Morton Castle: Reprise | PT.II | 35:Chronicle

50mm, black & white, landscape, nature, photography, ruins, rural, skies, structures, trees

Clouds (& Their Silver Linings).


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IV | A Morton Kind of Mood.

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V | King of Clubs.

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VI | Proud.

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Morton Castle: Reprise | PT.I
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Morton Castle: Reprise | PT.I | 35:Chronicle

50mm, black & white, landscape, nature, people, personal, photography, ruins, rural, structures, trees

Wind & G.A.S are Not the Same.


I seem to have developed (no pun intended) a propensity for posting late at night, recently – probably because I am still taking regular daytime naps to get me out of pain and it’s better than woofing the narcs that I’m currently prescribed. So, I am more awake at night than I am for most of the day, just lately. It’s not an impossible cycle and I’ll shake it soon, I know. Truthfully, I am feeling great presently and am looking forward to getting truly back to life and furthermore, I am  no longer having to endure most of the awful side-effects of the drugs, some of them rather embarrassing to say the least but, nonetheless, on grounds of utter propriety – unmentionable. A clue could be in the sub-heading, I guess. (If you read on with your tongue in your cheek – that’d be better than taking the rest too seriously. Stuff just – happens, you know?)

Onwards.

Back in February, I visited Morton Castle on a day which initially promised gorgeous blue skies inset with a clear and bright low winter sun – ideal for some IR shots of this utterly beautiful ruin. That was at around the time we had set orff! By the time we arrived, however, the clouds had moved in and the rain (known in Scotland as ‘smirry‘ – fine, light drizzle, really) began to descend and I ended up shooting the whole lot with my standard X100T. (See post I of III – here). There would be no infrared frippery on this particular day. No matter, but with that said, I wasn’t completely happy with the frames I came away with; compositionally I was very happy, but the ‘T’ buggers about with micro-contrast and smears finer details to the point where I just couldn’t live with it. A beautifully usable camera, fabulous lens but, it had to go. Either my software didn’t like its RAWs or, there was simply something about the ‘T’ that seemed to no longer agree with me. At all. Maybe I simply outgrew it, which may have been different if they’d kept the sensor from the very first X100. (Now that one was a peach!) I digress. 

Within just over two months of those initial shots at Morton, I found myself incapacitated, hospitalised, and then convalescing flat on my back for the following two and a half months with around eight or nine fractures to my spine, ribs and foot, a little internal bleeding and more pain than I could have comprehended possible at that time. What else was I to do to cheer myself up – other than to buy a new camera? Apart from the obvious things, photography was right up there on the list of things I was missing the most. Probably joint second, I’d say. I knew I wouldn’t be able to shoot it right away but I could spend weeks familiarising and reading up on it’s features so that when the day came where I could get out and play with it, I’d be more than ready; and so, that’s what I did. I bought the camera I have spent the past five years or so drooling over and, buggered the expense sideways. After all, I might not have even existed anymore – I jest not when I say that it really was that close, at the time of the incident. Hang it all. The Df arrived within a couple of days and the ‘T’ was history. I felt no remorse or pain. Not even a twinge. Move on. 

It’s not really G.A.S (gear acquisition syndrome) though – I guess that I have enough equipment to shoot pretty much any way I choose to. No, this was about something different entirely. I no longer wanted a camera that would mess about with the detail during shot processing, even in the RAWs – just a tool that would record what it sees and let me decide on output. Full-frame or not, I couldn’t care less (apart from the fact that this thing shoots clean even in the (photographically speaking) dark) – but I have been proved that I waited five years too long. What a plonker. But this isn’t a review (yawn!) – I only wish to post up my first frames from it, taken on a day that started out dismal, and pretty much remained that way, just last week. Low photographic expectations led me to something I didn’t expect – I love these frames, but not as much as being out there again. Despite the clouds, it was the finest of days. For life and, for loved ones.

I hope you’ll enjoy these.

R.

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I | Across Morton Loch.

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II | Brothers.

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III | [A Bit of] Morton Castle.

