ARCHIVE 597 – POSTER

 

 


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Poster in a Truro shop window; 25 April 2007.

I don’t usually take photos of other people’s photos, pictures or graffiti – although I do like good graffiti / street art very much ->>> I am, after all, a resident of Banksy’s hometown. 

Its not so much that photographing others’ images feels like theft or plagiarising, its more that I prefer to concoct my own images.   Having someone else’s image as a part of a composition is ok – see this example –  but making someone else’s image the principal subject or all of one of mine just isn’t really me.

But this picture struck me – the pose and vacant gaze on the right and the gawping, mindless expression on the left.  Whoever took this picture deserves abundant applause!

And what should we all do?  Well, of course, like sheep, we should all mindlessly follow whatever fashion chooses to dictate ….  but that bus is overcrowded >>> anyone for the Individuality Special???

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

Technique: Nikon F6 with 24m-85m Nikkor lens; Fuji Sensia 400 colour slide film rated at 800 ISO.

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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 480 – MANNEQUIN ON QUEEN’S ROAD (MONO + COLOUR)

 

 


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Mannequin in a shop window along Queen’s Road in central Bristol; 17 July 2014.

This headless mannequin with her fantastically patterned dress was immediately striking as I walked by, and a composition comprising this patterning, and her forearms and hands, came to mind.

Then, post-capture, her arms and hands were converted into silhouettes against a paler backdrop (in which dashed lines from the shop’s display remain), to retain the human element – because take away her arms and hands and we could be looking at a jazzily decorated coffin!  And then restoration of the dress’s pale blues, to further enliven the design.

To see other mannequin images, click onto the mannequins tag below.

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

Technique: G11 PowerShot at 140mm (equivalent); 400 ISO; Silver Efex Pro 2, starting at the Push Process by 3 stops preset, with selective restoration of colour.

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STILL LIFE 252 – MANNEQUIN

 

 


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Using a long telephoto to look closely into a Truro shop window.

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

Technique: D800 with 70-300 Nikkor lens at 300mm; 800 ISO; Lightroom, starting at the Camera Vivid profile; Truro, Cornwall; 12 Apr 2016.
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ARCHIVE 363 – MANNEQUIN

 

 


.Camborne, Cornwall: mannequin in a shop window; 9 Oct 2013.

I take shots of these dummies from time to time.  Here I was attracted by that loosely hanging, white hand, but now I’m also looking at the hairy red sweater with its horizontal stripes, and the plastic “water droplets” on those fashionably distressed jeans.  The black backdrop keeps it simple.

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

Technique: D800 with 70-300 Nikkor lens at 300mm; 400 ISO.

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TALKING IMAGES 37 – I’M SLOWING DOWN, FOR AWHILE

 

 

Mannequin, seared by sunlight in a Cornish shop window

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The simple fact is, I very much enjoy blogging as a means of self-expression.  There’s the creation of the images, all of the attendant writing too (I love writing!) – and last but certainly not least the communication with like minds around the world – I enjoy talking with you all very much!  Also, there is not the slightest doubt that these years of blogging have been inspirational for me, certainly (to my eyes at least) improving my photography.
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A dear, warm creature, a being whom it is simply a pleasure to be with

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However, I have two large projects in hand, and I need to spend less time blogging for a month or two, to complete them.  One of these projects is the creation of my (more or less) annual Blurb photobook which, amongst other things, contains my favourite photos from the preceding 12 months along with their captions and text.  I have around 20 of these books now, some the annual volumes and some other, specific projects, and I find them a very convenient way of producing hard copies of my favourite work; they are very good to look back through.
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Someone special, from long ago and far away

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So, whereas I’ve been producing around six posts a week, this will decrease for awhile – assuming that is that I can restrain my creative enthusiasm!  And for today, here are some favourite images – faces from the archives – two people, someone quite artificial, and two beautiful animals.  Clicking onto these images will enlarge them, click onto them again to further enlarge them.
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Great Grey Owl – we looked at each other

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Selfie, with trademark cap and hulking Nikon DSLR

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PEOPLE 254 – FACE AT A WINDOW

 

 

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Yes she’s in the Berkeley Square Hotel but, as one senior denizen was heard to murmur … in a rather dignified and mountainous murmur it must be said … “One feels that she’s been here forever, don’t you know, a real fixture if ever one saw one …”.

But is she a fixture or a fitting in that august establishment?  Fixtures and fittings?  Or is one – me, a Brit actually – just playing with one’s language???   All is not what she seems …

Technique: X-T2 with 55-200 Fujifilm lens at 305mm (equiv); 800 ISO; Lightroom; Berkeley Square, central Bristol; 24 Feb 2017.
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ARCHIVE 276 – PENZANCE MANNEQUIN, SUNSWEPT (MONO)

 

 

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Mannequin in a shop window, Penzance, Cornwall; 14 Sept 2011.

We were in Penzance on a brilliantly sunny day and potential pictures were all around – I’ve already posted some here.  This dummy was in a window facing straight into the blinding glare, and the combination of her extravagant hat and the patterns that the rim of this hat spread over her blankly staring face drew me towards her.  Post-capture, I thought of enhancing the whites of her eyes but decided that they’re ok as they are.

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

Technique: D700 with 70-300 Nikkor lens at 300mm; 400 ISO; converted to mono in Silver Efex Pro 2.

UPDATE: after all this time, still very much amongst my very favourite images.  I’ve found that to be a thing about blogging – I post an image that I’m (nearly always!) totally enthusiastic about at the time, but I’ve noticed that attitude can change over time, so that sometimes I can look back at past posts, and either think their images simply ok or, then again, not really that good.  But then there are the images that, old as they may be, I still feel really good about – and here is one.  And this is a healthy process, I think, probably one that we all do – we change over time, our visual perceptions and tastes change over time, we are moving on.

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PEOPLE 218 – MANNEQUIN

 

 

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Mannequin in a shop window; Truro, Cornwall, 12 Apr 2016.

I’ve taken quite a few pictures of mannequins (not sure I can bring myself to call them dummies) in shop windows over the years – and this one, in this shop, has in fact already featured on this blog, here.  

Mannequins are often visually striking – but that’s what they’re for, after all.  And I suppose I’m fascinated by their visual closeness to us, a kind of idealised “half-way house” between inanimate materials and ourselves.

Idealised?  Certainly.  Just look at her faultless complexion, like an air-brushed model in some glossy magazine.  And then the crimson slash of those full lips, and all that presumably synthetic but still beautifully cascading hair.

But what really gets to me here is the level, unblinking stare of her eye with its long lashes and artfully inserted, false highlight.  That eye fixes me, it holds me in its gaze.  And I’m unsure whether it is censuring my living vulnerability, ageing and decaying on every day since my birth, or making some mute and desperate plea to become a part of Life’s beautiful impermanence.

D800 with 70-300 Nikkor at 300mm; 3200 ISO.
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ARCHIVE 201 – MANNEQUIN

 

 

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.Mannequin in a shop window, Truro, Cornwall; 15 Sept 2011.

There’s no doubt that I have a visual fetish for partially obscured faces – in some way I often find them more striking and/or mysterious than the full visage. 

This artificial face looks a little sad and resigned, as well as beautiful.

D700 with 70-300 Nikkor at 300mm; 800 ISO.

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