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, into 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.

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

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Double-Masted | 720nm Infrared | 35mm.

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Bluebell | 35mm.

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Broom | 35mm.

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Milkbank House Ruins | 760nm Infrared | 28mm.

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Talla Reservoir | 760nm Infrared | 28mm.

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

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

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

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Moonrise | 720nm Infrared | 85mm.

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Grandeur | 35mm.

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Happy New Year 2019, to You All!

R.


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Memories: Of Longer Days | 720nm Infrared | 35:Chronicle

black & white, infrared, landscape, photography

As the Winter Solstice Approaches.


Already, I miss the higher sun, the longer days and, of course, my photo-walks around this rural haven that I call home. These few frames were among the last infrared captures I had made not too many weeks after the segue from summer, to autumn. Yes, I do miss my IR walks. The sun, the warmth, the solitude and, the searching – for the almost ethereal – are to me, those things that I enjoy most about it. As I look forward to next year’s spring, I shall embrace these shorter, darker, colder days – for their own challenges will become my own; but, I long for the light. If only to see scenes like these through my viewfinder again. 

R.

I | Repentance Tower.

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II | Ploughed.

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III | Above & Beyond.

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While the Sun Shines | PT.I | 35:Chronicle

35mm, black & white, colour, landscape, nature, photography, summer

Making Hay.


As I looked out of my living-room window yesterday morning and, to the fields opposite, it was clear to me that it is again that time of year. Oddly, as the years pass, certain annual events seem to come more quickly than ever before, and, so soon, it’s baling season once more. Part of me would love to live in or close to a city, with amazing architecture and dazzling lighting; interesting folk too busy to notice another would-be street photographer, perhaps. But I live in the country and so, the country revolves around my life, I suppose. For years, I have been meaning to get out and shoot the fields dotted with their bales under warm evening, late-summer sunshine and I have always either missed the opportunities or, just been too lazy to create them. Until this year. Being right outside my door, for me to have not made these frames would have been a personal crime.

(The first three frames were obviously captured during daylight hours, but the last exposure (of 30″ at ISO:100) was captured around 10pm – as baling continued well into the night.)

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I.

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II.

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It is my plan to publish three posts in this series because, not only have I used visible light to capture the scenes (as in this post), but, as regular readers may well suspect, I have made a number of infrared captures of different wavelengths, too. Starting with the visible-light frames I believe is the more natural way to start this little series off but it will, I hope, become very clear as to how alternative wavelengths and focal-lengths can offer a very different visual perspective to similar compositions, in the posts to come. 

As one apt old saying goes – we must make hay, while the sun shines. (With camera in-hand, who am I to argue with that?)

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III.

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IV.

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(Part II can be visited here.)
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Symmetry | PT.I | 35:Chronicle

black & white, colour, infrared, landscape, nature, photography, skies, structures, waterscape

It’s Personal.


Sometimes, when I am looking at new compositions and also, reviewing past images, I come across a simple idea that quite clearly formed the basis of those overall images in question. In fact, I can recall many occasions where I have actively looked for it and done my best to use it. Yet, though I have looked for symmetry so often in my compositions, I have never actually questioned myself as to why I do so.

Sticking to rules is not what I am best at – but some rules of photography can’t (rather, shouldn’t) be ignored. Clearly, composition is a highly key element in any photograph and, though none of us get it perfectly right all of the time, it has to be the mainstay of any serious photographer along with other obvious key elements. So why is symmetry such a valuable compositional tool and what does it say about us when we use it? 

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I.

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II.

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Symmetry can be used either vertically, horizontally or, more trickily, diagonally. In the main, it’s usually portrayed in 50/50 form rather than thirds (where symmetry would be a less accurate way of describing it than say, for example, repetition). Personally speaking, I love symmetry in composition for a few reasons: 

  • Composition of a strong or interesting subject can be made much more simply at the most appropriate FL.
  • It is highly probably that on viewing, the eye will be naturally drawn to this element, and therefore, the image may tend to ‘de-clutter’ itself.
  • It’s an excellent framing tool for creating isolation of a subject. 

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III.

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IV.