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This post is so gratefully dedicated to everyone who has been here for me in deed, word, or thought over the past couple of months – colleagues, friends, healthcare professionals, well-wishers and fellow bloggers and, most lovingly dedicated to my loved ones, whose patience, warmth and love know no conceivable bounds. Lucky isn’t the word.

To my Angie, to Corbs & to Flynn. X

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Closer Still(s) | PT.XXIII | 35:Chronicle

35mm, black & white, close-up, colour, macro, nature, photography

A Chance Encounter with a Bumble.


To all of you who follow my pages, please accept my deepest apologies for not having posted lately. I know, it’s been around a fortnight. I also know that the world won’t stop turning just because I haven’t pulled my proverbial finger out, either; however, it’s been a busy time for me and I have so much to catch-up on, in life and here on WP. (Harold, I haven’t forgotten, I swear it!) 

When I have had the time, I have taken every opportunity available to get out and shoot and insosaying, I do have a ridiculous amount of work to go through, the (hopeful) fruits of which I will inevitably be sharing with you all just as soon as I have time. I’m making as much as I can and hope to be back on track very soon. In the meantime – I thought I would like to share with you all – a series that I had not expected to be working on over the last few days. As for the colour frame – I know it’s not like me to post much colour work, but, I couldn’t resist the little gem in frame two. The shots aren’t perfect by any means, but I have had a ridiculous amount of fun making them. I do hope that you’ll also enjoy them.

For your enduring patience and commitment, I thank you all. For your kind wishes during my recovery, I am overwhelmed and, I am delighted to report that things are looking good and I hope to be back to my normal routine within the next couple of months, stronger than ever. 

How much we take for granted.

R.

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III.

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Like a Tiger Caged | 720nm IR | 35:Chronicle

black & white, boats, infrared, nature, personal, photography, rural, trees, waterscape

On the Inside.


It’s been over seven weeks since the accident that put me flat on my back and, I’ll be brutally honest – it’s starting to hurt more. I’m not talking about the pains from the injuries though, you understand. Those, I can deal with. But the pain I am starting to feel inside, the one specific pain that keeps nagging me and, reminding me that life is still happening and, I need to get back out there and be, well, normal again. To be able to live my life as I live it is all that I want now. I am getting about a lot better lately, but the sun is shining, the weather is beautiful, the spring is passed and I feel anxious, taunted, and I know how much I am missing out on because today, I should be out there too.

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I | On the Rocks [II] | 720nm Infrared.

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II | Water Under | 720nm Infrared.

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Like a caged tiger, both physically and mentally, with purpose and a distinct rolling of the shoulders, I am pacing, looking out at a world I still can’t touch, yet. It’s temporary – but time doesn’t wait and I am, through my steady improvements, becoming teeth-clenchingly restless for the outside. Artistic block is creeping in too and my edge is feeling decidedly dulled. I need to be doing what I do.  None of this will matter much to many, nor should it matter – but my protracted pauses are of good reason.

Bear with me, please – I’m getting there; and keep doing what you all do. I’m reading!

R.

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III | Stronger | 720nm Infrared.

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Closer Still(s) | PT.XXII | AKA: Miss Jekyll

35mm, black & white, close-up, colour, macro, nature, photography, still life

Love in a Mist.


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[All frames: Ricoh GR | 4:3 | Internal 35mm Crop | w/Hoya +10.]
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Postcards from the Recovery Position | PT.V | 35:Chronicle

35mm, black & white, Indoor, nature, photography, portraits, still life

One Temperate Heart.


A little over three weeks into my recovery and I still have a long road ahead. Without labouring any point as to how I got into this position in the first place (you’ll have to read PT.I if you want the most basic of gists) I am at home, being well cared for by my Angie, and, when I have the opportunity (in other words, when she agrees that I’m fit and steady enough to move around a little and not completely doped on opioid pain relief and tripping over my crutches) – the first thing I still want to do (remember: this is a public forum, kids!) is, to make photographs. 

During my second week at home, I was able to do just that from my bedside and, as a way of reiterating that things could definitely be worse, I share these few frames with you all. I am missing some glorious spring sunshine but, it’s not going to stop me. I must keep moving. 

