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Many of you are probably going to jump on the apparent hypocrisy between this image and the previous one, especially given my self proclaimed "manifesto". But I suppose it's time to come clean - that "darkness manifesto" doesn't hold for every scene, just that some scenes will conform, some moods demand that and some don't. It's an area that I want to explore more deeply, but it is an area, a part of my personality as a photographer and not - if you'll forgive the pun - the whole picture. The difference in my mood once the sun rises might just be palpable here.
I guess only the more serious landsacapists amongst my contacts will have hiked for an hour before dawn to get to a location, but I'm sure you can all understand, the creaking trees, the flapping crows, the mysterious rustle in the bushes that wont reveal itself even in torchlight - the fight to control the nerves, the sheer difficulty of finding a path via a tiny circle of torchlight. It's not necessarily what I'd call a pleasant experience!
Mind you in a perfect world, if I'd had time, the bright stars and the crescent moon hanging low over the salt marshes next to North Hill Tor, would have been something quite special to have illustrated in more than words. Some experiences just need storing away in the memory, sometimes I have to follow my instincts.
Coming to the end of a dawn shoot, when the sun climbs in the sky and you know you have some good images stored away is a mixture of relief, satisfaction and joy that is hard to communicate, but one that is (believe me) worth seeking out.
Whilst I'm discussing what it's like to to be out there taking landscape pix, perhaps it's time to explain the thoughts behind the title "weaving the rainbow". Photography literally photo (light) graphia (writing) is writing with light, - weaving the rainbow is directly analogous to what many artists and photographers pursue, only more poetic, transcending the strictly technical. So this one is dedicated to all my friends out there weaving their own rainbows.
Copyright Open Aspect Photography
When it was my birthday six months ago, a very dear friend who enjoys photography as much as I do, and knows that I collect beautiful and vintage pieces, gave me a wonderful selection of antique ribbons, buttons, buckles, lace and other fine notions. She also gave me three follow up tins of similar delightful gifts for Christmas.
Those wonderful gifts are what has inspired me to create this series of "Embroider my World" images featuring my vintage bobbin collection. In this case, the wonderfully delicate net baric embroidered with minute blue and pale pink sequins I bought yesterday from a shop that specialises in luxurious and unusual fabrics. I could hardly wait to use it! The fabric was manufactured in Milan. I have accessorised them on a 1930s embroidered tablecloth with two Dewhurst's Sylko Peach Rose reels of cotton which dates from between 1938 and 1954 and a small Edwardian cotton reel of soft Kingfisher Blue made by J. P. Coats.
Belle Vue Mill, commonly known as Dewhurst’s, was built by Thomas Dewhurst in 1828. It opened in 1829 as John Dewhurst & Sons and was one of Skipton’s largest spinning and weaving mills. The mill’s position next to the Leeds Liverpool Canal meant that raw cotton could be shipped in by boats from Liverpool. Finished goods would then be sent back the same way ready for distribution. Coal to power the machine’s steam engines was also delivered by barge. In 1897 Dewhurst’s was bought by the English Sewing Cotton Co. It continued to produce Sylko, one of the mill’s most famous products. It was produced in over 500 colours and sold throughout the world. Sylko cottons are still available at haberdashers today.
In 1802 James Coats set up a weaving business in Paisley. In 1826 he opened a cotton mill at Ferguslie to produce his own thread and, when he retired in 1830, his sons, James & Peter, took up the business under the name of J. & P. Coats. In 1952 J. & P. Coats and the Clark Thread Co. merged to become Coats & Clark's. Today, the business is known as the Coats Group.
Here's a small weaving that I found at Sna Jolobil in San Cristobal de Las Casas, Chiapas. It certainly looks like the weaver used natural plant based dyes to color the threads she used. This weaving comes from Aldama, also known as Magdalenas, a Tzotzil Maya community with excellent weavers
This very fine weaving was made by master weaver Jacobo Mendoza Ruiz of Teotitlan del Valle, Oaxaca Mexico. It was exhibited at the artes populares museum in San Bartolo Coyotepec, Oaxaca
The first inhabitants outside the castle complex settled in houses below the castle at the beginning of the 13th century.
Around the year 1500 the village already counted 100 hearths, not counting those of the nobility and the clergy. Fishing, shipping and leather production characterized the economic life, along with the weaving trade.
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Die ersten Bewohner außerhalb der Burganlage siedelten sich Anfang des 13. Jahrhunderts in Häusern unterhalb der Burg an.
Um das Jahr 1500 zählte der Ort bereits 100 Feuerstellen, ohne die des Adels und des Klerus. Fischerei, Schifffahrt und Lederherstellung prägten neben dem Weberhandwerk das Wirtschaftsleben.
