STILL LIFE 236 – FENCE POST (MONO)

 

 


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Beside the road, on the way into the village of Stanton Drew.

The camera was tilted, to bring the post (further) away from the vertical.  The post has a slit through which light can be seen, and it not a pure silhouette: some of its rough, corroded surface texture is just visible.

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-T2 with 55-200 Fujinon lens at 105mm (equiv); 200 ISO; Lightroom; Silver Efex Pro 2, starting at the Strong Infrared High Contrast preset; Capture NX2; Stanton Drew, near Bristol; 6 July 2018.
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STANTON DREW 49 – PARADISE 2

 

 


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Not sure this is Paradise but, if it is, I wasn’t allowed in.  Even, in desperation, venturing to mention my untarnished soul failed to gain me entry, the general feeling being that, if my soul really is in such pristine condition, I must have had it Photoshopped.

The first picture of Paradise, of a rather more accepting and welcoming scene, can be found here .

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

Technique: X-T2 with 55-200 Fujinon lens at 83mm (equiv); 800 ISO; Lightroom, using the Velvia/Vivid film simulation; Stanton Drew, near Bristol; 6 July 2018.
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STANTON DREW 48 – VILLAGE LIFE 14

 

 

 

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Still quite early, only around 7.30am, but we western Brits have been having a certainly unusual heatwave this past week or so, and the midsummer sun was already very warm.

Having grown up alongside  a big tom called George, I have always had a great love for cats.  This one was not 100% sure about me (although we have in fact met before), but he was just too warm and comfortable to do anything about it.

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

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 400 ISO; Lightroom, using the Provia/Standard film simulation; Stanton Drew, near Bristol; 6 July 2018.

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STANTON DREW 47 – IN LOVING MEMORY OF

 

 


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

As with all things (and not least photography!) there is a vast spectrum of attitudes to, and beliefs and thoughts about, death.  I don’t profess to have any answers here, except to think that the deceased live on in the thoughts and memories of those who knew them.  And of course I’m not just talking about people: the same is certainly true of some animals too.  Pets are the most obvious example, and I find myself thinking often of the cat that I grew up alongside, who died 55 or so years ago: clearly he means a great deal to me, more so than I have previously realised.  Is this the wisdom and insight of old age, or burgeoning (and quite possibly drink-induced) sentimentality?  Well, whatever it is, I value it.

Being remembered by mortals is not of course anything like immortality, and the same is very true of the sentiments expressed on this weathered and decaying gravestone: it was quarried from the ground and, slowly but surely, hard rock though it may be, it is returning there.

Recalling those who have died can give rise to a whole gamut of emotions, ranging from warm happiness and humour, to regret and great sadness.  But, nevertheless, we remember, and I do find that a very valuable and human thing.

Technique: X-T2 with 55-200 Fujinon lens at 234mm (equiv); 1600 ISO; Lightroom, using the Classic Chrome film preset; Stanton Drew; 6 Nov 2017.
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BIRDS 107 – CHICKEN 5

 

 


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Once again, up close and personal – in close with a long telephoto.  I love getting in close like this to living things, both in terms of being there with them, and also of seeing the resulting very shallow depths of focus.

The expression is one of  consternation and horror – well, its not unknown for me to have that effect.   I like the curve of the body from the head out to the tail.  Compositionally, viewing the image from left to right as we Westerners do, the sweep of the creature’s back leads my eye into the photo and up and on to the in-focus face.

Other pictures of these birds, and context, are herehere and here.

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-T2 with 55-200 Fujinon lens at 305mm; 3200 ISO; Lightroom, using the Astia/Soft film simulation; Stanton Drew, near Bristol; 4 May 2018.
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STILL LIFE 223 – THREE FLOWERS

 

 


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Three flowers. 

One up close and personal: solid, real, in our world, in our face too maybe but, in any case, in the way we see things. 

The other two are hazy, more remote; vague, they are imperfect impressions of reality, such as might appear in our dreams, or under the influence of myopia or intoxication.  And yet these vague impressions reflect the human condition if not visual reality – one is damaged, wounded; the other marginalised and only partly seen.  

And all are pallid, desaturated; they are pale representations of how the world ought to be.

Technique: this effect has been produced in Lightroom, by setting Vibrance to -100 and reducing Contrast.  Today there’s mostly a trend towards either bright, attention-grabbing, vivacious colours or no colour at all – black and white.  But between the two lie many possibilities – possibilities that I for one frequently forget to consider.

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

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 400 ISO; Lightroom; Stanton Drew, south of Bristol; 4 May 2018.
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BIRDS 105 – CHICKEN 4

 

 


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A final image of the “chickens on the traffic island” on the village of Stanton Drew, south of Bristol.  Am I in love with birds?  Of course I’m in love with birds, even dinosaurs like this!

And this raised up garden/traffic island in Stanton Drew makes it so easy to get down to ground level beside these busy and noisy creatures.

Other pictures of these birds, and context, are here , and here .

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

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 1600 ISO; Lightroom, using the Astia/Soft film simulation; Stanton Drew; 6 Nov 2017.
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STILL LIFE 198 – MEGALITH 5 (MONO)

 

 


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Amongst the prehistoric ritual stones at Stanton Drew, in the Chew Valley south of Bristol.

Other images of these ritual stones are here: 1  2  3 4 .

More info about this prehistoric site is here .

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

Technique: X-T1 with 10-24 Fujinon lens at 14mm (equiv); 200 ISO; Lightroom, using the Velvia/Vivid film simulation; Silver Efex Pro 2, starting at the Tin Type preset; Stanton Drew, in the Chew Valley south of Bristol; 6 Nov 2017.

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STILL LIFE 192 – AUTUMN 3

 

 


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Autumn leaves and lichen inside an old and very weathered pot for flowers; on a grave, on a frosty morning, in the cemetery at Stanton Drew.

Earlier Autumn posts are here: 1 2 .

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

Technique: X-T2 with 55-200 Fujinon lens at 238mm (equiv); 3200 ISO; Lightroom, using the Velvia/Vivid film simulation; Stanton Drew, in the Chew Valley, south of Bristol; 6 Nov 2017.
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STILL LIFE 188 – MEGALITH 4 (MONO)

 

 


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Amongst the prehistoric ritual stones at Stanton Drew, in the Chew Valley south of Bristol.

Other images of these ritual stones are here: 1  2  3 .

More info about this prehistoric site is here .

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 10-24 Fujinon lens at 15mm (equiv); 200 ISO; Lightroom, using the Provia/Standard film simulation; Silver Efex Pro 2, starting at the Full Dynamic Harsh preset and adding a light coffee tone; Stanton Drew, in the Chew Valley; 6 Nov 2017.
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