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Marshland in Tavira Island, that is flooded and drained by salt water brought in by the tides. This is a protected area to preserve several marine species, namely several bird species.
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Shot taken from the side of F985 in south-eastern Iceland. Off to the right of frame an enormous waterfall fed the river below. It had 7 tiers of about 10-20m each in height, covering about 150m from top to bottom. And it was unnamed.
Canon EOS 5D Mark II, Canon TS-E 24mm f3.5L, ISO 100, f7.1 at 1/250 second.
Halifax, West Yorkshire, UK.
Still enjoying a root through the archives, and something to cheer you up for a Tuesday evening!
Camera: Zeiss Ikon Contax II (1936-42)
Lens: collapsible Carl Zeiss Jena Sonnar 1:2 f=5cm
Shanghai GP3 100 black&white negative film, exposed at ISO 50
LoRes lab scan
As the city lights illuminate the sky from below, a Coney Island bound F Train climbs over the Gowanus Canal.
Brooklyn, NY
her dream was light,
its existence so sheer,
like flowers fall,
their beauty so fleeting.
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model/makeup/hair: Kagetsuki
photo/direction: me
assistant: chris wolf
Tokyo, 08.
Image collected in my photobook: Something Beautiful.
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When I started taking landscape photography serious I was really obsessed with focus stacking or moving trees/reeds/branches what have you. Im finding with time to find a happy balance & let the scene try to breathe a little. I think it adds something that perfectly crisp, in focus images dont for me anymore. I want to keep messing with this concept in work. Happy accidents.
These last two shots really had to be in monochrome. I did think about reducing the saturation levels so the barest colour appeared, but in the end I went for classic black and white. I wonder sometimes if some people today struggle with understanding what black and white photography is about. We live in a world of instant simulation, and it takes imagination and effort to "read" a black and white.
Ansel Adams once likened working in colour to be like playing an out of tune piano (Adams was a concert pianist before turning to photography).
'"I can get—for me—a far greater sense of ‘color' through a well-planned and executed black-and-white image than I have ever achieved with color photography," he wrote in 1967. For Adams, who could translate sunlight's blinding spectrum into binary code perhaps more acutely than anyone before or since, there was an "infinite scale of values" in monochrome. Color was mere reality, the lumpy world given for everyone to look at, before artists began the difficult and honorable job of trying to perfect it in shades of gray.' www.smithsonianmag.com/arts-culture/ansel-adams-in-color-...
I like that description. Mind you I recently purchased "Ansel Adams in Color" (Little, Brown and Company, 1993), and although there's not a lot of his colour slides left (most have deteriorated with time), what is in this collection is a real treasure.
« Serais-je prisonnier d’une boucle temporelle ? Ce n’est pas la première fois que je vois ce nuage… » (É.C.)
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