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Y is for Yearning for sunshine!!
I'm so stir crazy right now. I want out of this house!! I want to go out and shoot! I have TONS of ideas in my head right now and I can't wait to get out there and see them through my camera.
I'm doing a bit better today. I was able to get up and do these shots, along with make dinner last night!! YAY!! Baby steps to feeling normal again. Thank you again for all the love and positive thoughts that you guys keep sending! They do help! I promise!!
Oh, and my new Macbook should be here today or tomorrow!! I can't wait!!! Yipeee!!
xoxo
It's not ass day, but whatever...
It's a good thing my camera has a "2 picture timer" (one shot at 10 seconds, another shot at 20 seconds).
Derby lightweight single car DMU temporarily dumped out of use at Radhill sidings. The scrap man awaits.
1:76 scale, OO Gauge.
Non powered plastic model.
Thorndon, Essex | April 2011
Polaroid SX-70 [Red] | TheImpossibleProject PX100 SilverShade FirstFlush
[Losing Focus] | [Twitter]
[All photographs © Toby Marsh. Please do not re-use without permission.]
SX70Red_PX100FF_06-04-2011_08_edit_web
The Almighty - Out Of Season | Powertrippin' | 1993
Christmas day picnic with cruising boats
American boats were there, and so somehow a baseball game broke out (the original plan was cricket!)
Allegiant Air headed to Orlando, FL
Airbus A320-214 N284NV
Alt: 6200 ft, Speed: 308 mph
Info courtesy of FlightRadar24
Day 218*
So I fell off my 365 wagon somewhat (hmm wrong metaphor?!). these photos were not actually taken on the day they should have been... but I back pedalled and back filled. Oh deary, deary me!!!
Sometimes it is refreshing to get something else on your normal route than the bog standard B9, Lothian Buses 697 brings a change to service 31 today seen here heading to East Craigs. 04th June 2015.
33/365
Im going to start doing evan closer close ups. i hardly EVER do them and i know i need to!. My mother was saying to me earlier in the day that i should just take a picture of my eye or my finger or show real meaning and emotion behind an image. Mums really do know everything. i love my mum so much. i guess that means im a mothers boy, but i proberly am no matter how weird that may be. I really couldnt live without her.
So here we go Flickerers. This is where i kinda do anything! And im up for it! Im going to try and make this project interesting not just for you but for myself, try new things, Do stupid things and be embarrassed a million times doing it. I have a wide open mind right now and i can see so many things that i can do and WILL do! This is it! YES this is it! i know what to do!
IM SO HAPPY. i think i just got another idea.. and another.......and another. im so Inspired!
I Have to say thankyou to my Inspirations! You should check them out too becuase your ganenteed to be inspired too! In no particular order.. Will Manning, Sarah ann Wright, Julia Trotti, Anastasia Volkova, Sarah Kiesling, Steve otto, David talley, Karrah Kobus and the Super gorgeos Rosie hardy who i have worked with on a wedding in Devon!
Like i said i love you Flickerers and i love that in some way we're all the same but yet so completely different!
facebook:
www.facebook.com/pages/Samuel-Judge-Photographer/32382424...
the son of my father's friend xD
he's so freaking cute xD
Keep laughing (:
New lens hehehehe faves if u like it
Looking Out
Martin Beek:
The paintings, drawings and digital works that form my contribution to this exhibition result from my residency at Camp Walden, Michigan during this summer. With the exception of the Simon’s Wood series of iPad drawings (no. 14), all the work was conceived, painted and drawn in the USA. It has come from a relatively small area of woodland no more than one hundred metres from my cabin studio.
In 2013 I exhibited my ‘plein air’ oils of rural locations in Ipsden and Longworth in a show called ‘The Pace of Nature’. These smaller paintings were a direct response to places that I had come to know well. Each work reflected the changing weather conditions that characterise the British climate; they were about the immediate moment. I did not retouch any of them in the studio.
In Looking Out my approach has slightly altered in that, whilst each work results from many hours’ direct work outside, certain passages and responses to the forest were repainted or reworked under studio conditions as a result of further consideration. This series was also painted as a body of work with several being developed simultaneously, rather than each being a record of a particular day.
Possibly the most difficult thing to do as a painter is not to mimic someone else’s paintings or style. I therefore find that my unique choice of location, which has no immediate association with other artists, is a really helpful move as it gives me a clearer sense of vision. Walden fulfils that for me, as it has done for many years.
This is the first time that I have exhibited in the UK a complete series of American works painted in situ. With the opportunity to spend seven or more hours painting each day, without having to travel any distance, I seem to find I can paint more fluently and the sense of involvement is all the deeper. America during the summer months, with its extreme heat and strong light and shadows, injects a kind of excitement into my work that I don’t often achieve in Britain. I find drawing trees both challenging and rewarding, not at all predictable if one is serious about the task. Here in the heart of the forest new opportunities present themselves. I suppose one of the ‘rules’ of modern painting, if such exist, is to think about the surface and not go for illusionistic tropes. So, as with all my work since 2012, I’ve made it quite specific in its intentions, without labouring or overworking. This results in an effort to create a lively surface.
The paintings are considerably larger than the 150 works of ‘The Pace of Nature’ series. The larger scale involves different approaches, and a lot more physical movement in order to judge the effect of distance and overall optical colour mixtures and relationships.
The acrylic paintings (‘Woodnotes’ I–III) were influenced by my iPad drawings, utilising the possibilities of multiple layers of line and overlapping colour. These works pull away from their motif and are a more personal statement about the forest and capture a fleeting sensation. They are characterised by loose areas of random marks against areas of control, held in the geometry created by the pine trees.
Formally, the works stress verticality and height, looking out and upwards, strong contrasts and spatial division. It was also rewarding to make a number of large charcoal drawings (nos. 11–13) to convey strong areas of light and shade.
Each morning began with an iPad drawing, some of which form Walden Suite (no. 2), a response to the daily variations of light and colour. The iPad drawings echo the Simon’s Wood piece (no. 14) which I began in January 2016 and finished just before my June departure for USA.
Kamera: Zenza Bronica SQ-Ai
Linse: Zenzanon PS 80mm
Film: Lomography Earl Grey B&W 100
Kjemi: Rodinal (Stand 1:100 / 60 min. @ 20°C)
A small edge crop, no post-processing, film has not been pushed or pulled. No alterations, no bullshit.
- This house reminded me of that scene in The Amityville Horror ...
A container ship heads in the direction of a beautiful sunset, leaving San Francisco and the Bay Area until it returns from the high seas.
EXIF....F8....0.6 SECONDS....ISO 100....10MM....CANON EOS 7D + SIGMA 10-20 f/4-5.6 EX DC HSM....SINGHRAY ND3 REVERSE + LEE 0.6H ND GRADS + KOOD ND4
RAW FILE PROCESSED USING DPP AND ELEMENTS 9
© Copyright 2012 STEVE BOOTE, All Rights Reserved
Two intrepid paddle boarders embark on a great journey.
Panasonic S5 | Zeiss Distagon 35mm f1.4 ZM | Lightroom
I am interested in experimenting (or getting addicted maybe) to this out of focus photography. It is obviously a bit difficult to not go into the abstract, as I have done here I think. However it is a start and it is also something which appeals to the shaky hands as we get older haha :-). This is actually the corner of our patio, I think the light coming through the boards plays an important part so here we are: photo number 1.