Late and decapitated plus flesh-less racing pigeon
I’m slowly recovering from a marathon session with two fellow group photographers conducted yesterday in blazing sun and stiff breezes.
One week short of an anniversary, we ascended the rooftop of University of Suffolk’s James Hehir building to make a record of the events of the day and also to mark the passage of time and space associated with Ipswich Waterfront developments.
At one point yesterday morning I thought we might have been scuppered through a breakdown in lines of communication but that hiccup got resolved and soon we were hauling our precious gear up the north face of the building using ropes as we have done before. Once at base camp, we realised as ever with a shutter of photographers that the light was not how we wanted it and the wind, where was that on the forecast?
We were not in too much of a hurry to get going as waiting for the light gives plenty of time to see things. We happened upon a feathered carcass that had rings on both legs but no head and no meat left on the breast bones. A racing pigeon whose game was up so to speak but it travelled a considerable distance back and forth on the roof during the day as winds gusted to near on 25 knots.
Twilight last year was the kindest hour having had dullish weather all day. Here we were in 27 degrees and WSW winds of 17-25 knots and less activity around the dock on account of it not being a Maritime Festival – they are now to be held every other year. Twilight we hoped and yearned for but not a cloud in the sky.
That said, there were other things to make images from.
Shadows became friendly things to capture from on high as we waited for twilight and fireworks.
Sunset was 20:34 and pyros set for 21:00 – far too early but they got delayed for 15 minutes then someone lit the blue touch paper – still too light in my opinion but hey ho – mustn’t grumble.
Red fireworks and smoke
The other intrepid photographers were Peter Ellis and Kevin Marrable. Look out for their posts.
In the meantime, check out my site for galleries of associated images.
The weather has been against me of late with all the best large format weather being sacrificed to painting our refurbished sash windows. That was a job I was not expecting to have to do this autumn but it is just as well that I got on as we have nothing but rain since.
I have been re-working some images as a result of new scans and here is one from Melton – it is in the Edgelands exhibition but I believe this is a far better image having re-scanned and re-processed it.
British Sugar at Sproughton never made it onto the wall but it was in my book.
One of my Docklands images has also had a makeover. I’m not sure I have this one right at present.
Revisiting work and re-working it after having published it is an interesting experience. I suppose it is not unlike my ethic of re-visiting locations time and time again to make the work in the first place, When will it end?
Original post November 2, 2014 By: Tom Owens
Debates abound over the use of black & white over colour photography. For me, I shoot both and when I am out shooting medium and large format I have the luxury of being able to drop on a different film magazine or use a different double dark slide that I have packed ready for the shoot, or indeed shoot on Fuji Instant using the adapter on both formats.
This scene was shot for my Edgelands project. A Toyo 45C monorail view camera was used and apart from the metering and thus the change of exposure, no other adjustments were made. There is of course a time difference on more than one plain as the colour image was made on Portra 160 and the B&W on HP5+.
Which of these two do you prefer? My exercise at the time was academic. The entire series is produced in colour but several of the B&W images made do convey a totally different look and feel
Dust removal post scan and curves, sharpening etc have been applied. I do not normally add or remove data other than artefacts introduced during the many processes the processing goes through. Life is too short.
One result of this shoot at Freston was contracting ringworm from a burdock spur that lodged in my sock. It took some 5 months to heal. One of the risks of planting tripods in undergrowth. The camera was approximately 8 feet off the ground for this shoot.
Here are a few more to consider.
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