The Old and the New

Juxtaposing the old and the new is a favourite photographic theme of mine, and here is a gap of a thousand years: a modern roll-on-roll-off vehicle ferry heading south off the mouth of the River Tyne, in Northumberland, UK, framed over the stone ruins of Tynemouth Priority, which has occupied the headland, along with an associated castle, since the Middle Ages. I took this frame on November 15^th, 2010. The weather was being very fair that day, and I had an excellent visit, using the cross-river ferry service. Sixteen years—it seems like yesterday. Minor adjustments to colour, contrast and sharpness in Irfanview, squared up using fine rotation; Fuji FinePix S5600. Image by Mike.

 

A Harmony of Steel

I’ll always come back to vanishing point symmetry—it’s just so eye-catching, with its implications of motion and the third dimension. Here is a study of architectural relationships, a major railway station, one of the most fun places to capture this kind of image. It’s the Manchester Piccadilly Centre, photographed on November 19^th, 2006, and I believe it’s early in the morning—there are very few people about and the shadows are long. This would be my departure leg. I had one night in Blackpool, having come across the country on the Transpennine Express from the Yorkshire coast, and I was bound for London next day. I snapped this shot from high on one of the escalators, which I recall being exceptionally smooth, not jostling the shot at all. Minor adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

 

The Grand Old Institution

 

This is the Natural History Museum, on Cromwell Rd. in London, which from the outside still looks much as it did when it opened in April, 1881. Brainchild of Sir Richard Owen, that “Count Dracula” of palaeontology, it has always been one of the leading institutions of its kind in the world. I photographed it on November 1^st, 2010, on my third UK trip; this was the second time I visited London’s South Kensington museum district, and it was also the last time I had the chance to do so. Distance and cost are relentless, after all. I was really under the weather on that trip, so was unable to appreciate the sights as they deserved—still, I brought home the pictures, and I have them to this day. This is a simple street snap, but at least I managed to hold the camera square! I remember the sun being so low in the sky, despite a late morning time, that most of the street was in deep shadow. Minor adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

Urban Jungle

This is the redeveloped east of London, after the old, blighted areas leftover from Victorian times were finally swept away. I took this photograph through a train window—the Docklands Light Railway—on my way to Greenwich, back in November, 2007, on my second England trip. It was early in the day, as I recall, and things were very quiet in the new residential areas that used to be London’s busy docks. Now they’re trendy marinas, and the old days of empire are a distant memory. Note a few reflection in the glass. The redevelopment of the East End was extensive, and what were the haunts of the poor in the days of Sherlock Holmes are now the home of the well-to-do. Nothing clever in this shot, just keeping it square (no fine rotation required) and managing the reflections to a minimum. Minor adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

 

Gold and Grey

Sometimes the image comes together with the right lighting angle and the right time of day, to make the most of a simple subject. This was taken through a train window (note the faint reflection of a vertical surface at the top of the frame) in November, 2007, on my second UK trip, in the Esk Valley, Yorkshire, as I was relocating from Whitby to Sunderland for the NEICN conference at the university. The hour was not late but the sun angle at that time of year certainly is, creating an evening feel, though there would be several hours of daylight remaining. The sun angle created a “golden hour” effect early in the day, and with the light falling on the autumn hillside the grey clouds beyond make for the perfect contrast. There seems little way to plan for such scenes when on the move—the opportunistic photographer just grabs them when they happen. Minor adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

 

Afternoon Light on Whitby Harbour

Nothing complex about this frame, just a plain view across the harbour of a seaside town in Yorkshire. What makes it interesting is the detail—of water, of craft, of the background houses, and the low sun behind the POV. That’s a scaled down replica of Cook’s Endeavour, historically tied to Whitby, where the young James Cook worked in the mid-1700s. The focus was good, I held the shot straight (no rotational correction was needed), and managed to catch the essence of the place, as it felt, on that evening—7^th of November, 2010. Minor adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

 

Soft-Light Perfection

I don’t often claim perfection, and if it happens it’s probably by accident, but here is a frame where it all came together. Just a simple country view—a farm in the valleys on the railway between Middlesbrough and Whitby, photographed through the carriage window. But all the elements are right—no dirt on the window, no reflections of interior lights, the POV is square-on to the scene (no fine rotation required), and the composition fell into place, the farm framed neatly in the view. The sun came out—the weather was grey and damp but for a while there was sunshine. And even then, the sun angle was low, so the light had a soft, almost transparent quality that makes everything seem different to the hard light of Australia. This was November 14^th, 2006, on my first England trip, and I was about to see my home town for the first time in 35 years—getting off at the very station the family left from in 1971. Talk about circles in completion—it was something that just had to be. But the November light in England, closing in on winter and the snow, is low and soft, and I can hardly describe it—you have to see it, feel it, to understand. Minor adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