Warmth, Gratitude & Love.

R.

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I | From Friends.

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II | Introducing Charlotte the Red, by Window Seat (Don’t Ask!)

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III | Angie – After Fluffing-Up my Pillows.

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IV | From Friends & to Friends.

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All Frames: Ricoh GR | 35mm [APS-C Internal Crop at 4:3]
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Closer Still(s) | PT.XXI | These Bleeding Hearts | 35:Chronicle

35mm, black & white, close-up, colour, macro, nature, personal, photography

Moments Like This.


When a six year-old boy comes home with a gift like this, tied to his huge smile as he hands it to me (because all he can think about is the pictures that I’m going to make from it) it really does tug at the strings. If moments like this mean anything at all, it is that one can never underestimate the hearts of innocents. He’s even promised me he’ll save all of his pocket-money so that he can buy more for me to photograph. If that isn’t worth sharing, I don’t know what is.

(Thanks, Flynn!)

R.

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Closer Still(s) | PT.XX | A Little More Delicate | 35:Chronicle

35mm, black & white, close-up, macro, nature, photography

In [& from] the Garden.


Over this recent and beautiful Easter weekend,  I took immense pleasure in setting up my close-up gear and, I took a wander around the borders and beds to see what I might find to shoot. I did manage a number of frames and, whilst I worked primarily for colour in this instance, I still couldn’t find as much pleasure from them, as I found in them once I had processed for black and white. Even here, there’s no getting away from the sheer, unavoidable distraction of colour. 

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I | Bleeding Hearts | 35mm. 

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II | Early Bluebells | 35mm.

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III | Bleeding Hearts [Side View] | 35mm.

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IV | Magnolia | 35mm.

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Closer Still(s) | PT.XIX [I] | 35:Chronicle

28mm, black & white, close-up, macro, nature, photography, still life

Shelling-Out (for Reasonably Priced G.A.S).


Right-oh – this post is just for a little fun. A couple of weeks ago I had the opportunity to buy a cracking (barely tripped) little camera and all the trimmings at a bit of daft price and, as I’d had one around eight years ago (and sold it to fund my first GR), nostalgia for its punchy output got the better of me and so – ker-ching! (You know how it is, right?) Ricoh’s GRD IV was for me, a cracking little street camera but, it was also great for indoor candids; its black and white output has been praised ad-infinitum too, all over the inter-web – and with very good reason. (Check out the inimitable Olivier Duong’s page about it here, posted almost three years ago, at Inspired Eye if you’re interested). However, the real reason I bought it again, was to set it up in my macro studio.

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I. | 1″ | f5.6 | ISO:80

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With the combination of its small sensor and a minimum film speed of ISO/ASA:80, it’s a fabulous little thing for getting closer and providing plenty of DoF (depth of field) at macro-distances. I don’t know if it’s 1:2 or a 1:1 equivalent and frankly, I don’t care a hoot. It gets close. Though I didn’t exploit its 10mm  closest-focus, I did have a little bit of a play with a few shells that I’d pocketed from the beach last week, after I’d photographed the Thirlstane. To be honest, I really can’t see that much of a difference in IQ (image quality) at ISO80 at these close distances, to the ISO200 frames I grab with any of my APS-C set-ups. I’m sure there is a difference, I just can’t distinguish it. But for DoF, with IQ at this level – I think I’m going to enjoy playing with this little macro-monster more and more. Just when I thought I’d become an utter APS-C  (minimum) IQ-snob – I end up with this thing again, after all this time. Who’d have thunk it? I still love it!

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II. | 8” | f8.0 | ISO:80

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Thanks so much for reading, I do hope that you’ll enjoy these couple of frames and, are having a great weekend.

R.

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Ricoh GR | You Can Call Me – ‘Jack’ | 35:Chronicle

black & white, close-up, colour, full-spectrum, Indoor, infrared, landscape, macro, nature, night / low-light, personal, photography, review, ruins, structures

Photographic ‘Mechano‘? | A Few More Nuts & Bolts.


