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Colour version of a recent photo from Macclesfield's Treacle Market. I love the vintage feel of this stall :)
Runner up in the Landscape category of the Practical Photographer magazine Photographer of the Year competition 2010. Ian Bramham won the round with Cloud Machine, and in my mind was unlucky not to scoop the overall prize with his amazing shot:
The colour in the sky was being reflected in the wet sand, so I thought it was time to play with some long exposure panning shots. This is taken on Berrow beach and is a 2 second exposure. The camera was mounted on a tripod to try and keep the horizon level.
It’s been a busy week but I still earmarked one day to get out with the camera, preferable in November and still officially in autumn. With many of the trees in my area still having a little colour it was to be in my minds eye autumns last hurrah. With most of Britain sitting in a pocket of high pressure and stagnate cold air producing mist and fog I was champing at the bit to get into the woods. I started my journey in my now quiet car with the temperature reading 5c and before I got of the drive the frost warning pinged as it hit 4c. The mist was about but as soon as I hit Northumberland 15 mins up the road I was in a pea souper and then I watched the temperature drop a degree every 10 miles, by the time I reached my destination it was minus 2 and frosty white. To say I was excited was an under statement I was about to get to my favourite wood in superb conditions, a wood I’d been coming to for over 2 years and must of made at least 15 visits, excited I was wetting myself. However some places have their own micro-climate and this place is one. After boasting how well I knew this place I should have known, winter had well and truly arrived, the leaves and colour had vanished other than the marcescent leaves of the odd oak. As the saying goes you can’t have everything but next time I come here I want to catch falling snow, or am being just greedy.
Baskets full of colour at Issigeac Sunday market. This fantastic market fills the streets of the 13th/16th century town in the Dordogne France.
We are now into the dregs of winter and the rotten ice season. The mind-numbing cold snap has ended and temperatures are soaring, but they still drop overnight, thus creating a melt-refreeze cycle and some interesting ice to photograph.
On this day, I decided to use the still-frozen river as a quick route to approach and then sneak up on some bison. The bison were too wary and savvy, so no great shots came from the effort. But walking back in the warming afternoon sunshine - and hearing the occasional ominous crack of ice splitting somewhere down beneath my boots - I came upon a beaver dam. The ice there was thinner and therefore more dangerous. However, I managed to get to the edge of a break by slithering forward on my belly (thus distributing my weight evenly).
Unfortunately I had left my pack in the car, stuffing only a lightweight 50mm lens into my pocket at the last moment, as an all purpose backup for the tele zoom I used on the bison. A macro lens and tripod would have been preferable. Nevertheless, by bracing my camera on the ice I was able to shoot stopped down (for maximum DOF) with a relatively slow shutter. The warm light of late afternoon contrasted beautifully with the cool blue ice, so my effort was rewarded.
Photographed along the Frenchman River in Grasslands National Park, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission ©2021 James R. Page - all rights reserved.
Made a quick trip to Cambois this morning and, despite the weather forecast and the flat grey skies when first arriving, was awarded with a few minutes of subtle pinks in the sunrise.
[Explore #159]
In this image I've tried to experiment with several ideas:
1) I've taken the motif of the first ever photography, "View from the Window at Le Gras," created by Joseph Nicéphore Niépce between 1826 and 1827 in Saint-Loup-de-Varennes, France
2) The theory of creating colour images after James Clerk Maxwell's three-colour method first suggested in a paper on colour vision (1855).
3) The application using a carbon print - an image consisting of a pigment, rather than of silver or other metallic particles suspended in a uniform layer of gelatin invented by Alphonse Poitevin in 1855.
4) The use of the carbon process, as it was was later adapted to colour, through the use of pigments, by Louis Ducos du Hauron in 1868. The carbon process can be used to create colour images by using a three-transfer process with three seperate negatives exposed through red, green, and blue filters. These negatives are then printed on separate sheets of carbon tissue, each containing a different pigment (cyan, magenta, and yellow). The resulting images are transferred one at a time onto a final support, creating a full-colour carbon print.
Flickr Lounge ~ Autumn Colour
Thank you to everyone who pauses long enough to look at my photo. Any comments or Faves are very much appreciated
A very quick run out yesterday morning to catch sunrise, then back home for breakfast. The colour turned out really good so was definitely worth the early start. This was taken with my old 35mm f2.8 AIS lens which has been sat in my drawer for the past couple of years. I had forgotten just how sharp this little lens is!