OUTER SUBURBS 38 – MODERN HOUSING 5

 

 


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Looking up at modern housing, and not worrying about preserving verticals; also the decision not to try to clean up the various stains on the paintwork.  I initially processed this in black and white, but now think that the blues and the (slightly grimy) cream add something.

And a problem with the TG-5 camera solved >>>in my OUTER SUBURBS 33 post, I griped about not be able to find any way to quickly change the TG-5’s metering mode from the ESP (= a sort of matrix metering) that I usually use, to the Spot setting that only meters the centre of the image – which can be useful in tricky lighting situations.  This has been solved by using one of the camera’s two Custom Modes, which enable the photographer to save frequently used sets of camera settings and switch to them instantly.

So the camera is usually in Aperture Priority mode (A), with ESP metering.  And then I’ve set up Custom Mode 1 (C1) to have identical settings, but with Spot metering instead of ESP.  Mode A is next to C1 on the mode dial, and thus I can switch back and fore between Spot metering and ESP metering almost instantly, which is very handy.

There are earlier Modern Housing posts here: 1 2 3 4 : each will open in a separate window.

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 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 .  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 74mm (equiv); 800 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 12 Sept 2018.
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OUTER SUBURBS 37 – LOOKING UP IN THE MODERN WORLD

 

 


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Looking up: streetlight with contrails and cloud.  The side of the light is just catching the glare of the sunrise.  The square structure below the light is a shield to prevent it shining into houses.

Looking up: something that, as photographers, we should all keep in mind >>> indeed, keeping looking every which way is the thing.

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 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 .  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.

Technique: TG-5 at 25mm (equiv); 640 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 2 Oct 2018.
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OUTER SUBURBS 35 – MODERN HOUSING 4

 

 


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Modern housing, with street light and sunrise.

There are earlier Modern Housing posts here: 1 2 3 : each will open in a separate window.

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 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 .  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.

Technique: TG-5 at 61mm (equiv); 800 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 1 Oct 2018.
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OUTER SUBURBS 29 – AUTUMN 3

 

 


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Autumn on the pavement.  Beside the park railings.  Caught by the rays of the rising sun.

There are earlier autumn posts here: 1 2 .

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 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 .  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 – recommended.

Technique: TG-5 at 100mm (equiv); 250 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 10 Oct 2018.
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SOMERSET LEVELS 303 – LOOKING WEST OVER TEALHAM MOOR, AT SUNRISE (2)

 

 


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I lived in Kenya and loved the huge, towering skies of Africa.  Nearly 30 years ago (time flies!!!), I returned to the UK and have become (more of less) used to living here once more, although not subscribing to or believing in some of the things that seem to make modern Britain tick.

But I’ve never lost my memories of those tall African skies,  and the wide open skies above the Somerset Levels always remind me of them – and especially those over the Tadham and Tealham Moors, which I never tire of visiting.

This picture looks west over the rough and often untidy pasture of Tealham Moor at sunrise.  The cattle are grazing, there are clouds in the tall sky above, but the horizon is hidden behind a bank of mist at ground level.

There is another image from this early morning shoot here: 1 .

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 83mm (equiv); 200 ISO; Lightroom, using the Astia/Soft film simulation; Tealham Moor, on the Somerset Levels; 19 Oct 2018.
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SOMERSET LEVELS 302 – LOOKING WEST OVER TEALHAM MOOR, AT SUNRISE

 

 


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Having taken so many pictures of the Somerset Levels, thousands probably over the years, finding further photographic inspiration there is often not easy – and especially so when the light conditions are unexciting.  But on Friday, starting from home early, I got down there at the start of the day and instantly found myself in a visually mobile world of shifting mist and fog banks, with the sun rising behind them.

This is actually a shot from towards the end of the spectacle, looking westwards over Tealham Moor.  The sun was rising from behind thick banks of cloud along the eastern horizon, which had the effect of reducing the full force of its brilliance.  Here, looking westwards, the upper band of cloud is illuminated by the first of the sun’s rays as it emerged from the thick cloudbanks, while the thin ribbon of cloud below, and the misty surface of the moor, had yet to be fully illuminated.

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

Technique: X-T2 with 55-200 Fujinon lens at 83mm (equiv); 400 ISO; Lightroom, using the Velvia/Vivid film simulation; Tealham Moor, on the Somerset Levels; 19 Oct 2018.
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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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STILL LIFE 244 – JACKDAW 2 (MONO)

 

 


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Jackdaw on a roof at Church Farm.

An earlier image in this series is here: 1 .

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

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 400 ISO; Lightroom, using the Classic Chrome film simulation; Silver Efex Pro 2, starting at the Architectural preset; Stanton Drew, near Bristol; 6 July 2018.
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ARCHIVE 371 – FISHERMEN (MONO)

 

 


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Fishermen far off across Chew Valley Lake on a misty morning.

The local water company stocks Chew Valley Lake with trout, and makes good profits from anglers.  There is also a sailing club, and some barely adequate birdwatching hides – returning from Kenya’s wide open spaces, I was astonished to be restricted to these little huts with their narrow viewing slits – something of a culture change!  I retain the feeling that birding ought to be out in the fresh and open air.

Click onto the image to open a larger version in a separate window – if you like grain!!!

Technique: D800 with 80-400 Nikkor lens at 400mm; 800 ISO; Silver Efex Pro 2’s High Contrast Smooth preset; Chew Valley Lake, south of Bristol; 17 Oct 2013.

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STILL LIFE 236 – FENCE POST (MONO)

 

 


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Beside the road, on the way into the village of Stanton Drew.

The camera was tilted, to bring the post (further) away from the vertical.  The post has a slit through which light can be seen, and it not a pure silhouette: some of its rough, corroded surface texture is just visible.

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 105mm (equiv); 200 ISO; Lightroom; Silver Efex Pro 2, starting at the Strong Infrared High Contrast preset; Capture NX2; Stanton Drew, near Bristol; 6 July 2018.
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