Two very special cameras have made up the mainstay of my shooting arsenal over the past eight years; the Fujifilm X100 (the debut, the ‘S’ and, the ‘T’) and, the Ricoh GR (also, the GR II). The model numbers don’t really make much of a difference to me because it’s all about how they allow me to work when I’m making pictures. Furthermore, my joy of them has nothing to do with button layouts, menu-order, online reviews, or much else either. It’s really all about the ability to carry a portable, capable and an ever more familiar set-up that produces very workable digital negatives shot through focal-lengths that I prefer the most. Shooting with shorter focal lengths has been my passion for a good number of years now, ever since I made the decision to give up on larger systems and telephoto lenses. That decision itself came from a notion that being out of range didn’t make me a better photographer at all – it wasn’t brave and, I always felt like I was on the outside looking in, instead of immersed in the process. That’s why I ditched the longer lenses. Simple. I wanted to learn more about photography and could no longer find satisfaction from picking-off frames from a distance – no matter how attractive I found focal-plane-to-background separation. The change was swift and, sharp.

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I. | Sir Duncan Rice Library Building – University of Aberdeen.

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After a few years with the Fuji-X I wanted something a little smaller for my pocket, for those days we all hanker for at one time or another – when we can grab the shots without carrying the bag as well; not a replacement as such, but a complement to my existing camera(s). By that time, I was completely hooked on shorter focal-lengths, the immersive experience of making pictures with them and that was when I bit the proverbial bullet on a GR – a camera that has been in my bag or my pocket for almost six years, no matter what else I have been shooting alongside it. Now, you may think that this is going somewhere a little bit too romantic and, you might be right. You see, out of every piece of equipment I have ever shot with over the last twenty-plus years, Ricoh’s GXRs and GRs have been my absolute favourite to use. The GR however, (even for all of the APS-C variants of the GXR) – tops the lot. I have no issue with admitting that the GR is (digitally speaking) the best, most customisable, usable camera with which I have ever made pictures. But the oddity in all of this is that – it just got even better. I’m not talking of anything Ricoh has done to it or, for it. It’s simply that as well as my standard model, I now have another, converted to split-spectrum with an internal 450nm filter. This might not sound like a big deal (especially if you’re more a colour enthusiast or just not a fan of black and white photography) but bear with me, and you’ll see that it actually – is.

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II. | Kinclair Viaduct.

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My first foray into split-spectrum and true full-spectrum happened when I had received a converted A16 unit for my old GXR a few years ago and, with that one unit, I was able to reduce issues of low-light black and white photography and shoot any alternative wavelengths that I chose to – usually near-infrared around the 720nm mark. In truth, my main love for a split-spectrum converted camera lies in the ability for me to choose different IR wavelengths as my base, when shooting, though primarily, I stick to 720nm (give or take around 20-30nm) – as I have done for the last twelve or so years. But it’s lovely to have the latitude when it’s needed. If any of you browsed through my images of St.Giles’ Cathedral in Edinburgh, late last year, you will notice, if you look, the clear benefits of shooting indoors with a split or full-spectrum converted camera as, such a set-up effectively doubles the shutter speed because the amount of wavelengths and subsequently, available light, is also doubled. For this kind of photography, black and white is really the only option (unless you’re into really funky colours and peculiar white-balance) and if you’re happy with this, you’d be even happier at the reduced (or complete absence of) camera / motion blur in your shots, not to mention the huge amounts of extra detail in the blacks and shadows.

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III. | St. Gile’s Cathedral – Edinburgh [Full Spectrum – Handheld].