Among the most fascinating things I saw in Namibia, are the nests of the sociable weaver (Philetairus socius), a species of bird in the weaver family, endemic to Southern Africa.
The species builds large, compound, community nests, a rarity among birds. These nests are amongst the largest built by any bird. They are large enough to house over 100 pairs of birds, containing several generations at a time. The nests are highly structured and provide birds with a more advantageous temperature relative to the outside.
When I saw this nest during an afternoon game drive, I knew that I had to come back and shoot it after nightfall. Fortunately, there normally are no predators in this area and the Rhinos we had seen closeby in the afternoon were gone too.
EXIF
Canon EOS-R, astro-modified
Tamron SP 15-30mm f/2.8 @ 20mm
IDAS NBZ filter
iOptron SkyTracker Pro
Sky:
2 panel panorama, each a stack of 6x 90s @ ISO1600, unfiltered & 3x 180s @ ISO6400, filtered
Foreground:
Focus stack of 5x 8s @ ISO400 during twilight
Right beside the fisheryghat there is this area where they make fish nets. Looks like its only the experienced ones who gets to do this job, an entire net can cost in lakhs of taka(thousands of dollars).
If you think for a while, then you'd realise how important this net is, everything that they earn depends on this. A piece of fabric that takes care of their basic necessities of life!
Fisheryghat,Chittagong.
Press L
Basket-Weave Tessellation by Robert Lang aka bugfolder. Folded from 20 x 20 cm square of copy paper, finished model is about 9,5 x 9,5 cm.
CP: here.
I was at a loss for this week's Flickr Friday. Not that I didn't have ideas for #Solidarity, it is just so big and difficult to capture. So I decided I wasn't going to do one, then standing in my bathroom, I looked down and noticed the beautiful shades in my weaved rug. I thought "that is #Solidarity". That is how I view humanity, many shades, textures, and components making up a collective whole. All wanting the same thing, to be happy! So as simple as this rug is, it represents my idea of #Solidarity.
This image was taken in RAW and processed on Linux using Darktable.
Male African Black-headed or Yellow-backed Weaver - Zwartkopwever (Ploceus melanocephalus) building a nest.
It was getting late and the afternoon shadows were long when we finished a snowshoe hike in the Tobermory area. After driving around the Big Tub Harbor to check out the lighthouse, we were surprised to see no ice on the water at all. Looking around for something else to photograph, I noticed the sun just behind the structure itself and thought it would be interesting to position it right about where the light would be located. However, the sunlight was so intensely bright, I couldn't safely spend enough time to compose it properly. Instead, I wound up bobbing and weaving between the shadows and the light to minimize the exposure to my eye and try for a few quick shots. Thankfully, no one else was around to watch my antics as I'm sure they would have had a good laugh
Traditional weaving is an extremely important craft for Peru. The locals have been using woven garments and household items for thousands of years by now. And there’s even more to it. The native language of Andean people is Quechua, and originally it was an oral language, so Andeans needed some instrument to save and pass the stories, local history, and their thoughts and ideas to the next generations of just other communities. The woven textiles became a mean of communication between people and recording the knowledge.*
*http://nationalclothing.org/america/27-peru/147-traditional-weaving-in-peru-the-main-clothing-craft-of-quechua-people.html
with macaroni parts
I made this over a year ago and just realized I never posted it!
I tried a plain weave too, but it was a bit loose and needed the ends secured. The triaxial one has much less flex to it.
By the by, many Lego things are coming to my Instagram starting tomorrow, please join me!
How do you plan on starting your weekend? I know if you are in Chicago you are probably planing to grab an umbrella. Rain always comes with the weekend. Im leaving you with a few indoor images from McGregor Memorial Conference Center in Detroit. What do you think?
A small section of the weave room of the Boott Cotton Mills museum in Lowell, Massachusetts, part of Lowell National Historical Park.
In the Oklahoma Cross Timbers, spring has unfurled its green fingers across the oaks and brushlands. A northern mockingbird, feathers glinting like polished slate, perches atop a gnarled post oak claiming his patch of earth. His territory—a mosaic of oaks, thickets, and wildflowers—humms with life.
Each dawn, he unleashes a torrent of song, mimicking jays, wrens, and even the distant train whistle, weaving a soundscape that warns rivals away. A female flutters near, testing his vigor. He dances on air, wings flashing, then sings louder, a maestro of the oak woods. This is his stage, his kingdom, blooming under a warm April sun.
We were fortunate to witness a weaving demonstration held at the Huayoccari Hacienda near the village of Huayllabamba in the Sacred Valley of the Inca, Peru. The demonstration was arranged by National Geographic grantee Nilda Calanaupa, the founder of the Center for Traditional Textiles which was established as a special project of Cultural Survival to aid with the preservation of Peruvian Inca textiles.
Flickr Explore 6/30/2016 - Thank You!