PEOPLE 278 – GOING TO WORK 24

 

 


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A poppy for Remembrance – this being the eleventh day of the eleventh month – and a hot drink to ease the start of work on a Friday morning: people walking to work over Bristol Bridge, appearing closely bunched together due to the effect of the telephoto lens.

Poppies for Remembrance,  reflecting the hordes of these red flowers that grew so well on the soils of the battlefields of the First World War, the soils that has been so churned up by artillery shells and the digging of fortifications.    This was the “War To End All Wars”, but of course it was not that at all – and these Bristol workers are within sight of the shell of a church burnt out by incendiaries (which is now preserved as a monument), and another still scarred by shrapnel, from bombing during the 1939-45 conflict.

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  and 23 .  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-T1 with 55-200 Fujinon lens at 305mm (equiv); 400 ISO; Lightroom; Color Efex Pro 4; Bristol Bridge, central Bristol; 11 Nov 2017.
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PEOPLE 277 – GOING TO WORK 23

 

 


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Red light in the rush hour:  queuing traffic, frustration, cold winter sunshine.

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 and 22.  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-T1 with 55-200 Fujinon lens at 305mm (equiv); Lightroom; Bristol Bridge, central Bristol; 11 Nov 2016.
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PEOPLE 275 – GOING TO WORK 22

 

 


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Morning light in the city centre: blazing, angled glare, deep shadows, shiny cars, graffiti –  the walk to work through a very human, if dehumanising, landscape.

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 and 21.  Each will open in a separate window.

Click onto the images to see enlarged versions in separate windows, and click upon these enlarged images to enlarge them yet again.

Technique: X-T2 with 55-200 Fujinon lens at 305mm (equiv); 400 ISO; Lightroom, using the Velvia/Vivid film simulation; Fairfax Street, central Bristol; 19 May 2017.

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PEOPLE 261 – GOING TO WORK 21

 

 


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Woman driver, an anonymous someone in the morning rush hour – a picture to look deeply into, almost abstract, a traveller cocooned in a cacophony of reflection.

Again a grab shot, the traffic surged forward, momentarily paused, and there was just time for a single, frantic shot before the great metal torrent streamed off again on its way into the city.

This is a restricted crop from the very centre of the image, but the X-T2’s 24 megapixels in the less than full-frame sized APS-C sensor certainly helps when using such small parts of the capture.

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 and 20.  Each will open in a separate window.

Click onto the image to open a larger version in a separate window, and click on the enlarged image once more to further enlarge it.

Technique: X-T2 with 55-200 Fujifilm lens at 276mm (equiv); 12,800 ISO; Lightroom; Temple Gate, Bristol; 24 Feb 2017.

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PEOPLE 260 – GOING TO WORK 20 (MONO)

 

 


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Morning rush hour, Bristol Bridge; 2 Dec 2016.

Standing on Bristol Bridge, just about at sunrise but with the sun obscured by heavy, going-to-work, overcast.  Pointing my damned great Nikon into the flow of souls heading for the city centre and, once more, I’m on someone’s radar.  Perhaps I’ll get a dayglow safety jacket – I’ll be even more conspicuous then, but at least everyone will think I’m there in some official incapacity.

Technique: a small crop from a full-frame image, with the D700 working near the top of its sensitivity range – only one more stop of ISO above this.  And so to blur, grain and noise, and with SEP2 probably introducing yet more grain, but that’s fine with me – suits the subject, suits the time of day, suits the mood permeating this daily, mass migration of souls.  The D700 is a wonderful camera, ergonomically a joy to use and with fast, accurate autofocus,  a camera I’ve always wanted with me in any tight or difficult photographic situation.  But there’s no getting away from the facts that it is now around nine years old, and that digital camera sensor design has moved on considerably since those days – something to talk more about  another time.

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 and 19.  Each will open in a separate window.

Click onto the image to open an enlarged version in a separate window, and click upon the enlarged image to enlarge it yet more >>> if you really want to get a good look at all this grain!

Technique: D700 with  70-300 Nikkor lens at 300mm; 12,800 ISO; Lightroom; Silver Efex Pro 2, starting at the Yellowed 1 preset.
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PEOPLE 256 – GOING TO WORK 19

 

 

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The overcrowded and overwarm world of the bus to work in winter: morning rush hour, Temple Gate, Bristol; 24 Feb 2017.

