I haven’t been to Long Island in a while. Hopefully I’ll be back there this summer. See the starting image below.
There used to be a pair of these dinghies in Scituate Harbor. I wonder whether they are still there now. The looked like they would be fun to row or sail. See the starting image below.
I remember this evening distinctly – the end of a long day in November and just in time to catch the light. See what the un processed image looked like below.
I’m enjoying revisiting some my images and playing with them to learn more about Lightroom and Photoshop. See the image below to see where I stared.
I’ve enjoyed editing images on my phone over the last couple of years. The game I play on instagram is that I can only post images there that have been taken and edited with my phone. This is less impressive than it was say 5 years ago but I’m sticking with it.
The apps that I have on my phone for image editing generally push me out of the zone that I would be otherwise be in if I were editing the images on the computer. I’ve been wondering over the last couple of weeks whether I’ve really been exploring the full potential of my images with my conservative image editing and so I’m going to play and push a little. As Brian Eno says go to an extreme and retreat to a useable position.
The first image is above. One version in color and one in black and white. With do you prefer?
More to come!
I had a hearty dose of nostalgia when I first came across the work of Paul Hart. I grew up in the north east corner of South Yorkshire, close to the borders of East Yorkshire and North Lincolnshire. The mining village where I lived was surrounded by farm land and so biking out of the village in almost any direction I would see vistas such as the one above.
Paul Hart has published three books of his work – Truncated, Farmed and Drained. Farmed and Drained are the first two books in what will eventually be the Fenland trilogy. Francis Hodgson in the preface to Drained describes his work this way “Paul Hart is a photographer interested in the slow harvesting of hidden truth from the ordinary places that most of us pass by”.
His images have a special resonance with me. I wouldn’t have thought to stop and take photographs of what for me was the everyday but I wish that I had. The view from our upstairs window used to be across a farmers field, the canal and the river with an odd little house on the bank between the two. I have no idea if the house is still there because the housing estate that has sprung up on the fields obscures the view. Paul’s work reminds me that as photographers we have a duty to photograph our everyday as well as the spectacular scenes.
The Bio on Paul’s webpage tells us that he’s working with ‘cumbersome analogue equipment in and unfashionable area’. I’m personally glad that he is and hope he keeps at it.
Check out more about Paul here and listen to him describe his truncated series below.
The image above is from Ellie Davies ‘Stars’ portfolio created by combining images of the forests of southern England with Hubble telescope images. For many forests are magical fairytale places for others, myself included, they are dark and scary places. Yet I find the Stars series of images compelling, they draw me in, make me want to step forward and cause me to look closer.
I have been thinking about how a single theme can be developed and extended – Ellie’s projects are a great case study. Silent, Deep and Dark serves as an entry point, both literally and figuratively, into the forests. This body of work explores the forest boundaries – the edge between outside and inside, light and dark. From here Ellie begins to interact with the forest, weaving patterns with wool, highlighting pathways with paint, powder, wool and paper, building structures that are reminiscent of barnacles or anemones, incorporating stars and most recently suggesting the presence of people by the introduction of fires.
Watch and listen to Ellie describe here work below and find out more about here.