Tag: Pushed

35mm · Film photography · Photography

People and shadows in a gallery

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It’s now been a week-and-a-half since the COVID-19 lock-down measures were put into place here in the UK. So far, things are ok – as a full-time home-based worker, I’m used to not leaving the house to commute to work, and social-distancing from my colleagues is the normal state of things anyway apart from when we have face-to-face meetings (which are all stopped now in any case). As a result, the lock-down measures are not inducing any sort of cabin-fever at this stage.

I must confess however, that I’m missing being able to go out where I want. I’m taking walks most days to get some exercise and fresh air, but even places that would be just a short drive away are starting to feel like slightly exotic destinations. The thoughts of driving out into the countryside (or even just into the city centre) are tantalizing given the “so near, yet so far” forced remoteness of even relatively mundane destinations. I’m estimating that the current lock-down will last through to the end of May at the earliest, so a good eight more weeks of this yet.

Still, things could be worse – returning home from my walk this lunchtime one of our neigbours, who has two young children, was out on his drive cleaning the paving. I said “Hi” (from a safe distance) and enquired as to how they were all doing. “I’m sick to death of watching Frozen” was one of his responses…

Another photo from The Hepworth today. I didn’t have high hopes when I took this picture as it was very dimly lit in this part of the gallery (to protect the prints and other artwork on display), so I had to shoot it wide open at f/1.7 at 1/30sec. I was expecting camera shake, but it’s nice and sharp, even if the shallow depth-of-field has rendered the man slightly out of focus.

Gallery shadows

Minolta SRT 101b, Rokkor 50mm f/1.7 & Ilford HP5+ (@800).

Taken on 14 March 2020

35mm · Film photography · Photography

Back to black (and white)

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After a week or two of posting colour images, today marks a return to black and white. I still have a number of colour images from the two recently shot rolls that I haven’t posted here though, so maybe they’ll get an airing if I feel a splash of colour is required.

Today’s image is of the stairwell in The Hepworth gallery in Wakefield. I visited the gallery back in the middle of the month before social distancing rules were introduced, and then enforced by the nationwide lock-down. The gallery, along with other such venues around the country, has now closed until further notice, so I was lucky to get to attend when I did.

The reason for my visit was an exhibition about the relationship between the photographer Bill Brandt, and the artist and sculptor Henry Moore, who had met during the second world war when they were both documenting the plight of people sheltering from air-raids in London’s Underground stations. Their relationship continued with an interest in a number of shared themes throughout their careers, including the human body, the landscape, industry and others.

While I was predominantly interested in Brandt’s photography over Moore’s artworks, the latter’s sculptures are wonderful to see in person and made for a number of interesting photographic opportunities, some of which I’ll be posting over the coming days.

For now though, here’s a more mundane subject, but one which I think has made for a nicely satisfying picture – namely the mid-level landing in the gallery’s stairwell. I liked the shapes, textures, tones and symmetry (although it’s not really symmetrical).

Hepworth stairwell

Minolta SRT 101b, Rokkor 50mm f/1.7 & Ilford HP5+ (@800).

Taken on 14 March 2020

35mm · Film photography · Photography

Liverpool Street pigeons

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On the whole, I’ve been more than pleased with the results from this roll of HP5+ pushed to 1600asa. I was expecting a lot more grain and contrast than is apparent, and the images all look great. Definitely something I will repeat when the situation requires it.

This was the final shot on the roll – although I shot a few photos with the Pentax Espio that I also had with me. After that I resorted to some digital shots when back in the dimmer light of the Tube station.

FILM - Liverpool Street pigeons

Olympus OM-1, F.Zuiko 50mm f/1.8 & Ilford HP5+ (@1600).

Taken on 19 February 2020

35mm · Film photography · Photography

Composing an image

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This was taken beside St. Paul’s Cathedral in London. It had been raining and this section of floor was highly reflective with the sheen of water that lay upon its surface. I’m not sure exactly what this photographer was taking a picture of but I suspect it was most likely a reflection of some sort.