Technique: a desperate grab shot.  As has happened before, a bus full of rush hour commuters passes and there is time for a single shot – only I’d failed to raise the ISO in the poor light, and so to a moving target and an exposure of 1/10th second with a 276mm (equiv) telephoto and (mercifully!) image stabilisation on (as it always is).  And, of course, less vibration because of the lack of mirror slap on a mirrorless camera.

Earlier images from this series can be found here: 1, 2, 3, 45, 6, 7, 8, 9, 10, 11, 1213, 14, 15, 16, 17 and 18.  Each will open in a separate window.

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

Technique: X-T2 with 55-200 Fujinon lens at 276mm (equiv); 800 ISO; Lightroom.
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PEOPLE 252 – GOING TO WORK 18 (MONO)

 

 

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Morning rush hour, central Bristol – waiting at traffic lights to cross a busy road near Temple Meads railway station.

Technique: a picture in two parts, bisected by that central, dark, out of focus column, which is the pillar supporting the traffic lights.  This column has various marks on its surface, and those are left in to give it more substance and detail, to get away from it being merely an abstract, featureless, dark band cutting down through the image – this is a real city, with dirt and marks on it.  On the left, people stare across the road, waiting for the lights to change, and the face with the dark hat, glasses frames, moustache and beard provides a focal point.  And on the right, the helmeted cyclist, the image’s main subject, has the FATman and his great big, pointing Nikon firmly on his early morning radar.

Earlier images from this series can be found hereherehere, herehere, here, here, here, here, here, here, here, here, here, here, here and here.  Each will open in a separate window.

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

Technique: D700 with 70-300 Nikkor lens at 300mm; 25,600 ISO; 1/80, wide open at f5.6; Silver Efex Pro 2 starting at the High Contrast Orange preset; 2 Dec 2016.
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PEOPLE 251 – GOING TO WORK 17

 

 

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Morning rush hour, Broad Quay, central Bristol; 11 Nov 2016.

Technique: spot metering is linked to the active autofocus point, always a useful thing to have handy; and I’ve used spot metering to expose for the highlights to create a low key image.

So, no detail, Minimalism, just two people going to work – anonymous – in the gloom.

Earlier images from this series can be found hereherehere, herehere, here, here, here, here, here, here, here, here, here, here and here.  Each will open in a separate window.

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

X-T1 with 55-200 Fujinon lens at 305mm; 400 ISO.
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PEOPLE 250 – GOING TO WORK 16

 

 

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The morning rush hour, and I’m on a traffic island in the middle of Bristol’s Victoria Street, a busy main road, with traffic pouring towards me on its way up into the city centre.

A small Peugeot appears.  Its headlights are off, but those of the following vehicle are bright. I switch the camera to spot metering, meter for the headlights’ glare, and fire.  And here are a couple – totally anonymous in the shadows now –  on their way into work.

The picture is tightly cropped so that the small car looms almost menacingly in the frame.  The camera’s automatic white balance picks up the warmth of the following car’s lights on the road surface, but the Peugeot’s tinted windows cool this colour.

This is not, of course, reality; it was taken almost two hours after sunrise, albeit on a very dull morning.  It is how I like to visualise the scene for this image.

Other images from this series can be found hereherehere, herehere, here, here, here, here, here, here, here, here, here and here.

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

X-T1 with 55-200 Fujinon lens at 305mm (equiv); 400 ISO; 11 Nov 2016.
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PEOPLE 249 – GOING TO WORK 15

 

 

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Just before sunrise, and the morning bus to work grinds its way slowly along Victoria Street, in central Bristol; 2 Dec 2016.

Here are the steamy windows of winter transport and, upstairs, three ways of co-existing with them.  The blond on the left has wiped her window to see out but now turns her back on the outside world, preferring to talk to someone perhaps, or preparing to exchange the warmth of this collective and moving womb for the sudden chill of daybreak’s reality.  How many times did I wish that the morning bus ride to work world go on and on, warm and safe, forever, and that I’d never have to get off???

The woman in the centre has wiped her window, and stares disconsolately out. 

The man in front of her has let his window mist over, and is now staring ahead, lost perhaps in thought about the day ahead, anticipating his boss’s whims perhaps – or are the whims all his own?

And downstairs, below the advert for Christmas cheer,  a single, misted face.

Earlier images in this series can be found hereherehere, herehere, here, here, here, here, here, here, here, here and here.

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

D700 with 70-300 Nikkor lens at 300mm; 25,600 ISO; 1/125th, wide open at f5.6.
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