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Some bad news for me. After 12 years of loyal service my employer has saw reason to make over a dozen people redundant, myself being one of them. This now leaves me in some uncertainty and to try and find another job ASAP. This image then, taken a while back and a variation of similar images posted in the past is dedicated to the others who like me paid the price for others' failures.
Torniechelt "little hill of the concealment"
Derelict farmstead I visited this afternoon on the Cabrach in the Cairngorms.
Ennio Morricone's masterpiece: www.youtube.com/watch?v=m6BQKFs3-VM&feature=related
Opal Pool in selected colour View On Black
Yellowstone N.P.
©P.Oglesby photography 2010
It's time for a bit of a break from still life and I've got a lot of files from the last couple of months that haven't yet been edited so while we're on the run-up to Christmas with all the necessary preparations I'm working on unedited files.
It's no secret that I love photographing farms and when I saw this one with the way the trees surrounded it I just had to add to the farm collection. :-)
My Portfolio: www.hollycawfieldphotography.net/
Wreckage of the B29 Superfortress 'Overexposed' which crashed at Higher Shelf Stones near Bleaklow summit on 3rd november 1948. All 13 crew were killed.
A somewhat disturbingly-detailed report of the crash can be found here:
aircrashsites.co.uk/air-crash-sites-5/superfortress-44-61...
I love these huts at Southend on Sea. I couldn't choose between the colour and mono version of this shot so went with a bit of both!! Apologies to those folk who don't like colour pop !!
I last photographed 30 St Mary Axe -- designed by Norman Foster and Arup Group, and better known as the Gherkin -- a little over two years ago. At the time it would never have occurred to me that the scene might be suitable for a monochrome finish, although I was immediately drawn to the contrasting curved and diagonal lines, the mixture of squares, circles and triangles, and the odd composition that initially made it difficult to gauge how the three elements in the frame fit together. After recently revisiting and reshooting the vantage point -- beneath a lamp along Bury Street, and looking up towards the Gherkin alongside its reflection against the office windows of 6 Bevis Marks -- I knew exactly how I wanted the final image to look.
The end result is a mixture of two-, three-, four-, six- and seven-minute exposures, each of which eventually contributed different elements. The first and shortest exposure was the darkest, and this was used to darken the filament inside the street lamp. As I extended the shutter speed and widened the aperture, the sun began to go down behind the Gherkin, which created a subtle gradation in the sky and a soft light between the buildings, as well as a lovely mixture of tones along the edges of the buildings. To incorporate and emphasise these details, I used the Pen Tool in Photoshop to isolate the Gherkin, the adjacent building's office windows and panels, and the pole supporting the street lamp. Once this was done, I blended in the exposures using a combination of blend modes (predominantly Soft Light, Screen and Multiply), and gradually adjusted the light across the scene using linear, radial and reflective gradient masks. After this, I converted the image to black and white, leaving just the faint warm glow of the lamp, and adjusting the luminance of the blue tones across the image to darken the sky and to brighten the glass in the buildings.
When editing the image in Nik Silver Efex Pro, I needed to make selective adjustments to each component within the image: the contrast, structure and highlights inside the Gherkin were increased, for example, and the reflection of the Gherkin inside the neighbouring office windows needed to be isolated and edited with identical adjustments, but the frame around the square windows and the panels along the edge of 6 Bevis Marks' offices needed different amounts of Soft Contrast and midtone exposure, so these needed to be edited separately. Finally, in Colour Efex Pro, I applied Pro Contrast to the overall image, as well as a sparing amount of the Glamour Glow filter, which helped to soften the light along the edge of the Gherkin and to play up the futuristic and slightly ethereal atmosphere I was aiming for.
I've always been an enormous admirer of fine-art photographers such as Julia Anna Gospodarou and Joel Tjintjelaar, and although I'd never consider my work to be fine art, there seemed to be similarities between how I approached the planning, shooting and editing of this image and the thought process and workflow for fine-art images. Besides the emphasis on geometric patterns and dramatic light at the post-processing stage, the fundamental goal I set myself with most of my projects seems to be shared by fine-art photographers, which is to focus on the drama, the emotion and the elegance behind the architecture they capture, and to try to make the scene their own.
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Carly Simon - You're So Vain,
You walked into the party
Like you were walking onto a yacht
Your hat strategically tipped below one eye
Your scarf, it was apricot
You had one eye in the mirror as
You watched yourself gavotte
And all the girls dreamed that they'd be your partner
They'd be your partner, and
You're so vain
You probably think this song is about you
You're so vain,
I'll bet you think this song is about you
Don't you?
Don't you?
Just as a break from the stock landscape shots, I thought it was about time I threw something else a bit different into the pot.
A little selective colourization for this fishing boat waiting for high tide in the harbour at St. Martins, New Brunswick, Canada.