PEOPLE 318 – GOING TO WORK 51

 

 


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What is this picture looking at?  Well, one aspect of the packed in and claustrophobic nature of Modern Humanity.  Here is the daily movement of human beings from the warm, insulated and comfortable womb of the home to the stark and absolute, exposed reality of the workplace.

Here is each day’s otherwise shadowy and tranquil awakening being polluted by congestion, engine noise, vehicle horns, exhaust fumes, emergency sirens and the glare of head and tail lights.

Does the phrase a necessary evil describe it, I wonder?

Details: the sun has yet to rise, and a main road going southeast out of the city – the road to Bath and to Wells too – is already filled with traffic.

Earlier images from this series can be found here: 1, 2, 3, 45, 6, 7, 8, 9, 10, 11, 1213, 14, 15, 16, 17, 18, 19, 20, 21, 22, 2324, 25, 26, 27, 28,  29, 30,  31,  32, 33  34  35  36 37  38 39 40 41 42 43 44 45  46 47 48 49 50 .  Each will open in a separate window.

Clicking onto this image will open a larger version in a separate window, and clicking onto that will further enlarge it.

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 6400 ISO; Lightroom, using the Astia/Soft film simulation; Temple Gate, Bristol; 2 Feb 2018.

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STILL LIFE 195 – PHOTOS FROM A DRENCHED CAR: 2

 

 


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Photos taken through the streaming windows of my car during a torrential rainstorm – context and further images can be found here.

The upper image is very easy to decipher – assuming that you feel the need when faced with anything at all abstract, to know what you’re looking at – which most people do.  Its a car parked on the other side of the road with its headlights reflecting off the wet tarmac.

The lower image is a little more obscure.  Its a row of houses with – in the lower right hand corner – a woman walking under an umbrella.  Can you see her???

Click onto each image to open a larger version in a separate window.  You can click onto this larger image to enlarge it still further, but these images are very grainy.

Technique: TG-5 at 100mm (equiv); 3200 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 15 Jan 2018.
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ARCHIVE 339 – DRIVING IN TOWN

 

 


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Early morning Bristol, seen from the upper deck of a double-decker bus; 0650 15 Dec 2011.

This dates back to the time – not so very long ago – before my retirement.  In those days, come rain or shine, five days of every week saw me taking the 6.30am bus to work from the bottom of our road.  Many of our buses are huge double-deckers and, still being something of a little boy, my favourite seat is upstairs, at the front, where there is a wonderful view out ahead.

The little Canon fitted easily into the rucksack containing my lunchtime apple and sandwiches, and my brolly and security pass, etc., and up there in the front seat, looking down into this camera’s bright screen gave a good view of the road ahead, even early on dark December mornings.

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

Technique: Canon PowerShot G11; 3200 ISO.

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PEOPLE 313 – GOING TO WORK 47: APOCALYPSE (MONO)

 

 

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This is obviously not a representation of reality – or, if it is, then maybe you shouldn’t be thinking of Bristol for your holiday this year ….

What’s here?  Well, spot metering for the highlights has produced a low key image, and this effect has been enhanced by further darkening during toned black and white processing.  What was in reality a clear, sunny morning has been converted into something less comfortable – we are conditioned to be afraid of the dark, right?

The huge, backlit double-decker buses, their headlights on, tower above people walking passively – perhaps even hypnotically – towards them, while the Tin Type tone spreads its cold, lifeless glow through the highlights.

The more I look at this picture the more it has an apocalyptic feel.  Just what is this – the End Of Days?  Some appalling human cleansing operation?  Just where are these vast metal and glass machines carrying these people off to?  Have Bristol’s retail emporia finally emptied of merchandise in the run up to Christmas, and are these the Lemming Specials that take shoppers on cold turkey to the nearest precipitous cliffs???  >>> LOL! >>> sheer fantasy! >>> the churnings of an over active mind! >>>  but then that’s what photography – and especially black and white – can do for you.

Earlier images from this series can be found here: 1, 2, 3, 45, 6, 7, 8, 9, 10, 11, 1213, 14, 15, 16, 17, 18, 19, 20, 21, 22, 2324, 25, 26, 27, 28,  29, 30,  31,  32, 33  34  35  36 37  38 39 40 41 42 43 44 45  46 .  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 – recommended.

Technique: X-T1 with 55-200 Fujinon lens at 305mm (equiv); spot metering; 200 ISO; Lightroom; Silver Efex Pro 2,  starting at the Tin Type preset; Broad Quay, central Bristol; 11 Nov 2016.
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STILL LIFE 189 – PHOTOS FROM A DRENCHED CAR: 1

 

We had a worse than usual weather forecast recently – oodles of rain and wind, maybe with hail, thunder and snow thrown in too – oh joy!  And, leaving the house, I knew that I was going to have to wait around in the car for sometime at some point.  So I popped the TG-5 TOUGH camera into my pocket, just I case.  This little camera is distinctly useful – very handy indeed to carry around, extremely sturdy, waterproof and difficult to damage, and it shoots RAW and has image stabilisation.  The only real minuses for me are the lack of a viewfinder and the fact that the screen is fixed ie non-articulated – but you can’t have everything!  Reviews put it in a class of its own, out in front of other TOUGH cameras.