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Now, a small admission. Originally, when I started drafting this post, my intention was to write some kind or report or, review, about my newest acquisition in the 450nm GR. But as that camera is only half of my story, I have decided to be more – general and, as my title suggests, I do consider the GR to be the most customisable camera I have ever had the pleasure of getting my hands on. The mere fact that I now have two of them, both set-up in completely different ways, for alternative shooting requirements, will bear this out. The fact that I have most of the accessories available for them, is also a factor in their importance in much of my work because, by and large, I don’t go in for huge amounts of add-ons for my gear and, prefer to keep weight down instead. But as weight is not really an issue with a camera so compact, I allowed myself to indulge in order to make them as useful as possible, to me. As well as both cameras, one standard and one converted, I also have three GH-3 filter adapters. On one, I have the IR 720nm filter, on another – a C-PL and on the third, a +10 close-up filter for a little extra macro. Having each filter mounted on separate adapters allows me to very quickly swap-out filters between cameras with just a click & twist. Obviously, the R72 filter adapter only gets exchanged with the +10 if I’m going to choose close-up work in IR or split-spectrum, but the C-PL can be swapped out for either of the other two, because as I have discovered, the standard GR set-up is also receptive to IR wavelengths with no hot-spotting, giving the shooting process a natural ND sequence. So, for long exposure IR imagery, the standard GR handles infrared rather well indeed. (I will do my best to show this as artistically as I am able, during the summer). With the addition of the GW-3 wide lens (which is pretty special, I must say) I can add a 21mm repertoire to each set-up at will, with custom functions set for (35mm) crop-mode and conversion-lens use, on each camera; not to mention the ability to set each of the unit’s three custom modes, for different set-ups. The fact that I love the GR’s output is the reason I shoot with it in the first place but, coupled with its mechano-like, Swiss Army-Knife tendencies – I really don’t feel like I’m missing out on anything for wide shooting, or – much else, for that matter.

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IV. | Bluebell.

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Of late, I have found myself preferring 4:3 output straight from the camera and have noted a benefit to this also, in post. The GR’s lens has a certain amount of natural light fall-off (vignetting) in the corners (especially when shooting at its native 28mm with front-mounted filters) and shooting at 4:3 reduces this somewhat unappealing effect by cropping out the far-lateral sides of the sensor. Added to the fact that 35mm is my preferred focal-length, this internal crop-mode when utilised alongside the 4:3 option, reduces fall-off further, while still providing me with a fairly respectable 9mp RAW file for processing, minus the rather noticeable fall-off. Again, many quick functions are simple and quick to set-up and I also have a ratio option on my adjust lever as well as 28/35mm crop on the effects button at the side of the camera. There’s not really a whole lot more that I can say of the 450nm converted camera, per se – it is what it is and as long as it’s raison d’etre is realised and understood, it’s an extremely useful tool for low-light, indoor photography where crushed blacks aren’t desired but organic detail is. For me – it’s there for IR in the main. But that’s just me. I still need my bag, of course – but even so it weighs next to nothing and, my bases are all covered.

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V. | Church Ruin [720nm Infrared].

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The GR has mostly been heralded as the ideal street camera to have, and I will not argue this. But what has not been extolled, as far as I am able to discover for myself, is that it can do so much more than street-photography; decent macro (with or without external filter assistance), landscape, environmental, urban exploration, and even alternative wavelength, I don’t think there’s much this thing can’t do. I have probably harped on enough now about this camera but I so want anyone who is truly interested, to know just how much a little camera can do in hands attached to a mind that wants to truly explore photographic possibilities.

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VI. | Horse-Chestnut [Sticky] Bud.

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The GR III is soon to be released in the UK (note: this post was published in early March 2019) – and I know right now that I won’t be buying one at any time in the near future. The main reason that I keep my Fujis is because of their handling, their viewfinders and the lovely files that I get to make with them. Insosaying, (because its screen can be rather hard to see in sunlight) if the new GR had been designed and built with a finder (a la pop-up EFV on Sony’s RX100 MK3 and onwards) then I doubt that the X100/IR or the ‘T’ would get much handling. If the GR III is as good as it’s going to get, then I’m sorry Ricoh- you already got it bang-on with the first one – nuts, bolts, the lot. And I’m not moving. I mean, what would be the point?

R.
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Closer Still(s) | PT.XVIII [II] | 35:Chronicle

35mm, close-up, colour, nature, photography

Moss, Inside Droplets |  A Colour Excursion.


