 |
| Blue on blue 1 |
 |
| Blue on blue 2 |
 |
| Reflection |
 |
| Morning |
 |
| Morning |
 |
| Evening |
 |
| Evening |
 |
| The moon and a street lamp... |
 |
| Dusk over chalets |
 |
| Dusk skyline |
 |
Side lighting: evening ISO 100 f10 1/320
This where I began to look. Ever since starting this assignment, my awareness of light, it's work and effects has deepened. As soon as I stepped out of my brother's car, images in the frame of 'a low sun' seemed to be all around. Even when he disappeared for 20 minutes in search of a loo I was fine, just looking about me and seeing more and more possible photographs.
|
 |
Side lighting: evening ISO 100 f8 1/160
I like the way the sun emphasises the undulations in the wall. The stretched shadow of the drainpipe underlines the late hour. By cropping in close the focus is solely on the effect of the level of the light source. Plus, with identifying elements removed, this image could have been taken anywhere, not just in a recognisable seaside town.
|
 |
Side lighting: evening ISO 100 f8 1/200
This and the following two photographs show expanded views of the same situation. There is more detail, more rhythm and more patterns, but subjectively I prefer the one above.
|
 |
Side lighting: evening ISO 100 f8 1/200 |
 |
Side lighting: morning ISO 100 f9 1/200
I returned to this spot the morning after, just to catch, briefly, what things looked like when the sun, still low, was shining from another direction. Things seem quieter, more understated...
|
 |
Side lighting: morning ISO 100 f8 1/200
Here are the elements of this and previous assignments. There are vertical and horizontal lines; diagonals; light and shade; rhythm and pattern. From the angle of the shadows, we can see that the sun is only just 'low' and is beginning it's journey to the mid-day zenith. Helios's chariot is clearly gathering pace...
|
 |
Side lighting: evening ISO 100 f10 1/250
In this part of the world, sand dunes are a big feature. They are also part of a shifting and evolving coastline, being noticeably changed by a warming climate and higher sea-levels. Because much of this Norfolk landscape is unhindered by hills of any great height, the light of the low sun lasts longer into the evening. Here we can see the distant, off-shore windmills at rest in the absence of any breeze. The soft tufts of grass cast ever-lengthening shadows as twilight approaches.
|
 |
Side lighting: evening ISO 100 f9 1/200
Shot from the same area as the photograph above, with external details cropped out, here are the beginnings of a landscape similar to what can be seen on the Moon, on the borders between lunar night and day. Given a bit more time, even longer shadows would have been seen.
|
 |
Side lighting: evening ISO 100 f5.6 100
I think this a corner of a sea-front building that once housed a cinema (I saw 'Jurassic Park' here twenty years ago!) and possibly other forms holiday fun and games. But on this cool, clear evening it was the graceful arches being picked out by the fading light of the sun, rather than the shouts and cries of holiday-makers from a hundred years ago, that caught my attention.
|
 |
Side lighting: evening ISO 100 f5.6 1/100
I bet the architect of this one-time fun palace really enjoyed creating these beautiful curves and circles... Their delicacy, perhaps normally unseen and uncelebrated, are gently brought to our notice by the last rays of the departing sun.
|
 |
Side lighting: evening ISO 100 f4.5 1/400
I imagine this pub has been around for quite a while. It doesn't seem to fit into the image of a Victorian 'gin-palace'... I shall find out more about when I do some research prior to returning to Yarmouth to complete the 'end-piece' to this assignment. This my intention: given some good weather, this town has so much to offer the photographer on every level.
I like the warm tones - are we talking 'colour temperatures' here? - and the gradation of shadow on the bricks of the curving wall.
|
 |
Side lighting: morning ISO 100 f9 1/200
On reflection, this image would be improved by closer cropping. Losing the lamppost on the right of the photograph would concentrate the eye on the area of the building picked out by the sun, as in the picture above.
|
 |
Frontal lighting ISO 100 f10 1/320
This is a coast guard observation building. You can see more of the sea-based wind farm out on the horizon. For some reason, the scene reminds me of one of those diners stuck out in the American west... Maybe it was the effect of driving along the deserted seafront road. The slowly setting sun catches everything. Perhaps where the light strikes the actual tower it is a little overexposed: I could adjust that another time.
|
 |
Frontal lighting ISO 100 f10 1/320
These shots are the early morning versions of the same amusement arcades aka 'busy storefronts' that were photographed last night. As above, they are a little over-exposed and have a 'bleached out' look to them.
|
 |
Frontal lighting ISO 100 f10 1/400
In the raw light of an early Sunday morning this place gives up its facade and is almost embarrassed to be photographed without the shroud of night to hide the gritty realities of its life.
|
 |
Frontal lighting ISO 100 f7.1 1/400
A further example of razzmatazz just getting out of bed... We see here the lustre of a spring sky, then the beauty of a purpose-built circus, very much of its time.
|
 |
Back lighting: evening ISO 100 f3.5 1/640
I think these edifices are a place to stick posters and adverts, 'a la French' style. For me, however, they were more like a seaside Tardis. Who knows what might be inside...? They also took on the look and feel of Neolithic standing stones in these photographs. This is thanks to the light we were required to discover and record. I think the cropping gives the object an even more dominant feel. But on reflection, it would be a good thing to lose the lamp post...!
|
 |
Back lighting: morning ISO 100 f10 1/250
This morning version doesn't have the drama of the picture above. Maybe the quality of the evening light was laden with more possibilities. This image is more 'functional'.
|
 |
| Floodlit building |
 |
| Brightly-lit storefront 1 |
 |
| Storefront 2 |
 |
| Storefront 3 |
 |
| Storefront 4 |
 |
| Skyline at dusk 1 |
 |
| Night street 1 |
 |
| Night street 2 |
 |
| Night street 3 |
 |
| Night street 4 |
 |
| Storefront 5 |
 |
| Storefront 6 |
 |
| Skyline at dusk 2 |
 |
| Raised view looking across a busy road. |
 |
| Instrument panel at night and at speed... |
 |
The City of Light lives up to her name. Even the Eiffel Tower is there, if you look carefully. A great view from a randomly-chosen hotel room. This my first experiment with shutter speeds: chasing those famous car light streaks. |
 |
In the village where Leo has his place there are these street lamps . This one is really strutting its stuff...
|
 |
This is that most wonderful of things: a log fire. Here its flames take on the style of solar flares. |
 |
We are in artificial light land here. Tungsten and halogen central! |
 |
Sun light at different times of the day: this is the evening show! |
 |
The artists who made this window in the main church in Cahors, knew that what they were creating was, amongst other things, an invitation for nature to collaborate with art. Their plans have come to fruition in this window. |
 |
Nature sometimes steals the show. This rainbow was delighting everyone walking across a bridge over the Seine. We all stopped our strolling and got snapping! |
 |
| Artificial and natural light conspire to show off the graceful lines and curves of this window in Notre Dame. |
