OUTER SUBURBS 61 – BUS SHELTER, WET MORNING

 

 


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I walked in the suburbs, far from home and without coat or umbrella, and there came a cloudburst.  Across the road was a bus shelter – one of those enclosed on nearly all sides – and I dived inside to escape the falling water.  There was no one else there – and so to a post that might have been entitled 10 Minutes in a Bus Shelter.  Well, you know, I was standing there, with interesting things to look at all around – the misty windows, the gleaming streets outside, the patterns on the floor, the metal struts framing the translucent perspex, the bright red seat, you name it – and I had a camera burning a hole in my pocket.

That’s one thing about photography really, if you get right into it, nowhere is visually boring, there are always things to stare at – and in this case, unless I fancied a drenching, I had the leisure to stare.

So, what to stare at?  Two worlds.  First, the confined, almost claustrophobic world of the shelter, distorted slightly by the TG-5’s wide lens – misted windows, patterned floor and red seating: bland, functional modernity, purposely designed for the have’s in our society who catch the buses, and equally purposely designed to offer little comfort for the have-not’s who have nowhere else to go and would like somewhere other than the shelter’s cold floor to sleep on.  And here we all were, at the start of November, gearing up for The Season of Goodwill.  But then, the bus shelter is in the real world, whereas The Season of Goodwill is only in our minds.

And the second world, the outside world, the view out through the shelter’s ever-open doorway: a view to wet pavements, a passing car and, in the background, an equally passing factory.  But, you say, how can a factory possibly be passing?   Well, I’m a geologist and to me everything is passing, but it is apparently the case that this old factory is on a site earmarked for hundreds of new houses; we shall see.

So I loitered there, looking at anything and everything, taking it all in.  And two women passed, better equipped for the weather than I.  And, whispering together, they gave me a long, suspicious look.  I imagined their conversation: “Here, what’s that strange old man doing in that bus shelter?  Do you think he’s a prevert?” (she’d been watching a Dr Strangelove rerun).  “Well, I expect he’d say its artistic, but I’m not so sure …”.  Actually I’ve got that quote wrong, because the most used words in our new, Politically Correct society are appropriate and inappropriate, and I have a feeling that, in their eyes, I’d have merited the latter.

But, nobody expects the unexpected, I do think. And, as Bob Dylan might put it, “”You can be in my bus shelter if I can be in your’s …” .

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 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 53a 55 56 57 58 59 60 .  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 – recommended.

Technique: TG-5 at 25mm (equiv); 800 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 1 Nov 2018.
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OUTER SUBURBS 40 – AUTUMN 9

 

 


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Autumn – low angle sunlight rakes across the textured pavement that alerts visually disabled people to a pedestrian crossing.

There are earlier autumn posts here: 1 2 3 4 5 6 7 8 .  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 38 39 .  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.

Technique: TG-5 at 65mm (equiv); 640 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 13 Nov 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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OUTER SUBURBS 23 – AUTUMN

 

 


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Pavement with autumn leaves, sunrise, and the shadows of railings.

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 .  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); 250 ISO; Lightroom, using the Camera Vivid film simulation; rotated 90 degrees right; south Bristol; 10 Oct 2018.
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OUTER SUBURBS 18 – MODERN LIFE 5: BESIDE RAILINGS, AT SUNRISE

 

 


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Pavement, outside a children’s playground, as the sun was rising.

There are earlier Modern Life 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 .  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 – recommended.

Technique: TG-5 at 61mm (equiv); 800 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 6 Sept 2018.

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PEOPLE 360 – THE ARCHITECTURE OF YOUR WARDROBE (MONO + COLOUR)

 

 


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Walking, in central Bristol.

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 106mm (equiv); 400 ISO; LightroomSilver Efex Pro 2, starting at the Fine Art High Key preset and selectively restoring colour; central Bristol; 16 Sept 2016.
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PEOPLE 356 – GOING TO WORK 83 (MONO)

 

 


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Walking to work, early on a summer’s morning.

A silhouette, and an image about shape, form, shadow and texture.

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 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: X-T1 with 55-200 Fujinon lens at 305mm (equiv); 1000 ISO; Lightroom, using the Classic Chrome film simulation; Silver Efex Pro 2, starting at the High Contrast Harsh preset; near Bristol Bridge, Baldwin Street, central Bristol; 19 July 2016.
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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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PEOPLE 312 – GOING TO WORK 46: CONFRONTATION (MONO)

 

 


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People in the rush hour at Broad Quay.  I cannot now remember whether there was actually any interaction between the man with his back to us and the man on the left – and also the figure whose leg shadows are up at upper right.  But the stance of the man in the foreground – legs set firmly apart, semi-clenched fist hanging loose – does not seem, to me anyway, to be that of someone completely at ease with this meeting of souls.

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 .  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 yet again.

Technique: X-T1 with 55-200 Fujinon lens at 305mm (equiv); 200 ISO; spotmetering; Lightroom; Silver Efex Pro 2, starting at the Architectural preset and adding a selenium tone; Broad Quay, central Bristol; 11 Nov 2016.
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PEOPLE 310 – GOING TO WORK 44

 

 


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Walking to work on pavements strewn with inspection covers, shadows and fallen autumn leaves.

Veering over a little towards the surreal perhaps, am I?  Starting to look a little bit alien or otherworldly?  Two thoughts come to mind.

First, that following advice I read long ago and have never forgotten, I believe in letting my (now mainly non-existent!) hair down with black and white: black and white is already one step removed from reality, and I like seeing it become even more unreal.  I’m not really into straight black and white representations of colour scenes, such as might be obtained for example simply by desaturating a colour image.  Silver Efex Pro 2 is a very welcome companion on these sometimes delirious flights of fancy.

Then second, with this Going To Work series, I’m trying to look at various approaches and techniques, with a completely open mind, ruling nothing out.

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 .  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.

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 Strong Infrared Low Contrast preset and adding a strong cyanotype tone; Broad Quay, central Bristol; 11 Nov 2016.

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