PEOPLE 336 – GOING TO WORK 67 (MONO)

 

 


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This image is best viewed enlarged – click onto it to open a larger version in a separate window, and click onto that image to enlarge it further.

Composition: morning rush hour, Victoria Street, and perhaps there are two subjects here.  The backlit and near silhouetted man on the left – walking across the road while looking at his phone and carrying his briefcase – first drew my attention.  Using him as the image’s sole subject would magnify his size in the frame and draw attention to him.  But I couldn’t resist the silhouette of the cyclist on the right too, with the light catching his billowing, steamy breath and shiny helmet – he is balancing on his wheels, rather than put a foot to the ground while waiting for the lights to change.  Maybe our gaze will be drawn back and fore from one to the other of these two people, I don’t know, but, in any case, here they are.  To me, although the man on the left could be the image’s sole subject, this is not true of the cyclist – he’s further away, amidst a fairly cluttered background.

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 Each will open in a separate window.

Technique: X-T1 with 55-200 Fujinon lens at 305mm (equiv); 400 ISO; Lightroom, using the Velvia/Vivid film simulation; Silver Efex Pro 2, starting at the Cool Tones 2 preset, giving the image the look of Fuji Neopan Acros 100 black and white film, and adding a strong selenium tone; Victoria Street, central Bristol; 11 Nov 2016.
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ARCHIVE 361 – SWAN, PREENING (MONO)

 

 


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This image is best seen at larger scale – click onto to it to see a larger version in a separate window, and click onto that image to enlarge it further – recommended.

Mute Swan at Herons Green, Chew Valley Lake, not far south of Bristol; 6 Apr 2015.

The bird is preening, busily rearranging its feathers in a flurry of activity that is sending concentric ripples out across the surrounding water.

There is another photo of this bird, in very different pose and style, here .

Technique: D700 with 70-300 Nikkor lens at 300mm; 200 ISO; -0.3EV; Silver Efex Pro 2, starting at the Low Key 2 preset.

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PEOPLE 335 – GOING TO WORK 66 (MONO)

 

 


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The walk to work: small, alone and in a fleeting, uneasy world of light and shadow.

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 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: X-T1 with 55-200 Fujinon lens at 305mm (equiv); 400 ISO; Lightroom; Silver Efex Pro 2, starting at the Architectural preset and adding a light coffee tone; Victoria Street, central Bristol; 11 Nov 2016.
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PEOPLE 333 – GOING TO WORK 64 (MONO)

 

 


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Morning rush hour, Victoria Street.

Inbound traffic at a standstill, and walkers crossing the flow at traffic lights – the cap of the man in the middle recalls an earlier age.

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 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: X-T1 with 55-200 Fujinon lens at 305mm (equiv); 400 ISO; Lightroom, using the Astia/Soft film simulation; Silver Efex Pro 2, starting at the Antique Portrait preset; Victoria Street, central Bristol; 11 Nov 2016.
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STILL LIFE 229 – LOOKING AT CHAIRS 21 (MONO)

 

 


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Chairs beside a table at the Hurtwood Inn Hotel in Peaslake, Surrey;  25 Mar 2012.

An assemblage of shapes, shadows and textures with – especially in the background – obscure and abstract shapes.

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

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

Technique: D700 with 24-120 Nikkor at 120mm; 400 ISO; converted to mono, and toned, in Silver Efex Pro 2.

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KENYA 79 – YOUNG WOMAN FROM UGANDA (MONO)

 

 


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Young woman from Uganda, living in Nairobi; 1978/9.

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

Technique: OM-2 with 75-150 Zuiko lens; Agfa CT18 colour slide, rated at 64 ISO; Lightroom; Silver Efex Pro 2, starting at the Warm Tone Paper preset.
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STILL LIFE 228 – LOOKING AT CHAIRS 20 (MONO)

 

 


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Well, what is here?  A park bench, silhouetted, that has been styled to defeat both vandalism and rough sleepers.  It has signally failed in the former, its right hand end having been broken off – I suppose by someone jumping up and down on it.

And then a walker, an anonymous someone going somewhere; though not to this bench, as I can testify.

