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Pentax Spotmatic, smc Takumar 50mm f1,4, Kodak 400TX developed in Microfine, Epson GT-X830. 1/1000, f//16.
Roadworks site set up at the Welland Steam Rally.
The vehicle is a 1926 Ford Model TT,registration BF 8147.
This is a very tricky one. I know many of you won't like it since there is no subject in it. Just the sea and the sky. But is that really important? If you think so, just skip this image...
Here's an attempt to explain it.
I've been a long time Hiroshi Sugimoto fan. Who isn't familiar with Sugimoto's U2 album cover? This very minimalistic photograph has been copied many times by other artists but somehow they always fail to capture the essence. So what is the essence? I've been thinking of this for a very long time until P R I M E R referred me to a very interesting interview on Sprayblog with photographer David Fokos.
I've been struggling for a long time to describe why I love minimalistic long exposure images. And this outstanding photographer David Fokos just hit the nail on its head. This is what he said (or just read the complete article):
(…)
I believe that our sense of experience is built up over time – a composite of many short-term events. I will often suggest this analogy: Suppose you meet someone for the first time. Your impression of that person is not a snapshot in your mind of the first time you saw that person, but rather a portrait you have assembled from many separate moments. Each time that person exhibits a new facial expression or hand gesture, you add that into your impression of who that person is. Your image of that person — how you feel about that person — is formed over time, rather than upon a single expression or gesture. Likewise, I believe that our impression of the world is based upon our total experience. For example, the ocean has always made me feel calm, relaxed, and contented. If I were to take an instantaneous snapshot of the ocean, the photo would include waves with jagged edges, salt spray, and foam. This type of image does not make me feel calm — it does not represent how the ocean makes me feel as I stare out over the water. What I am responding to is the underlying, fundamental form of the ocean, its vast expansiveness and the strong line of the horizon, both of which are very stable, calming forms that I find relaxing. So, I had to find a way to brush away the messy, “visual noise” of the waves to get to the essence of my experience. I have done this by using my camera’s unique ability to average time, through the use of long exposures. In this way I am able to quell the visual noise (e.g. the short-term temporal events like breaking waves or zooming cars) to reveal a sort of hidden world. It is a very real world to be sure – the camera was able to record the scene – it is just not one that we normally experience visually.
Our bodies respond to many types of stimuli. What we see – the visual information – is just one type of stimulus, though it is often the most overpowering of the senses. However, due to the short wavelengths of visible light, this information is presented to us in an infinite series of frozen snapshot moments. Our bodies also react to other types of stimuli on longer time scales – our sense of touch, smell, hearing, etc. The wavelengths of sound waves are much longer than those of light so it takes our body longer to capture a “sound snapshot”. Our skin reacts to sunlight, another stimulus, but how long does it take for us to get a tan or sunburn? The point is that the world exists as a time continuum, not just a frozen snapshot. Our bodies respond to the world in a cumulative way, averaging our experience as we pass through time. Using my camera’s ability to average time through long exposures, I can reveal what our world “looks” like based on a longer time scale. My photographic process acts as a translator – translating from the “invisible” world of non-instantaneous events, into the visible world as a photographic print. In a way, it is like peeling back a page to reveal a world that, while very real, is not experienced visually. We feel it. We sense it. But in general, we don’t see it.(…)
And (…) When I make an image I know exactly on what I want the viewer to focus and what I want them to see and feel. By reducing my images to austere minimalist compositions I force the viewer to more closely examine what I have left in the frame thus intensifying the viewer’s observation and appreciation of the few things that remain in the image. Furthermore (…) To compose in a minimal way, I decide what it is that I wish to convey – what is it in the scene that I want the viewer to focus their attention upon, and what emotion I want to evoke. Then, I try to minimize anything else that competes with that. The composition becomes critical – specifically how the main elements interact with any lesser elements, the horizon, the positive and negative spaces created by their placement, the edges of the frame and the tension or harmony created by the positions of everything. (…) Please note that when I say “main element” I do not mean “subject matter”. My subject matter is the feeling I am trying to convey. The objects in my images are simply supporting characters.(…)
Well there you have it. Just trying to capture what I feel when looking at the sea by averaging our experience over time and trying to eliminate all other elements that can distract the viewer from the essence.
Part 1 of a series
Technical info:
ND110 - 10 stops.
f/14
ISO100
13 mm
120s (2min0sec) exposure
Software:
Lightroom 3.0
PS CS5 - Silver Efex Pro 2
Other Post processing equipment:
Wacom Intuos 4 tablet for some accurate editing.
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The White noize music festival.
Chupa village, Medvezhka peninsula, Northern Russia, Republic of Karelia.
This "love lock" is locked on a rope, on top of an active volcano. Eternal love (or until next eruption...)
The R&N Reading Turn has just returned from Reading Yard. Both units were adorned with temporary markings in honor of Memorial Day.
Hana and Archie resting on a bed in the computer room. The resting is only temporary before they enter crazy mode again (which at their age, is most of the time they are awake).
So this custom was an attempt to see how much I could customise a body aesthetically. I bought this temporary tattoo and applied it on after spraying the back with matte sealer then applied it like I would on human skin.
MSC for some reason really emphasised the edges of the clear parts but Testors Dullcote helped it blend onto the plastic really well heh.
Train 109 waits to let Train 20 slide by after meeting at the location where double-track returns to single-track East of 11th St. Station. This is CP 33.3 on the South Shore Line in Michigan City Indiana.
October 30, 2023
Photographed here at Corwen Car Park is an Alexander Dennis E20D Enviro200 operated by Lloyds Coaches with the registration YY16YJU, which was new in July 2016 and is seen boarding passengers for a TrawsCymru service T3 to Wrexham.
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I know that wasps have their place in how things interrelate, but even so I was content to see how this might play out - Id hardly expect a small garden spider to do battle with something as formidable as this, but the spider proved a no-show. The wasp freed itself and then continued with its wood scrapings, seeming none the worse for its short term residence in the extraordinarily fine web that'd snared it.
Noa's cottage has (temporarily) been moved to the other side of the patio. We got new neighbours, and the old ugly wall between our patio and their backyard has been demolished. Until there is a new wall, Noa will have to camp in her cottage and a makeshift pen against the opposite wall. She won't be able to play on the patio for a while, because there's a 6m long open passage to the neighbours' backyard and driveway - and thus the public road - when there's no wall.
First Leeds received 3 enviro 400 double deckers during late August for the A65 bus lane launch although non are expected to stay. Here 33706 is seen inbound on the new bus lane complete with first Leeds branding, adverts for the A65 improvements and FWY legals.
A few days before midsummer and a quarter to midnight the sun might temporarily be obscured by some mountains as in the foreground. But the sun would not go below the horizon, providing some glint on an iron ore train with LKAB IORE 120 "Kaisepakte" + 112 "Vassijaure" approaching Katterjåkk
The closure of this station in January 1983 proved to be only temporary as it wasn't long before the line (or at least the part between Glasgow and Paisley Canal) reopened. Can't remember the details now, but I suppose there were staggered platforms here. I assume I took the picture from the footbridge.
This was the last week of operation.