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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III.

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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 [II] | 35:Chronicle

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

Shelling-Out | PT.II


Following on from my previous post, here are just a couple more macro / close-up frames taken with my newly acquired, hardly used GRD IV.  Getting a little closer has seldom been easier or, as much fun. (It just goes to show, huge investment isn’t always necessary.) I hope you’ll enjoy these and, have a great week ahead.

R.

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III | 2″ | f8 | ISO:80

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IV | 1″ | f5.6 | ISO:80

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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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III.

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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.

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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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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

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II | 33mm f8.0

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III | 33mm f4.0

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

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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]

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II. [33mm f14]

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III. [33mm f8.0]

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

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Closer Still(s) | PT.XV | Orchid | 35:Chronicle

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

On Expiration (or, Breathing Out).


V.

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Before I write about the content of this post, I would first of all like to extend something to all of you who read and, follow my pages. I am never quite certain as to just why the the number ‘100’ is quite so significant, however, for some reason, it seems to be the case – for, yesterday, 35:Chronicle received its 100th follower. It’s not a number that I was waiting for, and, whilst I love statistics (though I don’t view them as often as I used to) – I do this for the love of it, the passion for photography and writing, if you like. Not only this, but to read so much wonderful work by so many of you, it’s a perfect way to relax, learn and engage the grey-matter simultaneously!) Nonetheless, whilst the number is just that, I wear a smile – one of gratitude to every single one of you who read my pages, enjoy any of my images, click, comment and, get involved even in the smallest of ways.  When I started 35:C back in March, I had no idea that I would be read by so many, or, from so many countries around the world. Today, I am so grateful to everyone who has contributed to these pages and, to you all, I would like to extent my most grateful thanks and, I hope you will return for a long time to come. I also wish to thank my friends who read my pages, offering encouragement and critique, and, whilst they are not WP members (they’ll come around, one day!) your input is utterly appreciated. To Amar, the thinker and the doer, I extend my deepest personal gratitude for the support, technical wizardry, patience and constructive criticism that you tirelessly provide. You’re the best ideas-man out there, barring none; and a good friend.

Without you all, these pages would be little more than an online diary. So, from me – a huge and warm thank you. You’re all completely (bloody) fabulous! This post is dedicated to each and every one of you.

R.

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VI.

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If you happen to love the colour yellow, this post is also for you. In truth, my frames would have been processed only in black and white were it not for their sunny disposition. The orchid’s form was in fact the reason that I wanted to capture them at all; their almost skin-like texture, their alien, possibly even deep-sea-like centres and, smooth curves. The black and whites speak to me – but how I exhaled in relief when, after only the smallest amount of processing (admittedly, I don’t do much) I looked at these frames. They are not perfect, they’re taken with old equipment but, they work for me.

I had spent the main part of the day preparing and constructing a macro-table in the corner of my spare room, a task which, if you saw it, looks like it should have only taken a few hours – instead, it took the entire day. With matte black covering (I used rolls of framing-card) on the table itself, and using a deconstructed, white plastic soft box, I created a high-ish walled corner which I also covered with the same card, clipped into place. Using a fisherman’s angled fly-tying clamp, a couple of small free-standing mirrors, clamped side lights, an overhead lamp, and an assortment of tripods of varying sizes and purposes, I was good to go. Rather than wait for the following day to shoot them, I waited for dark, doused all the lights I didn’t want, save for those on the table and, set to work. 

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VII.

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One thing that I do believe in when shooting anything to which you’re probably not going to return any time soon, or, ever – is – to shoot the hell out of it and from every angle you want. Use different depths of field, change lens-to-subject distance, exploit your subject to the maximum. Cut off from it’s host stem, this flower would last maybe two days in a shot glass full of water, at most. Therefore, I spent almost two hours with it. Just shooting. Recomposing. Re-shooting – and, loop! It’s a process that I become totally absorbed in; the rest of life disappears for a while, during which time my respect for the subject becomes all that is important to me. Casual has it’s time and place – but it’s not here. Some things are just too beautiful for that.  I hope that these elements come across in these frames.

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VIII.

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Thank you, always, for taking the time to view my pages. I am more grateful than I can write. 

[Frames V, VI, VIII – Ricoh GXR w/A12 33mm 2.5 Macro. Frame VII – Sigma SDQ w/18-35mm 1.8 Art, at 35mm]

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

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Closer Still(s) | PT.XIV | Orchid | 35:Chronicle

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

On Inspiration (or, Breathing In).


It has been a long fortnight since my last proper post and, a lot has been going on during this time. At the back of my mind has sat, constantly, thoughts of how I will move my photography forwards over the coming months and, whilst I have been pottering away trying my hand at making some kind of studio in my larger spare-room, I have been repeatedly inspired by much of the work I see here on WP, in the shape of writers, photographers and, artists whose work I follow and read regularly. It is short-sighted to think or believe that our works are, or could be, enough – or more ridiculously, the pinnacle of our achievements when there exists so much inspiration that can only ever serve, if we truly care about our art, to spur us on to more wonderful or beautiful things.

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I.

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This first post in my Orchid series, is, inasmuch as it could be, a doffed cap to a post I read and often return to, entitled Still Life with Tulips by Alena Shminke and, though my composition, focal distance and subject are all different as well as the tools of our trades, “Tulips” inspires me with its own tone and composition and in these elements  my attention was directed more greatly than with my previous shoots within the engaging genre of close-up photography.  (This is why my first post in this series is of solely black and white compositions, as opposed to colour which, will follow soon). Whether I have achieved more by such considerations would not be for me to say, but the process is all the more engaging when keeping elements of the works of others in mind. Inspiration is a gift to any of us who open our eyes and our minds to invite it.

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II.