And the first fallen leaves of autumn scattered on the ground.

What is least apparent of all is the wall glimpsed behind those striding legs, which is a part the gaunt skeleton of St Peter’s Church, burnt out by incendiary bombs in 1940 and now preserved as a memorial to the city’s WWII civilian dead.

I have been going through something of an uninspired patch with my photography, things just haven’t been flowing as freely as usual.  I’d gone down to town to hear a lecture on, of all things, the institutionalised treatment of inebriated women in days gone by.  But it was a lovely sunny morning and the little camera was in my pocket, so I opted instead for a quartet of favourite pastimes, namely strolling, looking and taking photos, and then buying some Belgian beer of great quality – compared to a lecture, all things far more uplifting for the soul!

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

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

Technique: Canon G11 PowerShot at 140mm (equivalent); 100 ISO; Silver Efex Pro 2, starting at the Architectural preset and adding a slightly blue tone; Castle Park, in Bristol city centre; 20 Oct 2015.

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STILL LIFE 226 – LOOKING AT CHAIRS 19 (MONO)

 

 


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Seating for passersby, on the pavement at the bottom of Park Street, central Bristol; 6 Jan 2017.

The first post in this series on chairs, which contains context and an image, can be found hereSubsequent posts are here: 2 3 4 5 6 7 8  9  10  11 12 13 14 15 16 17 18 .  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-T1 with 55-200 Fujinon lens at 305mm (equiv); 3200 ISO; Lightroom; Capture NX2; rotated.

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ARCHIVE 357 – MORNING DEW (MONO + COLOUR)

 

 


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Field gate on Tealham Moor, south of Wedmore, on the Somerset Levels; 10 Apr 2014.

Early morning along Jack’s Drove, and a world soaked in dew.  The silver cobwebs, with the rising light behind them, are everywhere.  Here three struts in a gate provide the picture’s solid structures, and then the web is strung across the frame, and there are large drops of dew hanging from the gate at upper left.

This is a black and white image with much of its original colour restored, semi-faithfully.  One of the reasons that such colour restorations appeal to me is that, since black and white is already far from reality, I don’t feel that I must necessarily restore the original colours accurately – put another way, since I’m already way out in the realms of unreality, a little more unrealness (is that a word???) won’t matter!

The bar at the top and the diagonal one are casting slim shadows, which is why the silvery web strands fade as they come near them.

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

Technique: D700 with 70-300 Nikkor lens at 300mm; 200 ISO; Silver Efex Pro 2, starting at the Full Contrast and Structure preset, and selectively restoring colour.

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ARCHIVE 356 – WAVE MEETS MAN (MONO)

 

 


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FANTASY: a wave, furrowed, swelling, dark, and with a thin, foaming apron of silver, rolls in towards the beach and meets a man.  And there is a communion – something passes –  between the moving water and that rigid figure with his dark suit, bowed head and tightly clenched fists.

Is he bowing to the turbulent and rising water, acknowledging it perhaps as a living thing?  Or, in a moment of shock and revelation, is he realising his own inadequacy in the face of this endless, remorseless and energetic swell?  And, equally, in what way is the wave responding to him?  Indifference, perhaps?  Or, however muted and distant, is there some acknowledgement of another feature of this planet’s surface?

And because this is an interpretation that exists only in my mind, I have used a pale vignette to separate this imagined interaction from the solid and all too permanent reality all around – the mist shifts, and we are granted a fleeting glimpse into a daydream.

REALITY: a man, not a young man as I remember, walked down the beach in a dark blue suit, brown shoes and a wide brimmed hat, and remained standing there in the harsh sunlight, apparently transfixed by the sand and pebbles at his feet.

What was he actually doing?  His fists appear to be clenched but, magnifying things substantially, I think that his hands are in fact full of beach pebbles – and fossils too maybe on this famous Jurassic CoastAnd he’s gazing down at the beach’s debris, hoping to add more to his collection.

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

Technique: D800 with 70-300 Nikkor lens at 300mm; 200 ISO; Silver Efex Pro 2, starting at the Antique Portrait preset; West Bay, Dorset; 21 Apr 2015.

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