Two days ago I posted a few close-ups (almost macro, maybe) of a little of the moss on my garden wall, after a light drizzle. As many of you who read my posts and view my work, it will be all too apparent that my preferred medium is black and white and, as such, I tend to think in this way when I am envisioning and composing a shot. Still, there are many who like a little colour and I cannot neglect those of you either. Though I shoot and post for myself (don’t take that the wrong way, only, I resist the temptation to shoot or process images based on expectation of any audience) I do sometimes process for colour representation, just – not very often (unless the colours are the reason that I want to make the frame in the first place). On this day, when I made these shots, the light was rather flat; however – diffuse, cloudy light can be rather useful for evening out exposures and, also, can render saturation of colour far more pleasingly than harsh or direct light. As such, for Rajeev and for Quy, and anyone else who might have wondered how I would have seen the images of #107 in colour – here they are. I can only hope that they were worth your wondering. (I haven’t included the IR frame – false colour infrared really doesn’t do it for me, I’m afraid).

[On a slightly technical note – I love to use minimal equipment and carry as little as I possibly can. Not many of us like gear or choice to get in the way of how we shoot and I am a huge fan of minimal.  With that said, I have no need for a dedicated macro lens and, while my normal 35mm FoV lens focuses down to a minimum of around 6″ (I just have to be more careful not to block the light I wish to use, and predictably, the wider the lens, the harder it becomes) – I get a lot closer when I pop my Hoya +10 on the front of it. The +10 was also used for these frames, though not at closest focus distance.]

I do hope you’ll enjoy these few captures.

R.

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Thank you for visiting. If you would like updates, please click Follow. All Images & Posts © 35:Chronicle (2018, 2019) except where specified. No Copying or Redistribution of any kind is permitted without prior consent from the author, unless links to original work is clearly provided. 35chronicle@gmx.com 
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Closer Still(s) | PT.XVIII | 35:Chronicle

35mm, black & white, close-up, infrared, macro, nature, photography

Sterling Moss | Reprise.


Way back in May last year, I posted a few frames snagged of the moss on my garden wall. Not hugely interesting, to many I am sure, and in review, I have caught far better. One of the aspects of any image that I choose to make that I find is very important is, quite simply, to try to capture a different view of things; not necessarily unusual, rather – a view not too often seen by the many of us who don’t stop from time to time to observe, or seek. I am still very guilty of this – though not always. This is why, in contrast to the visible-light frames that I had posted in #24 – I have decided that these are more preferable and, a little more interesting, to me at least. I do love ‘delicate’. I hope that you’ll enjoy them, too. 

R.

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I | Moss Inside Droplets | VIS | 35mm.

35chronicle.107 (2)

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II | Moss | 720nm Infrared | 35mm.

35chronicle.107 (1)

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III | Moss Inside Droplets [II] | VIS | 35mm.

35chronicle.107 (3)

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Thank you for visiting. If you would like updates, please click Follow. All Images & Posts © 35:Chronicle (2018, 2019) except where specified. No Copying or Redistribution of any kind is permitted without prior consent from the author, unless links to original work is clearly provided. 35chronicle@gmx.com 
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2018 Photographic Review | 35:Chronicle

28mm, 35mm, 50mm, black & white, boats, close-up, colour, faux-colour, Indoor, infrared, landscape, macro, nature, personal, photography, review, skies, spring, structures, trees, waterscape

One Hundred to One.


Seeing as how this post happens to be my one hundredth, it’s actually ninety-nine into one . Since I began this blog back in March, I have also enjoyed the works and posts of so many of you and, if there could be more hours in a day, there would be many more besides, too, providing me with no less enjoyable learning, entertainment or, food for thought. I have also, over the last ten months, hoped to provide some interest in the field of photography, my own takes from various genres of our art-form which I feel so passionate about. Without the love for it, the desire to (hopefully) create something a little different on occasion or, the discipline to stay true, it’s all for nothing. Insosaying, I hope with all the passion that I have for various genres of photography, that my sincerity is not only intact but also, perhaps more importantly, unmistakably evident.

As this year now tick-tocks on to draw its last, making way for the next, I would like not only to thank you most sincerely for your input, your comments, clicks, follows and conversations, but to wish every one of you a very happy New Year for 2019. Your presence here is just as important as my own works, because without a reader, a word or a picture – would be pointless. Therefore, if you will forgive my indulgence, I would like to share with you all just some of my favourite frames from this inaugural year on 35:Chronicle.  I truly hope that you will enjoy them.

