ARCHIVE 407 – SUBURBIA WITH YELLOW (MONO + COLOUR)

 

 


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Thatcham, Berkshire; 1 June 2016.

Kneeling down in suburbia, beset (but far from besotted) by immaculately manicured lawns, carefully polished cars on tidy drives, hanging floral baskets, TV aerials, overhead wires and, in one disgraceful instance (presumably on the property of a Conservative hardliner), little grottoes populated by garden gnomes – oh spare me the little grottoes!

And I was kneeling down at the road’s edge, perhaps as a penance for allowing myself to become embroiled with suburbia in the first place.

But certainly getting funny looks from a smirking postman – rude boy that he was, Preciousss! (and what was Gollum doing there, snacking from ornamental fish ponds, gorging on koi carp al fresco???) .

Yes, funny looks, perhaps because the sole and fervently uttered prayer on my ageing lips was that I might, in due course, be allowed to regain the standing position without having to call the Emergency Services.

Anyway, there was yellow paint on the road, a little glimmer of untidy gaiety in a landscape otherwise dedicated to ordered comfort and respectability, and I knelt down and photographed it.

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

Technique: D700 with 24-120 Nikkor lens at 24mm; 400 ISO; Silver Efex Pro 2, starting at the Full Dynamic Harsh preset and selectively restoring colour.
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ARCHIVE 398 – DRAIN, WITH KERB, DASHED WHITE LINE AND SKID MARKS (MONO)

 

 


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Drain, with kerb, dashed white line and skid marks; Thatcham, Berkshire; 1 June 2016.

Street scene in downtown Thatcham: shapes, textures and (mainly) curving lines.

Color Efex Pro 4 has been used to give the end result the look of black and white infrared film.

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

Technique: D700 with 24-120 Nikkor lens at 24mm; 400 ISO; Color Efex Pro 4.

POSTSCRIPT: to me, someone who admittedly doesn’t get out much, the curving lines are streaming out across the image from sources along its left margin.  The kerb has just missed the drain, and arrows on through the picture’s lower right corner.  The skid marks are spraying out upwards, towards the image’s upper margin.  But the white line is more accurately set, and we have caught the moment in which it first impacts on the drain’s periphery.  And if all this imagined dynamism – seen through a child’s eyes maybe –  is real, then this isn’t a still life at all, it should not have been originally posted in this blog’s Still Life category, and I have, as the phrase so happily puts it, shot myself in the foot …

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STILL LIFE 71 – CEMETERY 3: AUTUMN (MONO)

 

 

cemetery-3-autumn-mono
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Lines of stones, like those remembered, disappear into mist. 

Autumn leaves adorn lawns. 

And, as Dylan Thomas put it, “Time passes.   Listen.   Time passes.”.

The two earlier images in this series are here and here.

D800 with 24-120 Nikkor lens at 100mm; 1600 ISO; Silver Efex Pro 2, starting at the Antique Portrait preset; Shaw Cemetery, Newbury, Berkshire; 24 Nov 2016.
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STILL LIFE 40 – DRAIN, WITH KERB, DASHED WHITE LINE AND SKID MARKS (MONO)

 

 

drain-with-kerb-dashed-white-line-and-skid-marks-mono
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Drain, with kerb, dashed white line and skid marks; Thatcham, Berkshire; 1 June 2016.

Street scene in downtown Thatcham: shapes, textures and (mainly) curving lines. 

Color Efex Pro 4 has been used to give the end result the look of black and white infrared film.

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

D700 with 24-120 Nikkor at 24mm; 400 ISO; Color Efex Pro 4.

POSTSCRIPT: to me, someone who admittedly doesn’t get out much, the curving lines are streaming out across the image from sources along its left margin.  The kerb has just missed the drain, and arrows on through the picture’s lower right corner.  The skid marks are spraying out upwards, towards the image’s upper margin.  But the white line is more accurately set, and we have caught the moment in which it first impacts on the drain’s periphery.  And if all this imagined dynamism – seen through a child’s eyes maybe –  is real, then this isn’t a still life at all and I have, as the phrase so happily puts it, shot myself in the foot … 
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STILL LIFE 39 – CUSHION

 

 

cushion
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At the home of a lover of cats, in Thatcham, Berkshire; 1 June 2016.

A day of family duties, over far east of my usual stamping grounds, over far east of where I feel truly at home.

Not wanting to be weighed down by lots of gear, I chose to take only the 24-120 zoom, which is a really handy lens for all sorts of occasions.  I’ve even covered a christening with it.

This shot was taken with the D700.  But using this lens with the far higher pixel D800, which allows a meaningful 1.5x magnification of focal lengths in DX format, this lovely piece of glass can become 24-180, which is even more useful. 

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

D700 with 24-120 Nikkor at 78mm; 6,400 ISO; Color Efex Pro 4.
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STILL LIFE 38 – SUBURBIA WITH YELLOW (MONO + COLOUR)

 

 

suburbia-mono-colour
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Thatcham, Berkshire; 1 June 2016.

Kneeling down in suburbia, beset (but far from besotted) by immaculately manicured lawns, carefully polished cars on tidy drives, hanging floral baskets, TV aerials, overhead wires and, in one disgraceful instance (presumably on the property of a Conservative hardliner), little grottoes populated by garden gnomes – oh spare me the little grottoes!

And I was kneeling down at the road’s edge, perhaps as a penance for allowing myself to become embroiled with suburbia in the first place. 

But certainly getting funny looks from a smirking postman – rude boy that he was, Preciousss! (and what was Gollum doing there, snacking from ornamental fish ponds, gorging on koi carp al fresco???) .  

Yes, funny looks, perhaps because the sole and fervently uttered prayer on my ageing lips was that I might, in due course, be allowed to regain the standing position without having to call the Emergency Services.

Anyway, there was yellow paint on the road, a little glimmer of untidy gaiety in a landscape otherwise dedicated to ordered comfort and respectability, and I knelt down and photographed it.

D700 with 24-120 Nikkor at 24mm; 400 ISO; Silver Efex Pro 2, starting at the Full Dynamic Harsh preset and selectively restoring colour.
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