ARCHIVE 379 – ROWING BOAT ON THE COBB

 

 


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Interior of a rowing boat on The Cobb, at Lyme Regis, Dorset; 3 Nov 2004.

The sunlit seat of the boat makes a powerfully gleaming, rectilinear shape on the left, which contrasts with its curved shadow further right.

The boat’s scratched and battered floor provides an abstract background – with a small but darkly gleaming sprig of wet seaweed adding the sole touch of recogniseable reality.  There is another rectangular shape on the right of the frame.

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

Technique: Olympus OM-4 with 21mm Zuiko lens; Fuji Provia 400 colour slide rated at 1600 ISO; rotated 90 degrees anticlockwise.

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OUTER SUBURBS 24 – BREAKFAST AT POPPY’S KITCHEN

 

 


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Yesterday, I had been going to do an early morning visit to the Somerset Levels, but Storm Callum was forecast to hit the UK from the southwest and, for once, I didn’t feel like hurling myself out into the raging elements at unearthly hours.  Must be getting old.  But, anyway, I chose more sheltered pursuits, and so to a breakfast in Poppy’s Kitchen, a newly opened café here in south Bristol.

You may remember my description of another recent full English breakfast, from a local pub – you can find that here .  I don’t want to take you on a long tour through all of the full English breakfast ingredients again, but I do want to say that my breakfast at Poppy’s Kitchen yesterday morning was the best I’ve had in south Bristol.

OK, OK, a few details.  First class ingredients (incl baked beans, which are not shown): in particular, I don’t think the mushrooms were tinned, and they were large, really succulent and full of taste.  The hash browns were even darker and crisper than at the last meal – wonderful! – and, yes, at top right (some of you Americans might like to look away right now) >>> that’s two slices of Black Pudding!  Finally, the presentation of the breakfast’s ingredients attracted the eyes of even this gastronomic hooligan.

And when I chanced my luck and enquired if the Big Breakfast might possibly be accompanied by chips (fries to you people Across The Pond), there was not the slightest hesitation – and what chips they were!  A large portion, of all shapes and sizes and manifestly cut from actual potatoes (as opposed to being artificially manufactured, extruded, whatever), and fried to a lovely light golden brown.  I’ve always enjoyed simple pleasures, of which one is relaxing in a comfy armchair or sofa, forgetting everything, and letting myself drift away into a daydream and a nice doze – heavenly!  And another of these very simple (and inexpensive) pleasures that never ceases to be an outright luxury is eating chips with my fingers and dunking them into tomato sauce – and I’ve met many others who think exactly the same!  Ah, simple pleasures …
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Anyway, breakfast at Poppy’s Kitchen – the menu is above (click on it twice to enlarge it) – and we shall be going there again!  And, as a final point, the very friendly staff said that they will cook anything on the menu at any time of day – so that, should we fancy a lunch for breakfast, they’re up for it – wonderful!!! 🙂 🙂 🙂

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 .  Each will open in a separate window.

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

Technique: TG-5 at 1600 ISO; Lightroom; Poppy’s Kitchen, East Dundry Road, south Bristol; 12 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 22 – TWO TREES, A FENCE AND ME, AT SUNRISE (MONO)

 

 


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South Bristol at sunrise.  Turning my back on the blinding glare, I saw my shadow and those of two trees thrown across autumn’s leaf-littered lawn.

The trees’ shadows were longer than mine and, after their stark darkness had raced away across the grass, it was deflected sharply upwards by the flat, brightly lit face of a wooden fence.

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 .  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 49mm (equiv); 500 ISO; Lightroom, using the Camera Vivid film simulation; Silver Efex Pro 2, starting at the High Contrast Harsh preset, and adding a strong Coffee tone; south Bristol; 9 Oct 2018.
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OUTER SUBURBS 21 – A FULL ENGLISH

 

 


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I cannot by any stretch of the imagination be thought of as a foodie or gourmet.   I simply enjoy eating (and drinking!!!), I not infrequently over indulge, and I have but one simple requirement – which is, if at all possible, that my food and drink should taste at least reasonable or actually nice.  I am not asking for exquisite gourmet cuisine, nor for world class wines – but then neither do I want to stuff my face with either tasteless supermarket stodge or some liquid that, while undoubtedly powerfully alcoholic, equally powerfully reminds me of cats.  Much as I like cats.