Workhorse of the Sea

There is something majestic about ships, and maritime towns always make for interesting shooting locations. I grabbed this shot on November 8^th, 2012, from the deck of the South Shields ferry, crossing the River Tyne on my way back to Roker after an excursion to Tynemouth Castle and Priory. This is a DFDS Seaways vessel preparing to leave in the evening for its overnight run to Amsterdam. It’s fascinating to be able to see into the open vehicle deck. I’ve often wondered what a crossing would be like on such a ship, a marvelous start to a holiday with one’s car in the hold. This frame is fairly unique as, given the exposure rating of the cameras of the day, I had limited ability to control for low light, The evening was coming in fast, and while the chip handled low light beautifully, it couldn’t compensate for motion with reduced exposure time. I shot plenty of frames, but this is the one where it all came together, and wasn’t blurred by motion. Fun memories, I miss those trips! Minor adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

Nature’s Effortless Disrespect

Humans modify their landscape—they are compulsive builders. We memorialise our perception of greatness, and such things long outlive their subjects—ask any Pharaoh. But the natural world is oblivious of such things, and competes with the human need to control entropy. Like the need to weed a garden—perhaps the ultimate expression of futility—we erect monuments to last the ages, while nature has a casual disrespect for such notions, in fact is in permanent violation of them. I took this picture in Mowbray Park, Sunderland, in November, 2011, during my fourth UK trip. This statue is of General Sir Henry Havelock, a local, who distinguished himself in India in the early 19^th century, and while he may be standing up there in cast bronze, on a stone plinth and surrounded with canons—how many symbols of imperialism can you get into one place at one time?—nature casually mocks such human constructs. It’s the seagull, of course. I shot the statue from several angles and distances, under that glowering, stormy sky, but that bird did not move an inch, and finally, I accepted it as part of the tableau of the moment—embodying the narrative of nature’s obliviousness to human precocity. The man may have been a hero and a figure associated with national and imperial power, but to a bird—nature—he’s just a perch. And that’s a profound observation on human nonsense, really. Minor adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

 

Gothic Skies

I love these broody, atmospheric shots. The old Fuji chip is great at handling these conditions for maximum drama—maybe not with the mid-tone values a modern chip would deliver, nor of course the resolution, but oh, how it captures density and balance! This frame is part of my shoot at Crystal Palace Park, just north of Croydon, England, on November 20^th, 2012. I was in the southern city for a couple of days and took the opportunity of a ten minute run up the railway line to the old park, to see Waterhouse Hawkins’s dinosaurs from the Great Exhibition of 1852—long obsolete views, of course, but they are still so evocative, especially when the weather is being dramatic. Yes, it was chilly, yes it was raining, but it was the only chance I was going to get, so I stuck with it, walked the park and shot every frame I could snare in the hopes some would be useful. Of course, the light was soft and grey, and the best shots are the ones that exploit the conditions, like this. The bare trees against the lowering sky so superbly evoke the time of year and the locale in the global north. It is a very welcome contrast to the monotony of heat and humidity prevailing in Australia at time of posting... Adjustments to colour, contrast, gamma balance and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

 

Street Sculptures in Hastings

Imagine being presented with a giant chrome octopus playing chess, on a seaside street near the English Channel? Hastings had a series of metal sculptures celebrating marine life sited in the old streets near the seafront, and I had the pleasure of encountering them when I was in Hastings on November 15^th, 2012. I was there to catch the Aussie band I follow in a performance at the Stag Inn, on Allsaints Street, a memorable event all by itself, but I had the chance to photograph Hastings in late autumn light, light rays over the Channel, local curiosities, and to have a jar in a couple of historic pubs, like The Cinque Port Arms. That was my last time on tour over there, and I miss it a lot. Adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

 

Looking Down on a Rainforest

 

Apologies for the dearth of posts this month—I’ve been concentrating on other tasks and it slipped my mind!

One can almost feel the humidity, a sticky heat surrounding these tropical broad-leaf trees—but the warmth was a relief. The structures amongst them are a giveaway: this is the Wintergardens in Sunderland, a cold, northern city, in the grey November of 2011. I was my fourth UK trip when I wandered through the Museum and its associated hothouse, before taking a stroll in Mowbray Park behind them. The lighting conditions were grey and flat, and this image is enhanced to bring up colour and contrast in Irfanview. It was an interesting aside from the grey streets, and the only other tropical house I’ve been in besides that Victorian classic in the Adelaide Botanical Gardens. Fuji FinePix S5600. Image by Mike.

Classical-Style Composition

As with the “Hidden in the Woods” post, this is another ‘see-it-snap-it’ composition. When one’s eye is attuned to composition in the manner of art, landscapes and structures sometimes come together from various perspectives and ‘gel’ in the sense of looking just-so. The buildings, half seen through the trees, may be taken to be the subject matter, but the woods are the statement of nature overlying human influence on the world. The arch of the foliage at the top almost frames the picture, while the conformation is suggestive of Fragonard or Constable. It was a grey, soft-light day when I snapped this, in November, 2011, in Mowbray Park, Sunderland, during my fourth UK expedition. I adjusted colour, contrast and sharpness in Irfanview, plus some squaring up with fine rotation; Fuji FinePix S5600. Image by Mike.

