Wildflowers on the Cusp of Spring

In contrast to the lifeless urban nature of the last post, here’s life in its more exuberant form. I took this frame on the 7^th of August, 2022, on a visit to the Aldinga “Washpool,” a natural storm water catchment just inland from the pebble beach. The area was blanketed with yellow flowers (“soursobs”) which, together with their vivid greenery, made a colourful display. The day was alternating sun and cloud, so exposures changed quickly, and the quality of the images ranged from bright colour when the sun was out, to broody, pastel canvases when cloud held sway. I was having some focus problems on the day, but captured a number of interesting views all the same. Enhancements: contrast, colour, sharpness and gamma. Fuji FinePix S5600, automatic. Image by Mike.

Hard Streets

 

These are ordinary suburban streets in Sunderland, in the English North East, but the light from that overcast and the wet ground conspire to make the tableau seem very “hard.” I took this shot on either the 11^th or 12^th of November, 2010, having just arrived for the conference at the University. I took a walk down the sea front from my B&B in Roker, took in the sights of a wet, chilly day, had hot chocolate at a small corner cafe, and generally looked for atmospheric images to record. This one has a brooding quality created by that angry sky, and a certain human plaintiveness—the utter lack of green, not so much as a weed showsng between paving stones. The overall effect is somewhat dystopian, though on a sunny day in summer the impression could be quite different. Some enhancement was done—contrast, colour, sharpness and gamma value. Fuji FinePix S5600, automatic. Image by Mike.

Changing Weather

Sunsets are an eternally fresh and wonderful subject for photographers to capture, and the passing events of sunrays and clouds are so ephemeral you must often just shoot what’s before you and see how the chip handles it. This frame, of the day's end through an incoming weather front, a welcome relief from Australia's summer heat, was captured almost nineteen years ago—February 11^th, 2005—and is part of a group of sunsets I photographed from Flinders University. I was finishing my Masters Degree at the time and was up and down to the campus frequently. Sunset in February is quite late, mid-evening, so I had obviously been working in the library or in a meeting, perhaps a student gathering I preparation for the new term about to begin. I took this shot, like a number of others, while walking down to get the bus home, through a part of the campus completely redeveloped in later years. Minimal enhancement was used—contrast, colour, sharpness and gamma value. Fuji FinePix S5600, automatic. Image by Mike.

A Bright Day in Winter

A simple but evocative shot, looking down from the overlook towards Myponga Dam, in Adelaide’s southern hills. The bright sunshine gives the image a feeling of warmth, but it was a chilly day—scarves and woolly hats were needed against a strong sea breeze farther down the coast. The old dam is always a photogenic subject, with its great lake nestled in the green countryside. I took this shot during an expedition dpwn t the south coast in July 21^st, 2017. Image was minimally enhanced—contrast, colour and sharpness only. Fuji FinePix S5600, automatic. Image by Mike

 

New For Old

An interesting and unusual composition—a close up from dead astern of the Waco biplane operated by Adelaide Biplanes, from Aldinga Aerodrome, South Australia. The Waco is a modern-build of a classic 1930’s patent, this particular aircraft dating from 1992. The lines are most engaging, and this unusual aspect presented itself from the way the aircraft was parked near the airfield cafe! I grabbed this frame on January 11^th, 2023, and would love to go see the planes coming and going again! Image was minimally enhanced—contrast, colour and sharpness only. Fuji FinePix S5600, automatic. Image by Mike. (As it’s been two weeks since I posted, I’ll get something else up tomorrow, as well.)

Still Life?

This is a most interesting piece—Dale Chihuly’s chandelier for the rotunda of the Victoria and Albert Museum in South Kensington, London. It was created in 2001 and I photographed it on November 1^st, 2010, during my third UK trip. It’s a confection of blown glass, drawing on the Murano techniques of Venice, according to the V&A’s website. It creates a flowing sense of motion in a still object and its towering, extended, pseudo-organic form puts one in the mind of life, though not of any recognisable form. This was a straight forward snapshot, one of several of this subject, using the background architecture to frame the glass confection. It makes a most futuristic picture, oddly juxtaposing the classical architecture of the building with the surreality of the art. The only adjustments were a touch of contrast and sharpness. Fuji FinePix S5600, automatic. Image by Mike.