Wishing you all wonderful celebrations and, much happiness from the coming year.

Warmest regards,

Rob. 

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Snowdrops | 35mm.

35Chronicle.001 (31)

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Telford Woz ‘Ere! | 720nm Faux-Colour Infrared | 35mm.

35chronicle.037

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Double-Masted | 720nm Infrared | 35mm.

35Chronicle.008 (2)

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Bluebell | 35mm.

35Chronicle.012 (2)

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Broom | 35mm.

35chronicle.029 (4)

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Milkbank House Ruins | 760nm Infrared | 28mm.

35chronicle.042 (4)

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Talla Reservoir | 760nm Infrared | 28mm.

35chronicle.057

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Talla’s Monitoring Station | 720nm Infrared | 50mm.

35chronicle.062 (3)

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How the Other Half Live | 720nm Infrared | 35mm.

35chronicle.079 (2)

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Sir Duncan Rice Library | University of Aberdeen | 28mm.

35chronicle.087 (1)

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Moonrise | 720nm Infrared | 85mm.

35chronicle.074 (1)

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Grandeur | 35mm.

35chronicle.099 (2)

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Happy New Year 2019, to You All!

R.


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Thank you for visiting. If you would like updates, please click Follow. All Images & Posts © 35:Chronicle (2018, 2019) except where specified. No Copying or Redistribution of any kind is permitted without prior consent from the author, unless links to original work is clearly provided. 35chronicle@gmx.com 
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Closer Still(s) | PT.XVII | Orchid [Colour PT.II] | 35:Chronicle

close-up, colour, macro, nature, photography

Splash & Dash.


Before I head out to work, I want to quickly send up a final post of my images from this beautiful flower, still basking in low, early winter-sun from behind my living-room window. Any of you who read my pages even semi-regularly will know that my joy lays moreso with black and white photography, but it cannot be argued that sometimes, a combination of colours and shades that so beautifully complement form – can be the sole reason that a frame should be captured in the first place. I still can’t make up my mind, when it comes to this orchid, as to which output I prefer. But then, do I have to decide? Perhaps, not. There’s room for both, I think. 

I do hope that you will enjoy these captures, and, that you have a great weekend ahead of you. 

R.

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I | 33mm f8.0

35chronicle.094 (2)

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II | 33mm f8.0

35chronicle.094 (3)

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III | 33mm f4.0

35chronicle.094 (1)

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[To view other posts in this series, please click the ‘orchid’ tag].

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Thank you for visiting. If you would like updates, please click Follow. All Images & Posts © 35:Chronicle (2018, 2019) except where specified. No Copying or Redistribution of any kind is permitted without prior consent from the author, unless links to original work is clearly provided. 35chronicle@gmx.com 
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Closer Still(s) | PT.XVI | Orchid [B&W PT.II] | 35:Chronicle

black & white, close-up, macro, nature, photography

Light, Shadow & Form.


This is the penultimate post in this latest series of images from the humble orchid, which resides and, seems to be thriving, happily in my living room. I cannot say that I prefer the colour frames previously posted in PT.XV – for the light, shadow and form which I feel when I see these frames in black and white, grabs my attention without any distraction. The qualities which for me, make this subject so beautiful, are not enhanced one iota by their colour. I wonder how many might feel or see the same. If I have done any justice to this little flower in these few captures, then, maybe you will?

R.

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I. [33mm f8.0]

35chronicle.089 (2)

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II. [33mm f14]

35chronicle.089 (4)

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III. [33mm f8.0]

35chronicle.089 (1)

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[To view other posts in this series, please click the ‘orchid’ tag].

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HOME A RATIONALE | LIGHT-WAVES | ARCHIVES | LINKS
Thank you for visiting. If you would like updates, please click Follow. All Images & Posts © 35:Chronicle (2018, 2019) except where specified. No Copying or Redistribution of any kind is permitted without prior consent from the author, unless links to original work is clearly provided. 35chronicle@gmx.com 
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