Now full English breakfasts can taste very nice, but one has to be careful.  Loads of eateries produce them, they really are loved here, but their quality varies widely.  I mean, anyone can put together the ingredients and serve them up, but the quality of the ingredients – and to a lesser extent their mode of presentation on the plate – can make or break the treat.

Let’s look at this breakfast.  Firstly – and very crucially – it arrived on a warm plate.  Cold plates can crucify hot food, especially in winter.

Then, the classic ingredients (including modern upstarts like hash browns) were all there.  The rashers of bacon were hiding under the toast – Come on out, we know you’re in there! – and they were tasty.  Sausages can be the Achilles Heel of breakfasts, with an almost corpse-like pallor, no texture and very little taste – but these bucked that trend: they appeared burnt but in fact weren’t, they actually had pieces of meat inside (but I could have sworn this pub had a cat last time I was in … ) and they were tasty too – an achievement for this certainly not up market eatery.

So what else?  Well, real (as opposed to tinned) tomato, not quite fried enough but, as always, tasting like Heaven & Chips when eaten with the bacon.  And tasty mushrooms, probably tinned, but certainly good.  Hash browns don’t usually shake my tree, but these these were both tasty and quite crispy, not bad at all.
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There was a rush of customers just as we arrived and so I expected a hastily cooked meal with very runny eggs, but the eggs were reasonably solid, and the beans – well beans are always good!  And then quite a big and thick slice of black pudding – in the picture, that’s the round black thing with all the little white bits of fat in it >>> delicious!

And the accessories?  Well, toast made from bog standard, thin, white, sliced bread – adequate, and certainly better than nothing.  And finally a big, steaming, glorious mug of hot sweet tea, just the thing for washing down (or dissolving away …) all that fat!!!

Click onto each image to open another version in a separate window, and click onto that image to enlarge it further – but don’t blame me if you feel suddenly ravenously hungry or, on the other hand, unaccountably nauseous.

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 .  Each will open in a separate window.

Technique: TG-5 at 25mm (equiv); 1600 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 5 Oct 2018.
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OUTER SUBURBS 20 – PATH THROUGH MODERN HOUSING 2

 

 


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Path between blocks of modern housing.  There is more housing behind the streetlight, fence and tall hedge.  The pipe on the outside of the house on the left is carrying the gas supply.

Earlier pictures of a paths through modern housing are here: 1 .  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 .  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: TG-5 at 35mm (equiv); 640 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 18 Aug 2018.
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OUTER SUBURBS 19 – MODERN HOUSING 3

 

 

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Three thoughts.

First: the cold, blank, anonymous  and often indifferent face of the Modern World.

Second: an antenna to connect the inhabitants of the Modern House with the Modern World (and, below ground, cable too).

Third: the far freer, if less secure (these days), Natural World.

There are earlier Modern Housing posts here: 1 2 : 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 .  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 53mm (equiv); 500 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 22 Aug 2018.

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ARCHIVE 378 – RAY IN NEWQUAY AQUARIUM

 

 


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The camouflaged upperparts of a Ray, lying on the bottom of its tank in Newquay Aquarium, Cornwall; 6 Nov 2007.

This picture is not completely sharp because it was taken looking down through moving water.  But with this wonderful colouration and patterning, I don’t think that matters at all – in fact the whole hazy blueness of the image adds to its atmosphere.

