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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PEOPLE 246 – GOING TO WORK 14 (MONO)

 

 

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Morning rush hour, Bristol Bridge; 2 Dec 2016.

Just around sunrise on a sunless Friday morning, a steady stream of souls moving over the bridge – one of the city’s main arteries – people moving towards and past my lens, people moving in towards the city centre. 

Well, cold and sunless it was, but in many hearts and minds I’m sure was the warm hope and glow produced by – “TGIF!” >>>  “THANK GOD ITS FRIDAY!!!”.

And so to Friday mid-morning and lunch time treats: the cakes, fast food, artisan sandwiches, convivial lunches, a few drinks maybe – all very much looked forward to and savoured. 

And recently on the news some sad health professional was saying that workers should not have Friday treats as they’re bad for health.  Which leads to two thoughts.  Firstly an urge for the uttering of really very basic Anglo-Saxon expletives which, this being a wholesome and chaste blog, remain firmly bottled up (where they do nothing but ferment nicely, of course).  Followed by the feeling that sometimes the UK can be a rather sad place; there are times when we seem to have forgotten how to enjoy ourselves.

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

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

D700 with 70-300 Nikkor lens at 300mm; 25,600 ISO; Silver Efex Pro 2, starting at the High Contrast Smooth preset.
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PEOPLE 245 – GOING TO WORK 13 – AND HAPPY CHRISTMAS!!!

 

 

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First things first >>> a very HAPPY CHRISTMAS to you all!!!  And many of them too!!!

And so to a bus driver, before sunrise, wearing a Santa hat as he prepares to pull out into the traffic near Temple Meads, Bristol’s main railway station – a grab shot made possible by the D700’s instant and unerring autofocus.

Things to see?  Well, the 376 is on its way south to the Somerset town of Street, which is so named because there is a Roman road nearby.  It will also call at nearby Glastonbury – the second half of that iconic destination’s name can also be seen up there on the front of the vehicle.

The driver has his cab light on, and is looking up checking something in his cab.  As well as his Santa hat, he is wearing his seatbelt, and he has hung his yellow, high visibility jacket up behind him.  Then, faintly seen, there is the curved, black top of the vehicle’s steering wheel, just catching the light.  And to the right the ALMEX machine that reads travel cards and prints tickets.

To the right is the transparent (but reinforced) plastic screen with many holes – which allows the driver to communicate with his passengers, while being kept safely away from those who might feel constrained to become “over-familiar”.  And further back are some of the vehicle’s seats, and the stout pink bars for hanging onto while the vehicle navigates Somerset’s twisting roads and lanes.

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

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

D700 with 70-300 Nikkor lens at 300mm; 25,600 ISO; 23 Dec 2016.
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PEOPLE 244 – GOING TO WORK 12

 

 

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Morning rush hour, and a bus swings past me near the railway station.  My thumb presses the AF-ON button like there’s no tomorrow – and I’ve time for just a single frame before the scene whirls on by.

Its not sharp, its not good quality – but then, is quality really important?  I’d rather have content and the moment, and here is the feeling of a winter morning’s bus ride into work, in this case a bus run by one of Bristol’s smaller companies who have twirled festive tinsel here and there regardless of expense(!), which I do think a nice touch – a small but very human touch perhaps, amidst the festive season’s burgeoning commercialism.

Outside the bus, it’s cold and dark, and there’s a strange and slightly unsettling old man with a large camera. 

But inside this hurtling, wheeled, glass and steel behemoth all is bright, close and warm, very probably overwarm because the heating is turned right up, and everyone is packed tightly in and wrapped up tropically against the winter’s cold.  Most gaze down into their mobile phones, a good source of distraction from this unenjoyable but necessary reality.

When I travelled in buses like this at hours of the day like this, I often didn’t want to get to where I was going, but I went there anyway.

Earlier images from this series are: hereherehere, herehere, here, here, here, here, here and here.

Click onto the image to open a larger version in a separate window – only as I’ve said, its not sharp.

D700 with 70-300 Nikkor lens at 300mm; 1/100th, wide open at f5.6; 25,600 ISO; central Bristol; 2 Dec 2016.
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