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I am celebrating this year with a new project.
In June of 2006 I began taking digital pictures.
My theme for 2016 is: 52 months in a year
I took this photo in November of 2006.
American white ibis.
No post-processing done to photo. Nikon NEF (RAW) files available. NPP Straight Photography at noPhotoShopping.com
How can you not love the lumpiness of Langdale and the Southern Lakes?
The view from Loughrigg Fell into Great Langdale, with the Pikes in the far distance.
Taken yesterday at Cherhill Whitehorse, Wiltshire, with the lumps and bumps of the landscape exaggerated by the low sun. I've noticed when life's lumps and bumps hit me, one of the first things to go is my photography - just don't have the mental capacity to do it. Judging by the high activity of photograghy recently, life must be going well for me right now. A staggering 10 verticle photos stitched together in lightroom.
(Antrim coast, Northern Ireland)
The LORD liveth; and blessed be my rock; and exalted be the God of the rock of my salvation.
(2nd Samuel 22:47)
Escherndorf - Blick über den Escherndorfer Lump zur Vogelsburg
de.wikipedia.org/wiki/Escherndorfer_Lump
de.wikipedia.org/wiki/Weininsel
HFF! practicing with a real camera with lenses and all that stuff. Need to relearn everything I forgot with point-and-shoot cameras
The great tit (Parus major) is a passerine bird in the tit family Paridae. It is a widespread and common species throughout Europe, the Middle East, Central Asia and east across the Palearctic to the Amur River, south to parts of North Africa where it is generally resident in any sort of woodland; most great tits do not migrate except in extremely harsh winters. Until 2005 this species was lumped with numerous other subspecies. DNA studies have shown these other subspecies to be distinctive from the great tit and these have now been separated as two distinct species, the cinereous tit of southern Asia, and the Japanese tit of East Asia. The great tit remains the most widespread species in the genus Parus.
Lead, zinc, and artificial flower; one daylight lamp and four LED spotlights; edited in Fujifilm's raw converter and refined in Luminar.
DADDY: “Would you like some tea, Paddington?”
PADDINGTON: “Yes please, Daddy!”
DADDY: “Milk?”
PADDINGTON: “Yes please, Daddy! Just a slosh.”
DADDY: “One lump or two?”
PADDINGTON: “Two please, Daddy!”
DADDY: “Very good, Paddington darling.”
PADDINGTON: “And a sticky bun, please Daddy!”
DADDY: “Alright Paddington.”
PADDINGTON: “And some macarons, if you can manage it Daddy!”
DADDY: “Well I…”
PADDINGTON: “And a marmalade sandwich or twenty, please Daddy!”
DADDY: “Twenty, Paddington darling?”
PADDINGTON: “I have a grumbly tummy, Daddy!” *Rubs tummy vigorously.*
The theme for "Smile on Saturday" for the 30th of November is "coffee or tea". Being British and a traditionalist, I prefer tea to coffee, and I am not the only one in my household who is partial to a cup of tea, or two, or twenty. My Paddington Bear also enjoys a cup of tea for elevenses on any given day of the week. I hope you like my choice for this week’s theme, and that it makes you smile!
Beautifully hand made by Merrythought in their historic Ironbridge factory, and based on the famous original drawings by Peggy Fortnum of Michael Bond's famous bear, the Paddington - Classic Edition is British-made (of course) and is truly timeless and designed to bring a lifetime of joy and companionship. Paddington combines the finest natural materials with four generations of the very best British teddy bear making expertise. His detailed design and expressive features give him a personality that you cannot help but fall in love with, and he will become a loyal lifelong companion - always by your side during the ups and downs of life, and a friend to make memories with! Made from woven mohair plush and soft cotton velvet, this Paddington is dressed in a pure red woollen felt hat and blue duffle coat with wooden toggle detailing. He is brought to life by a neatly hand-stitched nose and warm smile.
Made in a special numbered edition, I am fortunate enough to have number 17.
"Please look after this bear. Thank you."
