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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STILL LIFE 233 – GREEN VAN

 

 

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The back of a green van showing one of its stoplights, which has reflections of a tree and clouds.  And there is a door hinge, showing a little patch of blue.

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-T1 with 55-200 Fujinon lens at 123mm (equiv); 400 ISO; Lightroom; Bristol harbourside; 14 July 2016.
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STILL LIFE 231 – LOOKING AT CHAIRS 22

 

 

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This is the final post of Looking at Chairs – hope you’ve enjoyed the series.

So, lastly, two chairs, back to back, beside a window.

Sitting in Browns, waiting for the third breakfast of a long morning’s photography – a repast which might have equated to what we Brits call Elevenses … except that it was only just after 10am …

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

The first post in this series on chairs, which contains context and an image, can be found here.  Subsequent posts are here: 2 3 4 5 6 7 8  9  10  11 12 13 14 15 16 17 18 19 20 21 .  Each will open in a new window.

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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ARCHIVE 358 – MINIMAL COLOUR: TIN SHED, ROTATED

 

 

 

Corrugated iron shed (its roof on the right) at the former Willows Garden Centre, near Westhay, on the Somerset Levels; 15 Jul 2005.

Minimal colour, not far from monochrome.

Technique: F6 with 80-400 Nikkor lens at 400mm; Fuji Provia 400 colour slide rated at 400 ISO; image rotated 90 degrees clockwise.

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ARCHIVE 354 – MY WIFE’S GLASS OF WINE (MONO + COLOUR)

 

 

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A final shot of my wife’s glass of wine, this time in black and white with some restored colour; 16 Mar 2014.

Two earlier images in this series, along with more context, are here and here – recommended.

As always, mono simplifies the scene.  The bright tips of the fork assume new prominence – a short and slightly sinuous line of bright points –  and the wine’s restored colour resembles an inferno in a glass.  Nuclear fission?  Well, hardly, I mean its only rosé … but fill a glass, a bigger, balloon-type glass is best,  with Moortgat’s Duvel  or Westmalle’s Tripel (and drinking these delights at anything but room temperature is, of course, unthinkable)  … and you might feel both shaken … and stirred …

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

Technique: D700 with 70-300 Nikkor lens at 240mm; 800 ISO; Silver Efex Pro 2, starting at the Film Noir 1 preset.

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STILL LIFE 213 – LOOKING AT CHAIRS 18

 

 

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Public seating, after rain.

The first post in this series on chairs, which contains context and an image, can be found here.  Subsequent posts are here: 2 3 4 5 6 7 8  9  10  11 12 13 14 15 16 17 .  Each will open in a new window.

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

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 1600 ISO; Lightroom, using the Velvia/Vivid film simulation; Bristol Waterside; 15 Dec 2017.

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ARCHIVE 345 – LAYBY WITH DOG ENDS, BRISTOL

 

 

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Parking bay outside the KPMG building, at the Temple Meads end of Victoria Street, central Bristol; 11 Apr 2004.

Viewed with a wideangle lens, the pale kerbstone enters the frame bottom right and sinuously leads the eye back through the mass of muted colours, repeating patterns and ditched dog ends (= Brit for cigarette butts).  The restrained colour palette works, I think: this version is certainly better than an attempt with monochrome.

Crawling around in gutters and getting down flat onto pavements doesn’t do much for one’s standing (no pun intended)  in the eyes of the world,  so its far less embarassing taking this sort of shot out in the country, with only cows and sheep looking on.

Technique: Olympus OM-4 with 21mm Zuiko lens; Fuji Provia 400 colour slide, rated at 3200 ISO.

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