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Personally, I have a natural propensity to like things in order and I don’t enjoy chaos – certainly not in the images I make. This is applicable though, to most areas of my life because, my life is tended by this person with this personality or, hang-ups – and this cannot change without a life-changing episode. Nevertheless, I know that areas of my personality (or, persinility, perhaps?) are the reasons why I see how I do when I look to make a photograph. In a similar way, certain personality traits may compel one to create in vibrant colour, or say, use repeatedly similar subject matter. Yes, I think it is entirely personal, way beyond the rules – but then, no art can be anything but, can it?

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Together We Stand | 760nm IR | 35:Chronicle

28mm, black & white, infrared, landscape, photography, trees

General Cluster II.


28mm | 760 IR.

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Land-Escapery | PT.II | 35:Chronicle

28mm, 50mm, black & white, infrared, landscape, nature, photography, skies

To Contrast.


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I | 715nm Infrared @ 50mm.

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II | VIS @ 28mm.

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A Bridge Too Far? | Personal Narrative | 35:Chronicle

35mm, black & white, landscape, personal, photography, spring, structures, trees

Kinclair Viaduct | Pinmore.


This post is a little more personal to me than many of my others and, it’s a little difficult even trying to figure out how best to introduce it. But introduce it I must, and, with important reason. When I say that I consider my 35 to be the lens for life, I mean exactly this. For all aspects of life. I suppose that the same could be said of any passtime or endeavour whereby the passage of time and (or) memories are recorded and, here, with my one prime, again, I have both. It’s wide enough to see and record the periphery of the life in front of us, yet narrow enough to preserve the little details there too, which, should not be forgotten. Hence, they can be perfectly preserved, in time. If I’m making no sense, perhaps I can be clearer. 

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I. | The House Under the Bridge.

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II. | Nine of Eleven.

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These images are from the second time I ever saw this structure; they were taken on Monday, this week. I drove a round-trip of over 200 miles specifically to photograph it. Whatever the weather was to be, I would capture it. That is why, during mid-morning, I packed a waterproof jacket, my camera gear, my lunch, a flask of coffee and an extra pack of menthol cigarettes, and set off to Pinwherry and, just north, to Pinmore. Yes, I carried memories with me and couldn’t help but feel thin air from the conspicuously empty front-seat in my car, amplified by the knowledge of the direction in which I was now heading.

The first time I ever saw this structure, the passenger-seat to my left was occupied and, we were on our way home, passing through Girvan and south along the A714, returning from a visit to Ayrshire, (which was memorable itself by the mini-rant I had had that day about less than stellar customer service and charging punters full admission price to a place that was only half-open and, had not been advertised as such upon reviewing the relevant website the day before. I still believe my point to be valid, however, I digress). That late-afternoon journey home was in fact, for me at least, the most enjoyable part of the day, not least for the company of one special to me, but also for the beautifully scenic landscapes under late-afternoon sun and, the ability to simply – share the feeling.  Then, we arrived at Pinmore, still heading south and, passing under this incredible viaduct, (eleven arches in all) I scanned frantically for a place to park whilst conscious of the BMW behind me, trying to ‘push’ me along and around the ever present s-bends. Failure to find a suitable stopping point was inevitable and all that we could do was to marvel at the enormity of the thing as it vanished steadily, behind us. I vowed that we would go back. But I am one half of we, now. And even so, without we, I – would never have seen this place and so, it seems unfair, morally wrong and, emotionally impossible for me to not acknowledge the fact. 

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III. | Ten of Eleven.
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IV. | From the South.

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On my return, I noted a few things to myself. One, there is only one space at the roadside anywhere near here, big enough to park the car off the road and, good luck finding it empty if I should return; two, in spring and summer, the trees are so thick and tall as to almost hide this structure from the roadside, probably until late autumn (so I shall head back then, too or perhaps even during winter); three, from ground-level it is so difficult to appreciate just how majestic and huge this viaduct is and so, I shall need to find higher-ground when I return to Pinmore, which I will. From closer distances, the stonework can be better appreciated, for certain, and, though the light was occasionally tricky, I still, on review, enjoy the vantage-point. Even though I did have to quickly jump into the roadside scrub to avoid being mowed down, I didn’t feel rushed – just a little, half-there. There should have been a familiar voice hollering, “Car!” whenever my back was to the tarmac. Whilst the views were fabulous, to me, there was an inevitable notion of – hollow. But I was glad to be back. Though tricky to photograph, it is an amazing feeling to even stand beneath one its arches. 

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V. | From the North.

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Alas, life is how it is, but it is served no purpose by forgetting what it was. The way I see it, to photograph life is the best way to capture, remember and appreciate just that – no matter in which direction we’re heading. 