The teacup I hold is one from a tea set for six complete with six trios, a milk jug sugar bowl and a cake plate. It looks remarkably contemporary in shape and style, yet it is actually from 1911. Produced by British pottery maker, Royal Doulton, this cup is made of translucent china so fine that you can see your hand’s shadow through it when held to the light. It bears a stylised Art Nouveau lily design painted by the most famous of Doulton’s freelance decorators, Robert Allen. To cope with their enormous output, Doulton used both in-house and freelance designers and painters, and in some cases these decorators also added pattern numbers to the wares. The best known is Robert Allen who added an ‘Ra’ number to wares decorated for Doulton in his design studio.
Death Valley has the most feature, shape-rich topography of anywhere I've seen. Here, the various lumps, bumps, and contours appear to be melting into the the valley floor, like a large glop of fudge exposed to too much heat.
Death Valley CA
More from the snowy wilds of Glencoe recently. Two snowy rocks in the River Etive with Buachaille Etive Mor in the background.
2102182020
Lead, zinc, and ceramic vase; one daylight lamp and four LED spotlights; edited in Fujifilm's raw converter and refined in macOS Mojave.
When you've got late afternoon, winter light like this, even our less glamorous hills can suddenly stop you in your tracks.
Driving north on the A82, Beinn Challum appears as a giant featureless grassy lump, & doesn't exactly beckon the hillwalker on. Its best side is when viewed from Glen Lochay in the north-east, where it adopts the guise of an elegant cone positioned at the head of the glen. This photograph was taken from neighbouring Beinn Chaorach, which rather depressingly translates as 'Sheep Hill'. Beinn Challum is quite simply 'Malcolm's Hill'.
I'm afraid that a compulsion to include 'Castor & Pollux' , Ben More & Stob Binnein, dictated the final composition, & an arguably better one shelved, with the subject matter more to the right in that. Sometimes the urge to convey the scope of the outlook from a certain spot overrules photographic sensibilities.
There were a few things on my Bucket List that I wanted to tick off during my recent trip to the far north of Scotland. The first was to see a Puffin, as I have never knowingly seen one, and certainly not close up. So, after three mountain days my knees needed a rest and also the weather had closed in, so I set off for Wester Clett, sometimes called Puffin Cove. It is the largest Puffin colony on the UK mainland by far, with 3,500 pairs of puffins nesting there in 2019 apparently - so it sounded like as good a place to go as any. Wester Clett is actually a dumpy 50 metre high sea stack with sheers cliffs that provide the birds with a high level of protection from predators, The top of the stack is soil covered so it is pockmarked with burrows. You can watch the puffins from the top of the cliffs across a sheer sided ravine from the sea stack. I got myself to a 'viewpoint' (don't try that at home, kids - BIG drop!), and I spent hours just watching the antics of literally hundreds of Puffins doing their stuff. This little chap dropped in on a ledge a few feet away, and proved to be an excellent little model for me to try to photograph. I have to say the experience of watching the puffins exceeded my wildest expectations, it was such good fun.
Whether I succeeded in ticking off the second item on my bucket list - namely to successfully photograph a bird - I will leave for you to decide.
Incidentally, Wester Clett (also known as Stac Geodh' Eisgiadh) is categorised as a 'Tump' and is the 20061st highest peak in the British Isles and the 11639th tallest in Scotland! Quite how a lump or rock 167 feet high can be included in the same list of mountains as Ben Nevis is beyond me, and it just goes to show what can happen when you give 'list makers' a computer!
I have been fascinated with the numerous ship and boat wrecks that are scattered along the shores of the River Exe which can be viewed from onboard a passing train for as long as I can remember. From a photographers point of view they are extremely photogenic, from a railway photographers perspective they offer opportunities to good to resist.
However.....the list of challenges and obstacles to overcome to access them is significant, the first is their location, the second is tidal restrictions third ,sun position fourth , subject matter.
This short list does not include correct clothing , weather, correct equipment etc etc.
This picture started life as a recci, An extremely low spring tide gave an unusual two hour window to access this wreck, on an average spring tide she may only be accessible for less than an hour, on neap tides she remains covered by sea water. It was a sunny day but the suns position at low water was on the wrong side of the tracks. The only thing of interest passing on this day was a short set HST which ran through under the cover of a big lump of cloud. Whilst the wreck sits on a sandbank she is surrounded by sinking silt, very dangerous to navigate, if you pick the wrong route it is likely you will sink up to your knees.
I haven't yet been able to identify the wreck. I think there is a shot on here but it could be months or even years before all the right components come together.