ARCHIVE: STILL LIFE PICTURE GALLERY 3 – POSTS 21 – 30


I’m currently posting images from my large archive of (loosely defined!) still life photos.  These photos are being posted singly, with full text.

To make viewing of these images easier for those with little time to spare, I’m also posting groups of these images with minimal titles.  This is the third gallery – you can find the earlier galleries here: 1 2

Clicking onto each image will open a larger version in a separate window: doing this often enhances the image.

21: Out in our back garden, long ago, looking up at backlit leaves and out of focus highlights in the backdrop.

22: Nightmare! – the distorted reflection of a window seen in a car’s shattered wing mirror found in a gutter; 2004.

23: Tiled roofs, Stanton Drew, near Bristol; 2013.

24: Two women ignoring a pigeon; Bristol; 2013.

25: Jackdaw with electrics; Perranporth; 2016.

26: Cloud, blasted by the sunrise, above our back garden; Bristol; 2005.

27: The King William Alehouse, a favourite watering hole; Bristol; 2019.

28: Plantain from our front garden; Bristol; 2014.

29: Morning sunlight, Christmas Steps; Bristol; 2016.

30: Looking up at sunrise, at the railway station; Bristol; 2016.

ARCHIVE: STILL LIFE 30 – LOOKING UP


 

Another early bus ride into the city, another second breakfast at first light in Hart’s Bakery  – and as I lurched out of that warm, friendly and bustling establishment, the tints of sunrise were above and, looking up, I saw this.

The bird is a gull (aka seagull), and just about to leap off into the air to scavenge the city’s no doubt enticing refuse.  I have Hart’s Bakery, (s)he has Bristol’s rubbish bins.

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

Technique: X-T1 with 55-200 Fujinon lens at 300mm (equiv); 3200 ISO; beside Temple Meads railway station; 9 Dec 2016.

ARCHIVE STILL LIFE

This is a new category on this blog – Archive Still Life studies.  The Still Life definition will certainly be followed loosely – e.g. some studies may only have been made “still” by the split second opening of the camera’s shutter – and my objective will be to use as many different types / genres of subject matter as possible.  Some images will be Minimalist and, in general, I try to make simpler images, rather than cramming them with visual content.

Some new Still Life studies will (hopefully!) continue to appear.



ARCHIVE: STILL LIFE 23 – ROOFS


Tiled roofs at Stanton Drew, Somerset; 7 May 2013.

Repeating patterns have a great appeal to the human eye.  When photographing them, its often good to have an exception – something that breaks the pattern – to act as a focal point in the picture.

Here, the change in orientation of the patterns between the patterns on the two roofs helps, as does the bluish metal along their interface.

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

Technique: D800 with 70-300 Nikkor lens at 300mm; 200 ISO; rotated 90 degrees clockwise.

ARCHIVE STILL LIFE

This is a new category on this blog – Archive Still Life studies.  The Still Life definition will certainly be followed loosely – e.g. some studies may only have been made “still” by the split second opening of the camera’s shutter – and my objective will be to use as many different types / genres of subject matter as possible.  Some images will be Minimalist and, in general, I try to make simpler images, rather than cramming them with visual content.

Some new Still Life studies will (hopefully!) continue to appear.



OUTER SUBURBS 302 – DAWN

 

 


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As Dylan Thomas (certainly inspirational, certainly a hero) put it: the dawn inches up …

Click onto the “early morning” tag (below) to see more images from the early hours of the day. 

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

Technique: TG-5 at 100mm (equiv); 800 ISO; spot metering; Lightroom, starting at the Camera Portrait profile; south Bristol; 8 Dec 2020.
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ARCHIVE KENYA 101 – MENDING A ROOF

 

 

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Adding thatch to the roof of a house on a Luo farm near Akala, in western Kenya; April 1979.

The agricultural west of Kenya, to the west of the city of Kisumu, with rich soils and plenty of rain from the frequent storms which move eastwards from nearby Lake Victoria.  Lush trees and shrubs border the farm’s compound, within which are these roundhouses, which have wattle and daub walls and thatched roofs.

This house’s doorway is outlined in pale orange and the wooden door is ajar.  An old man, an experienced thatcher, has climbed up onto the roof via a homemade ladder, and is adding more thatch.

Chickens scratch around, and the farmer stands beside a pile of thatching material destined for the repairs.

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

Technique: OM-1 with 75-150mm Zuiko lens; Agfa CT18 colour side film, rated at 64 ISO.

THE ARCHIVE KENYA SERIES

I’m re-posting photographs that I took in Kenya over 30 years ago.  You can find more context here .  Click onto the “Archive Kenya” tag (below) to see more of these film images from Kenya.

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OUTER SUBURBS 253 – EARLY MORNING

 

 


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Click onto the “early morning” tag (below) to see more images from the early hours of the day.

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

Technique: TG-5 at 100mm (equiv); 800 ISO; spot metering; Lightroom, starting at the Camera Portrait profile; south Bristol; 10 July 2020.
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ARCHIVE 505 – TIN SHED, ROTATED

 

 


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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.

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

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

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OUTER SUBURBS 206 – EARLY MORNING, WITH TELEGRAPH POLE

 

 


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For those who don’t know them, this is a telegraph pole with telephone lines radiating out from its top.  Telephone engineers carry short ladders that take them up to the footholds on alternate sides of the pole; above these there is a double foothold on which the engineer can place both feet while leaning back, supported by a strap around the pole, to comfortably and safely work on the phone lines.

Click onto the “early morning” tag (below) to see more images from the early hours of the day.

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

Technique: TG-5 at 70mm (equiv); 6,400 ISO; Lightroom, starting at the Adobe Standard profile; south Bristol; 11 Feb 2020.
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OUTER SUBURBS 156 – EARLY MORNING 28 (MONO)

 

 


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The Olympus TG-5 working beyond its comfort zone – looking at a scene quite far off, not long after dawn.  Which means, 1600 ISO, its full 100mm (equiv) telephoto >>> and then using only about 1/6th of the resulting image.  With this small sensor, grain is the result, and quite a bit of processing (detailed below) to produce something even half decent – but I just couldn’t resist the setting Moon!

Other images in this Early Morning series – from both rural and urban settings, and from Kenya too – are here: 1 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 .

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 100mm (equiv); 1600 ISO; Lightroom, starting at the Camera Vivid profile; Silver Efex Pro 2, starting at the Warm Tone Paper preset and adding a medium Coffee tone; Capture NX2; south Bristol; 13 Nov 2019.
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ARCHIVE 281 – THATCHED COTTAGE (MONO + COLOUR)

 

 


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Thatched roof in Wareham, Dorset; 7 Nov 2006.

Technique: use of a 24mm wide angle lens, close in, emphasises the vast, rough bulk of the thatch, making it loom towards the camera, almost filling the frame.  The chimney, totally outscaled, appears to be toppling, again as a result of the distortion of the wide lens.  I originally intended this shot to be monochrome, but the slight tinges of colour in the thatch, the chimney and the plant improve it – instances of low key colour (in this instance, restored colour) adding something.

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

Technique: F6 with 24-85 Nikkor at 24mm; Fuji Provia 400 colour slide rated at 1600 ISO; Silver Efex Pro 2, starting at the Neutral preset and selectively restoring colour.

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