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Here's another photo of... er, well, nothing really. This was taken in a little museum in Normandy and to be honest I don't even know exactly what it is. I vaguely remember liking some textures on the walls and I suppose this was where a few of them joined together. But what it is is not really the point is it. Does it look interesting? Well, I think so.
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View from Iidabashi Station (飯田橋駅) toward southwest with the stone base of Ushigome-mitsuke checkpoint (牛込見附) and the Sotobori moat installed with the railway tracks of Chuuou Line.
Two photos were merged to get this image.
Despite intensive urban development, this area retains the original appearance of the citadel and Sotobori. The road in the photo leads to the Tayasu-mon gate of Kitanomaru compound where Budokan is located.
Mitsuke (見附) is a gate with a checkpoint often combined with a bridge over the moat. There were 8 gates in Edo, which were called -mitsuke. Similar checkpoints were often called -mon (門 gate) like Kita Hanebashi-mon and Hirakawa-mon.
Sotobori had been the physical boundary of the Samurai area during the Edo Period, which almost overlaps the present-day Chiyoda City except for the Kanda area that was part of Shitamachi, the downtown and commoners' area.
The left half of this photo belongs to Chiyoda City. Shinjuku City across the moat in the right and Bunkyou City outside of the frame are located outside of Sotobori. I don't know which City Iidabashi Station belongs to.
It was a silly conduct that the local governments of Bunkyou
and Shinjuku Cities decided to fill a short section of the outer moat in the opposite direction of this photo despite its historical, architectural and cultural importance of the neighbourhood.
The highly tangled-up intersection as uploaded previously is also located on the opposite side of Iidabashi Station.
"Some things can be perfectly expressed by sound alone and images would only be disturbing. Other times, sound would be possible, but visuals are much stronger and closer to what I want to express and then again, they sometimes overlap perfectly." Alva Noto
I was driving past this field last night, and thought it was worth a snap. Composition was a bit rushed, and would have liked to get rid some of the framing, as I was poking through the hedgerow with the tripod as high as it would go. Might try and clone some out later.
Single RAW, no HDR on this one :-)
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Sand Dunes, Soft Light. © Copyright 2022 G Dan Mitchell.
Soft morning light on overlapping sand dunes, Death Valley National Park.
It is said that photography is all about light, and nowhere is this more true than when photographing in the sand dunes. In the middle of the day the dunes can be difficult to photograph, with harsh light and little definition of their forms. But when the angle of the light is lower all sorts of magic can happen, and the dunes serve as a canvas to capture and reflect the light and all of its qualities of color, intensity, softness, and more. The colors can vary through almost every shade, from blue through red, and the light may be soft and gentle or stark enough to turn shadows deeply black. And at times the light passes through all of these stages and more in moments.
I’ve long felt that dune photography gives the photographer more creative and interpretive freedom than many other subjects. Because the subject is so basic, it is possible to take liberties with the light — its intensity and color — and render photographs of dunes in a variety of subjectively true ways. When I made this exposure the light was extremely soft, so I used to tools of the post-production stage to bring out the colors and forms of the subject.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
A simple study of wet leaves that caught my eye. I find with this kind of image, it's all instinctive. If it feels off, then it is, and the image won't work. It's all quite abstract, of course. But you still need that sense of completeness within the frame. Although I am aware I have a tendency to overthink things! Have a great weekend everyone.
Original photograph copyright © Simon Miles. Not to be used without permission. Thanks for looking.
...or The Cosmos in Autumn
Taken with the Viltrox AF 50mm f/2 Z full frame lens. Truly a nifty fifty. Lots of fun relearning to look for photos at this focal length
A large duck, generally common and familiar within its extensive range. Males are distinctive with iridescent green head, yellow bill, chestnut breast, and gray body. Females are mottled brown with orange and black splotches on the bill. Found anywhere with water, including city parks, backyard creeks, and various wetland habitats. Often in flocks, and frequently mixes with other duck species. In North America, females can be tricky to distinguish from American Black Duck, Mottled Duck, and Mexican Duck where ranges overlap. Those species are all darker-bodied than Mallard. A good view of the wing can be helpful, too: white wingbars on the leading and trailing edges of the blue wing patch are bolder on Mallard. Frequently hybridizes with those species, which can be even more confusing. Any bird with extensive white in the tail or curled feathers above the tail has some Mallard genes.
Britannia Conservation Area, Ottawa, Ontario, Canada. August 2018.