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III.

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The Orchid itself was another gift, of a nine-year old girl called Maddison – who, upon returning home one afternoon during the autumn, proudly, smiling as she did so – wandered over to her gentleman neighbour who was sitting in the sunshine, to  give it to me.  Kindness, altruism and generosity are also inspirations but never moreso than the smile of a happy child.  So, for Maddie – thank you! I hope that this first series (and subsequent offerings) preserve what still is, a beautiful gift. (Tell your mum I use a little tomato-feed! Works a treat!)

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IV.

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Lastly, (and I should do this more often, I know) if I may mention another blogger, here on WP. Donald Reese has recently grabbed my attention with his utterly stunning low-light, light-painting street and environmental photography and, makes amazing use of rain, flashes and torches – as well as his cameras. If you’re interested, please take a look


[Frames I, II, IV – Ricoh GXR w/A12 33mm 2.5 Macro. Frame III – Sigma SDQ w/18-35mm 1.8 Art, at 35mm]

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

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Local Pheasant Leaves Photo-Present | 35:Chronicle

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

A Ringneck’s Three.


Tip, Shaft & Quill.

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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.XII | 35:Chronicle

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

Purple Poppy-Pods.


I. | 35mm – 1/3″ | f10 | ISO:100

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II. | 35mm – 1/2″ | f10 | ISO:100

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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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‘Between Moments | PT.II | 35:Chronicle

50mm, black & white, close-up, colour, macro, nature, personal, photography

(A Little More) Backyard Buffoonery.


Okay, nothing serious here – just a few frames I managed to snick from a mess-around this afternoon in the garden, with various Ricoh set-ups. 

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Waiting for the Bumble (that Never Showed) | GXR & 50mm (EFoV).

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An Unfolding Gladiolus | GXR & 50mm (EFoV).

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(For a Four-Legged Friend) Sweet William | GXR A16 & Hoya +10.

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Gladiolus | GXR A16 & Hoya +10.

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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.XI | 35:Chronicle

50mm, black & white, colour, macro, nature, personal, photography

Taking a Chill-Pill.


Heck, I can’t always take photography too seriously; without doubt it is and has been one of my biggest passions throughout the past twenty (plus) years of my life and, I dare say, by those who know me personally, I am known for it. But there’s another side to the seriousness of getting the image and that is, to simply get the camera out and just have a little fun with it – and to not worry or be so seriously preoccupied with perfect composition or, focus or, whatever else we look for. The truth told, I love to shoot freestyle, freehand, free-lensed and, I don’t do it anywhere nearly as often as I would like, and, I have been photographically rather lazy lately. I could make excuses about the weather or some-such, but I’d be spouting bollocks so, I’m not going to place a blame. I guess sometimes, we just need a little break from the – constant thinking? I don’t know if I am making any sense here but I promise, I’m not writing for the sake of it. 

For me, the real enjoyments of photography come from many aspects. It’s so engaging when you would want it to be, so technical in thought and deliverance at other times and yet, so passive and relaxing on occasion, too. Depending on any given genre, expectations, deadlines, or presenting difficulties, all are true. If you are yourself an enthusiast, you will know this already. But at the heart of every image is me, you, and how we see. I love to look; and see; and interpret; and steal a frame. What I don’t love – is to always feel like I’m overthinking because then, at some uncertain, invisible point of effort, a line gets crossed and, I don’t always enjoy it so much – especially when that line is completely bulldozed. Indeed, on such occasions, I can take a whole load of shit and know that I have before I have even depressed the shutter. Yet I do it anyway – like shutter-finger Tourette’s  Syndrome (hereafter referred to as SFTS). Damn, I hate it when I do that because not least, I know I’m just going to spend more time at home, after upload, deleting the crud. 

Most often, I find that when I’m making shots for the fun of it, with no actual goal in mind, when I don’t care so much about focus, or content – I tend to make images that I like, nevertheless. In opposition, as we all have – I have put so much effort and thought into a particular shoot or subject and come away with so much utter crap, it could make me cringe at the knowledge that my own brain decided that that capture was a good idea. Really? 

With all of this preamble out of the way, I decided, with plenty of time to kill today and, though the weather was not playing ball (I was hoping to get a little more of a tan on my chrome-dome – uh… no!) – to faff around with my favourite body & prime combo and, make a few frames; just to see what I might come away with. No, given the images I have posted here, you’d be forgiven and absolved for thinking that I have actually been yapping on for the sake of it, because technically these images are not fabulous, or varied. They are indeed unimaginative, poorly composed, a tad soft, but do you know what? Today, I don’t care. Today, I made some photographs; and I like ’em! Moreover, I hope you will too. Yes, I shot close without a tripod – I was chilling

By the way, the first image in this post is great in colour, because it really looks to me like a camouflage-act and, it may have been, in the mind of the Hoverfly. I wasn’t going to post it in colour because I really do prefer the mono-shot (moreover because I have genuine dislike for the colour orange for some barmy reason that I can’t explain) – but I caved in, and have included it at the end of this post. You’ll see what I mean when you get there, if, that is, you haven’t nodded-off already. Okay – time to wake up. It’s picture time!) Thanks so much for reading and I hope you have a great week ahead. 

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Montbretia & Hoverfly | 50mm – Handheld.

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Montbretia | 50mm – Handheld.

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Camouflage? | 50mm – Handheld.

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[There’s a photographer in India called Rajeev Virmani – he makes some beautiful environmental flora photographs and I have to say, he has nowhere near enough followers for the work he puts in and puts out here on WP. Please, if you like the genre, do take a look at his images. He has an intimate and opportunistic approach that may well appeal to many. I don’t know him but I do love so many of his images. If you have a little time, you may enjoy a peek!]


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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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