Technique: F6 with 24mm-85mm Nikkor lens; Fuji Provia 400X colour slide, rated at 1600 ISO.
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TALKING IMAGES 43 – SOME CORE PHOTOGRAPHIC BELIEFS

 

 

Selfie, probably nude (but try not to think about that, especially if you’re just about to eat), in a hotel room, 28 Apr 2014
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Here are some things that I regard as core to the ways in which I perform and think about photography.  From the outset let’s be very clear: these are my mantras, beliefs, philosophies, ways of working, call them what you will – this is ME, but – and more on this below – it may not be YOU … (clicking onto the images will (mostly!) open larger versions in separate windows)

WE ARE ALL DIFFERENT

To me, the first thing to realise is that we are all different, that we are all individuals, each with his/her likes/dislikes about anything that you care to name – clothes, sausages, cars, furniture, colours, TV programmes, sports, books, etc etc.  I think I realised this before, but seven years of running this blog and talking with all sorts of people have really hammered this home to me.

And, this being the case, it should come as no surprise that we have widely varying visual tastes – so, I hate an image but you love it: nobody is right or wrong here, we are simply different, we are individuals – and that makes for a very interesting (if often turbulent) world.

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Wet flatlands on the Somerset Levels

SUBJECTIVITY

In my view, photography is an art, albeit one that powerfully combines science and technology with the disciplines more usually associated with the arts.  Like all other arts, it is purely subjective and individual.  Hence all photographic “rules” go out the window unless they fit in with – or more correctly, add to –  what I’m doing.  And, in my view, the same applies to all photographic competitions and qualifications (eg RPS), they go out the window too, since judges may well have subjective views that differ from your’s, mine, Great Aunt Maud’s, etc.  So, I don’t enter competitions, I just do my own thing – absolutely revelling in the vast creative opportunities and potential that (for me, digital) photography brings.

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Seascape, Cornwall

THE IMPORTANCE OF THE FINAL IMAGE

To me, all that matters in photography is the final image, completely irrespective of how it was captured (camera, pinhole, phone, anything).  And completely irrespective of how much or little it has been subsequently processed.  The resulting image is in the here and now, it is what we are looking at, it is all that matters.

Others hold different views.  For example, never cropping, only using film or digital, only using black and white, never doing any post-capture processing etc etc.  All of these ways forward, and all others, are valid.  What is certainly not valid is the opinion that, unless we use certain photographic equipment or techniques,  we am not practising photography “properly” and that, in some way, our images are invalid, inferior or unworthy of consideration for that reason.

Another real no-no here, in my view, is to try to pass off something that has been highly processed post-capture as something that is straight out of the camera at point of capture.  That is plain dishonesty.

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Going to work, on the early morning bus

CONTENT AND EMOTION COME FIRST

Finally, for me, technicalities, and especially technical perfection, always come some way second to the content of an image – the subject matter, emotions, atmosphere, narrative, and so on.  And that rather than looking for perfect overall sharpness, I definitely think that blurred detail can be of value in many images.

Which leads on to the point that its always worth trying to take a photo, no matter how poor the light and other conditions (although I do draw the line at getting my cameras soaked in the rain).  In particular here, I always use high ISOs where light conditions require it.  The basic tenet, for me, is that its always better to have an imperfect image, rather than no image at all.

So, for better or for worse, this is me. What do you think?  Do you agree???  Views?????????

Adrian

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On a farm in the far west of Kenya

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MENDIP HILLS 42 – LANDSCAPES FOR A DEAD WIFE 3 (MONO)

 

 


Dead trees, early morning, storm

I’m remembering my dead wife, and photographing a place we shared together long ago: you can find the full context in the first part of this series, here .  The second part of this series is here .  This is the final part of the series.

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Road, speed, darkness

If you would like to see enlarged versions of these pictures, click onto each one to open a larger version in a separate window, and click onto that image to further enlarge it: recommended.

Technique: all pictures were taken with a Fujifilm X-T2 camera and 55-200 Fujinon lens.  All were processed in Lightroom, and then converted to mono with Silver Efex Pro 2.  On the edge of Priddy Mineries Nature Reserve, east of Priddy, on the top of the Mendip Hills, Somerset; 20 Sept 2018.

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