ARCHIVE: LEVELS 67 – MORNING SKY, LOOKING NORTH (MONO)


Looking up, looking to the north, early on a spring morning.

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: X-T2 with 10-24 Fujinon lens at 15mm (equiv); 800 ISO; Lightroom, using the Provia/Standard film simulation; Silver Efex Pro 2, starting at the Landscape preset and adding a Split Tone; Bourtonbridge Drove, Queen’s Sedge Moor, on the Somerset Levels; 26 April 2019.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.



ARCHIVE: LEVELS 66 – THE NORTH DRAIN, LOOKING WEST


Using a very wide angle lens to see a wider angle of view – sharply –  than the unaided human eye ever can: the manmade North Drain flows off slowly towards the horizon, removing water from the often sodden, flat peatlands around it.  Surface water can be seen lying on these rough pastures, but they are not yet actually flooded.  Above, during a period of numerous storms, the tranquil sky of a brief interlude of high atmospheric pressure.

Click onto the image to open an enlarged version in a separate window – certainly recommended.

Technique: X-T2 with 10-24 Fujinon lens at 15mm (equiv); 200 ISO; jpeg created and processed in-camera from a raw file, using the Velvia/VIVID film simulation; no further processing; the North Drain, on Tealham Moor, on the Somerset Levels southwest of Wedmore; 14 Feb 2020.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.

ARCHIVE: STILL LIFE 17 – SEASCAPE


Study in blue – looking out to sea from Lizard Point, Cornwall; 19 Oct 2016.

Composition: a Minimalist image, take away the fluffy cloudlets and there’s really not much here, although it might still (just) work sans nuages.  But I like these little clouds – their shapes, fluffiness and colour – and the way they are at once separate from the dense, dark overcast – their relationship to this overcast is rather like that of little children skipping along beside their humourless, stolid, heavily pacing parents.  There is also that thin, linear break in the parental overcast just above these cloudlets – is it the trace of a smile? – perhaps their parents are not so humourless after all …

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

Technique: X-T1 with 55-200 Fujifilm lens at 305mm (equiv); 400 ISO; Lightroom.

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: LEVELS 50 – GLASTONBURY TOR


Sunrise over Glastonbury Tor; 23 Nov 2012.

As I’ve most probably made clear by now, the Somerset Levels are just that – level.  The areas that I frequent have hills on the horizon –  the Mendips to the north, the Poldens to the south – but essentially they are flatlands.  And usually damp or downright wet flatlands at that.

But, that said, there are isolated small hills in this area which were islands when these flats were marshlands and open water.  And at the eastern end of the Levels that I visit most frequently, there is one hill that is truly iconic, Glastonbury Tor.

Why iconic?  Well, it is a real landmark, visible from far around, and the ruined church tower on its summit, seen here, makes it instantly recognisable, even from far away.   And it has a vast and intriguing history, certainly going far back into the Anglo-Saxon era.  At the time that King Henry VIII destroyed the Catholic monasteries and founded the Church of England, the monastery at Glastonbury was second in terms of power and prestige only to the church’s spiritual centre, Canterbury.

And, in addition to all of this solid history, Glastonbury has a vast swathe of associated myths and legends – as the last resting place of the little known King Arthur, for example.  And then the supposed associations with Joseph of Aramathea and the Holy Grail.  And there is of course its current status as a centre for spirituality and New Age beliefs and, as the site (not far from the town) of Britain’s most famous music festival.

I feel truly grateful to live not distant from this enigmatic and fascinating place.

D700 with 70-300 Nikkor at 300mm; 400 ISO.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.



ARCHIVE KENYA 115 – LAKE NAKURU (MONO)

 

 

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Flamingos on Lake Nakuru, Kenya; Oct 1977.  The soda-rich waters of this lake can host over a million of these birds at a time.

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

Technique:  OM-1 with 28mm Zuiko lens and polariser; Agfa CT18 colour slide film, rated at 64 ISO; converted to mono with Silver Efex Pro.

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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ARCHIVE 586 – CROW, IN WILD SKY

 

 


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Carrion Crow over our back garden, not long after dawn; 27 Nov 2011.

I very much like the limited palette of colours but – as is so often the case – I prefer this version to monochrome.  The crow – which looks for all the world like a Photoshop insert! – is purposely positioned away from any of the composition’s visual strong points, but with space ahead to fly into.  Actually quite a reasonably sized bird, it looks so small here against the vast sky and very solid looking clouds:  this is intentional.

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: D700 with 70-300 Nikkor lens at 200mm; 800 ISO.

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ARCHIVE 573 – MORNING SKY, LOOKING NORTH (MONO)

 

 


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Looking up, looking to the north, early on a spring morning.

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: X-T2 with 10-24 Fujinon lens at 15mm (equiv); 800 ISO; Lightroom, using the Provia/Standard film simulation; Silver Efex Pro 2, starting at the Landscape preset and adding a Split Tone; Bourtonbridge Drove, Queen’s Sedge Moor, on the Somerset Levels; 26 April 2019.

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OUTER SUBURBS 275 – EARLY MORNING 11

 

 


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Cloud and contrail, at sunrise.

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 49mm (equiv); 800 ISO; spot metering; Lightroom, starting at the Modern 01 profile; south Bristol; 4 Aug 2020.
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OUTER SUBURBS 272 – EARLY MORNING 10

 

 


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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 – recommended.

Technique:  TG-5 at 65mm (equiv); 800 ISO; spot metering; Lightroom, starting at the Camera Portrait profile; south Bristol; 2 Aug 2020.

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OUTER SUBURBS 265 – EARLY MORNING 6

 

 


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Walking past an uncertain row of shops at sunrise, and pausing to look up.  There wasn’t much up there but, as can often happen – both in Life and in images too – that didn’t seem to matter.  The bottom line was, that it felt good being there, looking 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 Modern 01 profile; south Bristol; 4 Aug 2020.
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