 

Looking Back a Hundred Years

Here is an interesting scene—a British railway platform, c. 1920s, as recreated in meticulous detail in the National Railway Museum, York. Here one steps back a century—no digital screens, no neon lights, nothing post-dating the era of steam and newspapers. This is the world of P G Wodehouse and Agatha Christie, when movies were silent and radio a novelty. This is the genius of the museum scenario, a kind of immersion in which you can look into another time. The light levels in the museum are quite soft, so I was holding the camera against a vertical surface for stability, and did quite well—the light gathering ability of the old technology was only a fraction of today’s point-and-shoot ability. Supporting the camera during long exposures became second nature. I took this shot on my UK trip of November, 2011, the last time I visited the NRW, and it certainly appeals to my fascination with vanish point symmetry. Minor adjustments to contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

 

Momentary Sun

The sun finding a way through the overcast elevates moody, murky images into clear, colourful pieces with an upbeat feel. I snagged this frame in the gardens of the York Museum in the November of 2011, on my fourth UK trip for the purposes of presenting at a conference at the University of Sunderland. York has been a favourite place since childhood and I often tried to swing by when I was in the northeast. After thick weather for much of the trip, the appearance of sunshine during my afternoon in York was a welcome change, and I was lucky enough to be among the gardens and ruins of the medieval St Mary’s Abbey. The place offered interesting compositions, and the light made it all the more worthwhile. Squared up with custom rotation; minor adjustments to colour, contrast and sharpness in Irfanview; Fuji FinePix S5600. Image by Mike.

Bridge Over a Watercolour Sea

Sometimes the shot just happens, all you have to do is release the shutter. This is one of a series I took on November 23^rd, 2012, from a train heading up the line from Cardiff to the village of Shifnal, during my last main UK trip. I think this is the Severn Estuary, though I confess my geographical sense is a bit turned around on this phase of the trip. No matter, the sun was at just the right angle and the waters were very calm, creating this amazing visual—like a watercolour painting. The overall toning is probably as much to do with some polarising effect of the train window as with the lighting angle, but the result is delightful.Minor adjustments to colour and contrast in Irfanview; and the frame was squared up with fine rotation. Fuji FinePix S5600. Image by Mike.

Vertiginous View

This is another frame from the set I took at York Minster, England, in November, 2011, on my fourth UK trip (I mistakenly quoted it as my third in a previous post). This was once the tallest building in Europe, some 800 years ago. Everything I said before applies, but this frame, with the skew-off in framing, creates a more vertiginous aspect. The sun came out—that’s the big thing, because so many of my UK trip photos are dominated by grey skies and racing clouds, which, though spectacular in their own right, can get a bit monotonous. Here is proof that blue skies do occur in the British Isles—just now and then! Fuji S5600. Image by Mike.

The Hidden Sun

There’s nothing so ephemeral as sun rays through cloud, shifting as the clouds move and the sun declines... They’re moments of time never to be recaptured, yet can be frozen in images (I almost typed ‘on film’) for posterity. I took a series of frames when nature made this show as heavy weather blew up over Hastings, on November 15^th, 2012. I was on my fifth UK trip, visiting towns in the south, and Hastings turned on some thick weather. The camera chip handled the contrast amazingly. While the pictures looking away from the sun were flat and soft, as is to be expected on such a grey day, when looking toward the spectacle over the Channel the sense of “light in the darkness” came through profoundly. Minor adjustments to colour and contrast in Irfanview; Fuji FinePix S5600. Image by Mike.

 

Fun with Low Light

This is another of the group I took when leaving England in 2010. This is at the very doors of the Heathrow Terminal, looking across the arrivals area, and just before they turned on the purple neon (find that in an older post). Notice the steel anti-ram-raider bollards—I think I rested the camera on top of one of them to stabilise it. In the previous frame a moving vehicle is blurred, telling you how long the shutter was open, while in this one nothing was moving, creating this beautifully textured, nuanced image. The only adjustment I made is a tiny touch of sharpening, otherwise this is exactly as the chip read the moment. This was November 16^th, 2010, and I was glad to be heading home, as I had been quite unwell on this expedition. Fuji FinePix S5600. Image by Mike.

 

Photograph of the Photographer

Sometimes life presents you with an irony, like shooting yourself in a mirror. Here, the photographer becomes the study. This was the 15^th of November, 2011, in the British sea town of Whitby, and I had gone exploring on the rocky shore below the cliffs eastward. Among my studies of the grey weather, of sunrays through cloud and reflections on wet mud flats, I found such a study on offer, when I noticed this photographer who had taken his equipment out across the rocky platform at low water to shoot back west toward the breakwaters and lighthouses. His pictures were probably pretty spectacular, while mine was simply opportunistic, and smile-worthy. It’s not often one photographer captures another in pursuit of his craft! Minor adjustments to colour and contrast in Irfanview; Fuji FinePix S5600. Image by Mike. Mm