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Either Side of the Day | 35:Chronicle

35mm, colour, landscape, photography, skies, sunrise, sunset, waterscape

Shades of Blue & Gold.


To the East.

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To the West | I.

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To the West | II.

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Show Me a Sign | 35:Chronicle

35mm, black & white, landscape, photography

The Crossing.


My fascination with old ruins and cemeteries has nothing at all to do with religion (take that any way you will) – but has in truth, everything to do with the fact that such subjects, in the right light, can make beautiful topics for black and white photographs and what’s more, 35 is perfect for this kind of caper. That’s why, on my way home from work on Sunday morning, I stopped at The Cross to photograph this ol’ church (upon which, the local council, as well as boarding-up most of the gorgeous arched windows (sigh!) has thoughtfully mounted a bold blue & white sign reporting that “This Building is in Ruin…”, (as though it were not obvious) and words to the effect that “All Ye Who Enter, Beware of Death!”  Nonetheless, it get’s them off the hook I s’ppose and, seeing as how everything has to be so obviously safety-netted in this age, largely I presume for the terminally unaware hence, and more importantly, local authority backsides well and truly covered, it’s no surprise that it’s there. But it is a shame that someone felt the need to point out the (bleedin’) obvious and in so doing deface this Gothic gem. Still, the sign is on the north side and the sun was already rising in an almost cloudless sky in the east – I could navigate around it. The graveyard itself has three Georgian burial enclosures where are interred both civilian deceased and many, even more sobering war-graves.  

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I.

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The truth is, the fact that I only live up the road from this Gothic ruin means that I have driven past it more times that I could possibly imagine and, have always meant to stop and capture it when the light’s been suitable – and when it has been, my cameras have been at home. That said, I have taken to leaving them in the car when I’m out and about, I mean, what’s the point leaving the things anywhere else? As I drove home, I pulled up outside and took a wander around it, absorbed the morning’s early sunshine and grabbed a few frames of the old place before continuing on my way home for some much needed shut-eye.

This church (built in 1817) has been in this ruined state since a fire rendered it roofless in 1975, when-abouts the alter was removed (presumably by the Church or maybe persons unknown?) the grass though, is still maintained around the war-graves and the air of the place, especially when wandering around alone on a beautiful early Sunday morning, is one of the most peaceful imaginable. I only hope that this comes across even just a little, in these frames. 

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II.

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III.

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IV.

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Land-Escapery | PT.I | 35:Chronicle

35mm, black & white, landscape, nature, personal, photography, trees

Snapped.


It took me a lot of years to find my way into making landscape photographs. The main reason for my late arrival to the genre was purely one of my own perceived inadequacy at being able to capture any two images that didn’t look the bleedin’ same. Perceived or not – I found it extremely difficult to produce images that were either pleasing to me or, worthy of showing to anyone at all, ever. However, someone once told me that we always want what we can’t have and, maybe because I had so much difficulty with capturing landscapes, I tried even harder to do so.

The first few years was a struggle, much like when I decided (rather foolhardily, many years ago), to take up golf – and I actually did end-up snapping my driver in acceptance of the futility of it all).  I don’t really know what happened in my head (we’re back on photography now – forget the golf-thing) but there came a point where it started to make some sense and I have enjoyed the genre ever since. Though I’m far from where I want to be, creatively, I enjoy it now, more than ever, which is good because I really don’t fancy trying to snap any of my cameras in ‘alf!

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Distant Mist.

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Home.

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Home w/Double-Rainbow.

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The Remorseful Day | 35:Chronicle

35mm, autumn / fall, colour, landscape, nature, photography, sunrise, sunset

How Clear, How Lovely Bright | A.E Housman


Morning | Hope:

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How clear, how lovely bright,
How beautiful to sight
Those beams of morning play;
How heaven laughs out with glee
Where, like a bird set free,
Up from the eastern sea
Soars the delightful day.

To-day I shall be strong,
No more shall yield to wrong,
Shall squander life no more;
Days lost, I know not how,
I shall retrieve them now;
Now I shall keep the vow
I never kept before.

Ensanguining the skies
How heavily it dies
Into the west away;
Past touch and sight and sound
Not further to be found,
How hopeless under ground
Falls the remorseful day.

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Evening | Sorrow:

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Morse – The Last Stanza | YouTube

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