting the ball in their court in a way.  I’ve read a lot about this sort of photography, and the key strategies seem to be openness, an air of confidence, a smile and a readiness to explain further about what I’m doing.  I always carry some FATman Photos business cards to give out if necessary – although up to now these have been given to people who see me photographing anything and everything, and are just interested to see the sorts of photographs I take.

Secondly, the early morning was not bright, and the (now 10 years old!) D700 was working at its highest ISO – 25,600!  And so this picture, even though its not cropped, is extremely grainy – lol! >>> click onto it to see what I mean!!!  But I’m quite happy to have the grain and, in any case, I think that its ALWAYS better to have a go at a photo, no matter how poor the light conditions >>> its ALWAYS better to have a technically imperfect image than no image at all.  I strongly believe a photo’s subject matter / content is what matters, with technical aspects of the images coming quite some way second.

Third, I started digital photography as a full-frame Nikon user (D700, D800), but in the last couple of years have started using Fujifilm mirrorless cameras, including the excellent X-T2.  Most of the Going To Work pictures have been taken with my X-T2 or, indeed, my X-T1, and they have done a very good job.  But, if pressed, I would have to say that the Nikons are better for very rapid autofocus in poor lighting conditions.  But, you pays your money and you takes your choice!!!  The Nikons are bigger, bulkier, heavier, and their optical viewfinders – in most situations – are not as useful as the big, electronic viewfinders on the Fuji cameras.  And the Fuji cameras take beautiful pictures, and are smaller, lighter and very easy to handle.  For the moment, at least, I’m using the Fuji cameras a lot, but also holding onto my Nikon gear.  And, finally, Nikon (or Canon) is likely to produce a mirrorless replacement for their DSLRs soon: I’m looking forward to seeing this.

Earlier images from this series can be found here: 1, 2, 3, 45, 6, 7, 8, 9, 10, 11, 1213, 14, 15, 16, 17, 18, 19, 20, 21, 22, 2324, 25, 26, 27, 28,  29, 30,  31,  32, 33  34  35  36 37  38 39 40 41 42 43 44 45  46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 Each will open in a separate window.

Click onto the image to open a larger version in a separate window >>> and if you have a thing for grain, click onto this enlarged image to enlarge it yet again!

Technique: D700 with 70-330 Nikkor lens at 300mm; 25,600 ISO; Lightroom; Silver Efex Pro 2, starting at the Film Noir 2 preset and adding a light coffee tone; Bristol Bridge, central Bristol; 2 Dec 2016.
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