Anyway,  sure enough, as I sat waiting in my car later in the day, the winds shrieked and the heavens opened.  A deluge clattered across the car’s roof and writhed in torrents down the windows.  And suddenly, looking at those windows, I was encased in a clattering, swirling, flowing and very misty world.  Surreal patterns and images were flowing, forming and re-forming all around me.  I pulled out the TG-5 and started looking into its screen.

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

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The rainstorm, viewed through my car’s windscreen, just after using the wipers: a white car is parked in front of a row of Victorian houses built of honey-coloured Bath Stone.
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The same scene, taken before using the windscreen wipers.  The car is breaking up , becoming ever more abstract, as rainwater pours across the glass.

Technique: TG-5 at 100mm (equiv); 3,200 ISO; Lightroom, using the Camera Vivid film simulation; south Bristol; 15 Jan 2018.
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PEOPLE 311- GOING TO WORK 45

 

 


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The early bus, and a single passenger, impassive, quite small within the frame, seen through a grimy bus window and surrounded by the steamy, colourful, half-seen world of the city commute.

To me there is something quite formal about this image, almost like a picture of someone in an identity parade – I think these feelings derive from the profile view, the completely conventional sitting pose (there’s something almost military here), the dark clothes, the impassive expression and the conventional haircut – almost Mr Everyman, en route (and maybe on autopilot too) for his workstation.

Earlier images from this series can be found here: 1, 2, 3, 45, 6, 7, 8, 9, 10, 11, 1213, 14, 15, 16, 17, 18, 19, 20, 21, 22, 2324, 25, 26, 27, 28,  29, 30,  31,  32, 33  34  35  36 37  38 39 40 41 42 43 44 .  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 yet again.

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 6400 ISO; Lightroom, using the Velvia/Vivid film simulation; Union Street, central Bristol; 15 Dec 2017.
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PEOPLE 304 – GOING TO WORK 38

 

 


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Sunrise glistens on the road, as fast moving rush hour traffic turns sharply into Broad Street.

My ever over-fertile imagination conjures up the thought of the slipstream of these vehicles sending The FATman pirouetting backwards into a nearby fashionable men’s barbering salon (Now then, squire, we don’t serve your type in ‘ere!), but the reach of a 305mm lens does a lot to keep me out of trouble, while my appearance in such an establishment would be more of a surreal fiction than even this blog can support.

Earlier images from this series can be found here: 1, 2, 3, 45, 6, 7, 8, 9, 10, 11, 1213, 14, 15, 16, 17, 18, 19, 20, 21, 22, 2324, 25, 26, 27, 28,  29, 30,  31,  32, 33  34  35  36 37 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 yet again.

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 200 ISO; Lightroom, using the Astia/Soft film simulation; Broad Street, central Bristol; 15 Dec 2017.
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STILL LIFE 177 – WINTER SUN, IN A CAR PARK 2

 

 


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Looking low in the car park next to Temple Meads Station, just as the bright winter sun clears the skyline and floods the area with light.

I posted the lower picture a few days back, but then started looking at another version, which is the upper shot here.  I like both of these pictures for their great simplicity, their Minimalism.  There’s not much here, its just the nearside front wheel of a red car.  But then I’m a great believer that there need not always be a lot in a picture – and that one of the great no-no’s in photography is having too much in a picture!

But which of these pictures do I prefer, and why?  I’ve processed them slightly differently: the colour of the car’s bodywork is slightly paler in the upper photo – but then the upper photo is slightly higher key in some areas, it has slightly paler tones, and some burnt out highlights too >>>>> the photographic purists amongst you may not sleep too soundly tonight …..

I prefer the upper image because of its higher (and, yes, burnt out) tones, and the way in which the convex curve of the lit up tyre slightly mirrors the slight curve of the very high key and slightly burnt out highlight on the left.  And I prefer the upper image because is even simpler, more Minimal, than the lower image.  The details of the wheel’s hub and spokes have all gone, and there are simply three curves that are convex to the left, and that single straight dark line at lower left.  If I were a purist (now there’s a surreal thought!) I might have washed the car before firing at it too …..

Which of these two images do you prefer?  Do you agree with my choice, or do you have a quite different take on things?  Let me know >>> its always good to hear others’ views!

And so to a very firmly held mantra – one, perhaps, that six years of blogging have hammered into me >>>  in photography (as in many other things), there are no rights and no wrongs, there are only differing, subjective, visual opinions.

Click onto each 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 206mm (equiv); 800 ISO; Lightroom, using the Velvia/Vivid film simulation; car park beside Temple Meads Railway Station, Bristol; 1 Dec 2017.

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PEOPLE 301 – GOING TO WORK 36

 

 


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Steamy windows on the winter bus and there’s tedium in the air too – but mobile devices distract.

Earlier images from this series can be found here: 1, 2, 3, 45, 6, 7, 8, 9, 10, 11, 1213, 14, 15, 16, 17, 18, 19, 20, 21, 22, 2324, 25, 26, 27, 28,  29, 30,  31,  32, 33  34  35  . 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 further enlarge it – recommended.

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 3200 ISO; Lightroom; Union Street, central Bristol; 1 Dec 2017.
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STILL LIFE 174 – WINTER SUN, IN A CAR PARK

 

 


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Low angle winter sunlight floods across a car park, illuminating a front tyre.

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 206mm (equiv); 800 ISO; Lightroom, using the Velvia/Vivid film simulation; Capture NX2; Temple Meads Station, Bristol; 1 Dec 2017.
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