Sunday, 24 July 2011

A retrospective of a shot of mine from 2007...

A retrospective of a shot of mine from 2007
A study of texture, pattern and geometry, implemented in the architecture of an office block in Arundel Street, close to Temple tube station, London.
Arundel Street, London

With a nod in the direction of +Alfie Goodrich for making me think of doing this, thanks :>)

So to exercise my photo-discussion vocabulary, I thought I'd take apart this image. It'll help me think about it and share what was in my "vision" at the time. By "vision" I mean the conscious and the many layers of semi-consciousness at play when I took at and as both "developed" in the digital darkroom.

The setting was a visit with a government department in the Strand, and on the way from the tube station I spotted a building with interesting, geometric architecture and even more interesting possibilities for my ongoing theme of abstract architecture. I hurried on to my meeting, putting it out of my mind in the meantime, with an intention to do something about it afterwards.

On the way back from my meeting, I took out my camera (that I'd taken with me on the off-chance, like ya do - you do, don't you?). The skies had cleared and the sunlight was bright and direct, angling in at near 45 degrees - as the shadows show,

I loved what the light was doing with the concrete pyramid-like structures under the window and their interaction with the rectangular, textured tiles at their side.

Having the whole area on the right hand side taken up by the rectangular tiles was too much though and I started hunting around for a viewpoint that would solve it.

I tried from across the road, up and down the road a bit and, finally, hugging the wall of next building, a few paces south. I was delighted with what was evolving and , having the main elements as I wanted them, it was a case of fine-tuning.

By staying close to the wall, and crouching down a little, I got my framing about right, paying close attention to squaring off the windows in the top left corner. I then moved around a little more to make the intersection of the wall and the bottom edge of the windows. I zoomed out slightly to make sure I could be pedantic about the cropping in the digital darkroom (easier to crop than to add what isn't there!).

I was conscious the whole time about the balance between the negative space on the rhs and the rest of the image. The hint of reflected light on that wall, brought out by a little dodging, helped to reduce its visual "weight".

Compositionally, there are three areas, each occupying roughly the same space and each sharing similar characteristics - texture, angle, pattern.

For those paying really close attention, there's a single strip-light visible in two of the windows - I could have cloned these out but I like how they balance the two slightly lighter strips in the rhs wall. Ok, that was serendipity - but note that I still made a conscious choice.

As an aside, a good friend of mine, +Gordon Charlton once said that a photo is like a sentence. Every word in the sentence is there because you want it there. It belongs because somehow or other it describes or enhances what you want the sentence to say. You don't put in random words that having nothing mousetrap to contribute, do you?

So I try to do the same in the "visual" sentence my images are speaking.

Anyway, on with the retrospective...

By choosing a very small aperture and a telephoto lens I've been able to flatten the image, removing one of those visual clues that helps the seeing part of the brain to recognise things for what they really are. In other words it helps enforce its abstract nature.

I've given it a contrasty treatment over the whole tonal range to boost slightly what the bright, direct sunlight had already given me. This emphasised the geometric patterning and texture as well as the difference between each of three areas.

What is my intention with this type of shot? I've always been a bit observant and I've discovered that so many folks just don't see the interesting and beautiful stuff around them that I notice as I go about my daily life. So I like to share it :>)

Ok, retrospective over. Will you try out +Alfie Goodrich's vocabulary on your own work? If so, make sure you share.

Make sure you share this with photogs you know who are trying to improve.
Weekend almost over, oh no, still loads to do!
I hope you've had a good one :>)
~~Highton Ridley

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Ships may come and go

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Saturday, 23 July 2011

Down At The Beach - a bit of a playful, exploratory...

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Down At The Beach - a bit of a playful, exploratory shot that I was really pleased with.
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Saturday, 16 July 2011

Down in Flames - Out now on iTunes!

Down in Flames - Out now on iTunes!

It's always nice when...

A few weeks ago Mark Griffiths of The Sharp Darts got in touch.

The band is from the suburbs of Birmingham, UK with added spice from Australia. An indie rock five piece, The Sharp Darts have been blasting out performances to packed audiences around Birmingham and the Midlands over the last year.

He was asking permission to use one of my Urban Ugly images for the cover of their next release and I was delighted to say yes!

See which one was used on Down in Flames - Out now on iTunes!

If you're interested, here is the full Urban Ugly set to music by my good friend and thereminist, Gordon Charlton.

comments / critique / feedback / tweets / Google+ always welcome :)

Saturday, 9 July 2011

Dying Craft

Dying Craft

Maybe that would have been a better title for the piece. Built in the days of wheelwrights/wainwrghts and cartwrights. Look at the skill that's gone into the making of those wheels!

Flatbed Milk Churn Wagon
Bredbury Hall Hotel and Country Club, 2011

The wagon is now being used as a showpiece outside Bredbury Hall, a place where I was staying on business again. As I've mentioned in the last few posts, I first stayed there back in 2008 and on my return last month, it was a great chance to be able to shoot this wonderful echo from the past in its entirety.

I took my ultra-wide angle zoom lens to be able to get it all in frame. Thanks must go again to my brother, Trevor, for such a great gift a couple of Christmases ago.

I challenge anyone to get a better composition of this piece! I had to go round and round, up on tippy-toes and crouching down, walking backwards and forwards, camera glued to my face !

Some of the reasons I settled on this viewpoint / composition:
  • The turned front wheel gives it a feeling of movement
  • The angle / point of view / perspective takes the eye on a nice little journey on the way through the image
  • The whole wagon is pointing in the direction of some milk churns, with which it would have had a daily connection in getting the milk churns to the dairy or out for sale
  • The lamp jutting into the sky was an added bonus!
  • And finally, the wooden stump on the left acts as a nice stop and prevents the eye from wandering out of the picture.

Have a look at the close-up of the wheel closest to you - you can see it three or four posts ago - and admire the craft of the wainwright.

comments / critique / feedback / tweets / buzzes / +1s always welcome :)

Sunday, 3 July 2011

Another from Bredbury Hall Hotel and Country Club

Another of my occasional ventures into colour...

The Door J'adore

Hmmm... not my most inspiring of titles, but I do like the rhyme and it fits in nicely with the general theme for the image of "contrasts".

The Door J'adore,
Bredbury Hall Hotel and Country Club
Stockport, June 2011

To start you off  there's the obvious free/trapped - freedom of the sky, a shut-door, trapping what's inside - also the sky trapped in the reflection in the glass. I'm sure you can see lots more along the same lines... I've left you some clues!

See all my other photos taken at Bredbury Hall

comments / critique / feedback / tweets / buzzes always welcome :)

Saturday, 2 July 2011

Bredbury Hall Tractor - reloaded in colour

From my stay in Bredbury Hall a couple of weeks ago...

Dressing up the grounds

Fordson Tractor

This is a revisit to a previous shot, one I did in black and white. I thought I'd give it a colour treatment this time, something I can use in a calendar at some point over in my Zazzle store

The tractor is a one of those shipped to the UK after World War II to help in the recovery. I think it's a Model N from a bit of online research.

comments / critique / feedback / tweets / buzzes always welcome :)


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