FILM - Nice composition

Olympus OM-1, F.Zuiko 50mm f/1.8 & Ilford HP5+ (@1600).

Taken on 19 February 2020

35mm · Film photography · Photography

At Farringdon Street

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A trio of shots taken after getting off the tube at Farrindon Street last week.

FILM - Eastbound train

You know what they say about checking your frame to make sure (amongst other things) that people don’t have objects sticking out of their heads? Well guess who ignored that…

FILM - Waiting

The guy in the body-warmer in the middle distance looks like he’s staring right at me, but upon closer glance he’s actually looking off to his right.

FILM - Farringdon

Olympus OM-1, F.Zuiko 50mm f/1.8 & Ilford HP5+ (@1600).

Taken on 19 February 2020

35mm · Film photography · Photography

Ivy on a tree trunk

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As we approach the end of the year – and decade – I’ve been wondering about a favourite shots of the year post or something along those lines, so I expect that will be the subject of a post in the coming week. I’ve also been pondering some project ideas for the coming year – two of which I’ve already started, although it’s really early days yet and they could fizzle out just as easily as they began, so I’ll wait until there’s something worthwhile developing (pun fully intended) before I make any posts about them.

In terms of new photos, I have a roll of XP2 that shot recently that’s been scanned and I’ll start to upload from, plus a currently unscanned roll of Tmax 400 that I put through the Holga last week. I’ve also shot a roll of HP5+ today, and plan on shooting more film during the fortnight I’m on leave, so there will be a batch of new stuff to see soon, but as the labs I use are now closed for the holidays, I’ll not tbe getting anything developed until the start of the new year now.

For today then, here’s some ivy on a tree trunk that I photographed in Boston Spa last weekend.

FILM - Ivy on a tree-trunk

Olympus OM-1, Zuiko 28mm f/3.5 & Ilford HP5+ (pushed to 800asa).

Taken on 15 December 2019

35mm · Film photography · Photography

Room with a view

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Well, a room with a view of the windows of the building opposite.

This was taken in my hotel room the morning after a works outing. It’s probably not quite up to Stephen Shore standards, but I do like the image.

It was taken primarily as a potential entry for the year long film photo comp I’m in – for this month’s “Frame within a frame” subject. I can’t win the competition now anyway as I don’t have enough accumulated points – the best I’ll manage is a draw (and that’s only if the current front runner gets no votes whatsoever this month) – so I’m happy to enter something slightly more experimental this time.

FILM - Room with a view

Olympus OM-1, F.Zuiko 50mm f/1.8 & Ilford HP5+ (pushed to 800asa).

Taken on 11 December 2019

35mm · Film photography · Photography

In a hut at Bletchley Park

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As a direct follow on to yesterday’s post (there will likely be a few more – I have other Bletchley photos), here’s a picture taken in one of the huts at Bletchley Park museum. I *think* this is Hut 8, which is where German naval Enigma codebreaking took place. It’s also where Alan Turing had his office. None of this can be seen in the photo however, and I took it mostly because I liked the way the coridor was lit by the overhead lights, with the door at the end of the corridor forming a focal point.

Even with the HP5 pushed to 800asa I still had to shoot wide open at f/1.8 and 1/30s, and brace myself against a door frame to prevent camera shake. I took three shots of this scene, looking in both directions. One still suffered from shake, so isn’t included here.

I prefer the first shot, as I think it’s cleaner without the equipment and fire-extinguisher (and smoke alarm), but the other is nice too. The primary difference is in the point of focus, the first being on the door at the end of the corridor, the second on the closest ceiling light. Oh, and the first shot was taken from closer to the door.

FILM - The way out

FILM - The way out #2

In other news today, my Emulsive Secret Santa parcel arrived – it’s a large, heavy box all the way from the USA, and I can’t wait to see what’s inside.

Olympus OM-1, F.Zuiko 50mm f/1.8 & Ilford HP5+ (pushed to 800asa).

Taken on 11 December 2019