Geometric Futures

The built environment contrasts with the natural world in one cardinal way—the artificial follows geometry, straight lines, repeating patterns, while the natural, at all but fine scale, follows organic forms and random patterning. Juxtaposition of one with the other creates the appeal of well grown-in urban spaces. This, however, is pure geometry: this is the west-facing side of the experimental medicine building on North Terrace, Adelaide, Soth Australia—commonly known as “the cheese grater” for obvious reasons. Evening light catches the coated windows from the persepctive of the tram stop. The picture was captures on the evening of the 1^st of October, 2013, and was only slightly enhanced, with contrast, saturation and sharpness marginally adjusted. Fuji FinePix S5600, automatic. Image by Mike.

Green Valleys in Spring

The hills of South Australia have a seasonal range of colour values, from a green so rich you’d think it was Ireland, in the wet months, to their characteristic yellow-grey in the harshest summer months. Depending on elevation and what sort of season we get, their nature can vary a lot at the same time of year. This is the stud farm at Hope Valley, in the southern hills, photographed on October 9^th, 2022, one of our three consecutive La Nina years. The landscape is still appreciably lush, though spring is well matured and what should be the hot weather is just around the corner. But in these times of strange weather patterns there seem no hard and fast rules any more. This is a medium telephoto shot, framing up the horses in their paddocks against the house on the hill for a very picturesque composition. Contrast, colour and sharpness were adjusted slightly. Fuji FinePix S5600, automatic. Image by Mike.

 

Aussie Skies

As I’ve mentioned a few times, Australia can turn on the most amazing skies. We live not far from the sea but can weather-up from almost any direction, and when storms roll in they can range from the merely spectacular to the downright scary. I captured this frame in my front street, looking north-west on September 2^nd, 2016 (one day after my first short story was published—what an ocean of water has gone under the bridge since then!) The palms add to the tropical feel—nothing is as exotic to a northerner born than the sight of great, fronded palms nodding in a breeze against dark and angry skies, with, nonetheless, sunshine in the foreground. The image is already very contrasty and the colours are true to the moment, so the only enhancement was a touch of sharpening. Fuji FinePix S5600, automatic. Image by Mike.

 

An Ancient Seaway

As so long elapsed prior to posting the last picture, I’ll post two on consecutive days to catch up.

I recorded this image during my expedition to Tynemouth Castle and Priory, Monday, November 15^th, 2010. I had caught the bus north from Sunderland, then taken the ferry across the Tyne and walked out to the headland, where the Medieval ruins are preserved as Scheduled Ancient Monuments. This has been a busy artery of trade since time immemorial, and remains a major maritime town to this day. The weather was perfect, sunny and mild, and the sea and river were perfect rippled reflectors. This view looks directly out into the North Sea, and the lighthouse is at the end of the north breakwater of the river mouth. I remember the day very well, and the photographic record forms a visual diary, with many excellent shots worth a look.

The image was adjustment slightly, gamma value, contrast, saturation and sharpness receiving minor tweaks. Fuji FinePix S5600, automatic. Image by Mike.

 

Long View

This is the view from the top of Mt Alma, South Australia, looking southwest toward an amazing Southern Ocean skyscape. I’ve been over that road many times, and one can never keep going without stopping to photograph the view. From farm lakes that make patches of sky in the landscape, to the rolling countryside and ever-changing cloudscape, it’s one of the best vantages around. Look south-east, you see to Lake Alexandrina, look west there are dark forests... I took this frame on July 1^st, 2018, on a family expedition around the southern vales--the country is wearing its winter green, such a change from the parched summer yellows. The image was enhanced a little, with increase in contrast and colour, decrease in gamma value and a little sharpening. I chose not to square up the skyline, as the angle of the road makes it a bit vertiginous at the best of times. Just a snap, but what a view! Fuji FinePix S5600, automatic. Image by Mike.

Misty Forest

Nature can turn on some amazing views, not all of them grand vistas of sea or sky. Some can only be glimpsed by being “inside” the weather, such as happened on this expedition, a drive through Adelaide’s southern hills on the 14^th of July, 2023. The weather was thick and clouds were hugging the hills, so when ascending from the low-lying vineyards of the McLaren Vale Wine Region into the grey overcast, one found oneself in the densest mist in a long time. An excellent opportunity for a shoot was found on a graded track near Range Road West, where the gnarled gums, frozen in their apparent writhing gesticulation in the hazy airs, created a distinctly primordial feeling. Minimal image processing was used. Fuji FinePix S5600, automatic. Image by Mike.