Seeing 2012 (#17)

For your consideration:

A view down into a maelstrom of uncertain pedigree — at least at first blush. Closer inspection, however, might reveal some insights.

For one, despite the seemingly relentless and impenetrable, forceful flow — chaotic rush of movement in all directions — in the center is found a reassuring solidity, and even signs of growth where none would seem plausible.

When chaos reigns and fight vs. flight grabs hold and extols the latter, it is usually best to stay put, on known terra firma, rather than risk all in uncertain leaps into the unknown.

For the strength of solid home footing trumps the storm and the siren call of the wild, when all is said and done. It takes more courage, and fortifies the soul, to remain and tend to foundations rather than to flee and be scattered.

Untitled, #1845-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 14, 2010; Canon 7D; f/7 @ 1/200 sec; —2/3 EV; ISO 400;
Canon EF 100mm f/2.8 Macro USM

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Seeing 2012 (#16)

For your consideration: a bucolic view into a relatively pristine valley, thus far seemingly little known to the frenzied nearby metropolises.

The day I had the joy of experiencing this area first-hand was one of the last in which I felt a deep, full, unbridled pleasure and sense of well-being. The weather, lighting and solitude combined to create an atmosphere of artistic and spiritual bliss.

Ah, but mirages lurk everywhere for the unwary.

This road invites an exploration towards a bit of heaven; little did I suspect I'd soon be leaving such beautiful terrain for the beginning of a trek into decidedly darker days to come. What shall be the destination — Shangri La, or Mordor?

All things are possible; only time will tell.

The Road, #5383-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: January 22, 2012; Canon 7D; f/11 @ 1/1000 sec; —1 2/3 EV; ISO 160;
Tokina 11-16mm f/2.8@ 16mm

________

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Seieng 2012 (#15)

For your consideration: tranquility with just enough roiling to provide some tension and counterpoint.

This is a composite of two hand-held images; one (overexposed for the sky) was used as an adjustment layer in order to coax just a bit of detail from the rocky foreground.

Day's Finale, Pigeon Pt., CA, #4201/2-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 10, 2011; Canon 7D; f/8 @ 1/664 sec; —2 EV; ISO 250;
Tokina 11-16mm f/2.8 @ 16mm

________

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Seeing 2012 (#14)

For your consideration:

'Tis been an exceptionally hard time of late, inner-cranium wise. Much darkness and synapses storms.

Thus this: an injection of a bit of light. Even in the darkest hour there can be hope; when minute hope is combined with the energy of spirited love the entire universe becomes blessed and awash in colorful joy and rebirth.

As with the Phoenix, so too with us!

Ferris and Palm, #4057-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 2, 2011; Canon 7D; f/8 @ 1.6 sec; ±0 EV; ISO 400;
Tokina 11-16mm f/2.8 @ 11mm

________

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Seeing 2012 (#13)

For your consideration: a stoic sentry (one might say with a wooden expression) peering into an unseen distance of indeterminate expanse.

For those of us lucky to capture this setting earlier today, 'twas a case of seek and you shall find melded with what you see is what you get.

In point of fact, it was maddeningly hidden in plain sight.

Totem (White Face Beak), #5512-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 4, 2012; Canon 7D; f/8 @ 1/8197 sec; —2/3 EV; ISO 640;
Canon EF 70-300mm f/4-5.6L IS USM @ 244mm

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Seeing 2012 (#12)

For your consideration: a case of terminal alienation, perhaps tinged with a deliberate obliviousness.

An acute sense of emptiness pervades this scene, set on the outer fringe of a metropolis built to be a magnet for against-all-odds riches and an endless supply of spontaneous, casual social bonding (with their attendant opportunities and eventual consequences) . . .

The windows create a sky filled with impotent rays of hope, mocking the potential for any desired interactions between the players. Certainly this was but one of an oversupply of missed connections.

Leaving Las Vegas (New Year's Eve), #5160-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 31, 2012; Canon 7D; f/3.5 @ 1/250 sec; ±0 EV; ISO 640;
Tokina 11-16mm f/2.8 @ 16mm

________

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Seeing 2012 (#11)

For your consideration: a macro view of a porcelain topography, one which, upon close reflection, may lead to revelations for some.

I find the brain's nimble ability to parse amazingly complex patterns with ease endlessly fascinating. The simple cast of light and shadow across mild contours on this scarred and pockmarked surface is wholly enough to provoke a quick recognition of the true subject's spirit.

Physiognomy, #3038-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 16, 2010; Canon 20D; f/11 @ 1/400 sec; —1/3 EV; ISO 100;
Canon EF 100mm f/2.8 Macro USM

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Seeing 2012 (#10)

For your consideration: a common object and setting, yet depicted (in a straightforward manner) as our eyes never quite see it . . .

The ability of modern cameras to "freeze" action by means of extremely short exposure times (up 1/8000 sec is not unusual) far surpasses the capacity of the human brain to see in any detail the incredible dynamics of something as simple as a water fountain nozzle . . . Here the cone, at first glance, appears to be encased in ice rather than a thin sheath of erupting water.

Cone Head, #2493-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 1, 2011; Canon 20D; f/8 @ 1/1001 sec; —1 1/3 EV; ISO 200;
Canon EF 70-300mm f/4-5.6L IS USM @ 269mm

________

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Seeing 2012 (#9)

For your consideration: a brief break in a bucolic valley, between onslaughts of the season's first, much-belated winter storms.

I had a great luxury of spending most of yesterday exploring this hidden jewel of a largely unpopulated region with fellow photography enthusiast Jerry. The experience featured a good deal of driving and great seeing: interspersed with bouts of icy rain radiated gorgeous waves of golden sunlight illuminating velveteen, undulating hills and dramatic, regal clouds from horizon to horizon. We both emerged with robust caches of potentially excellent imagery.

Not everyone, it would appear however, successfully negotiates a successful departure from this place.

Pinoche Valley, #5421-22-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: January 22, 2012; Canon 7D; f/9 @ 1/1328 sec; —1 1/3 EV; ISO 320;
Canon EF-S 17-85mm f/4-5.6 IS @ 41mm

________

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Seeing 2012 (#8)

For your consideration: geometric abstractions derived entirely from the play of light upon an object in an expected orientation.

There is much which can be mined in this canvass, if one is willing to linger and play . . .

An unknown creature's cry for help? A thermal mapping of an archer's aim? Juxtaposed planets, moons and rings?

Derived from whole cloth or metallic milling, the reality is subordinate to the pleasure of the contemplations to be plumbed; as with many things one's final interpretation of the visual evidence is likely to be illusionary.

Escape Velocity, #0208-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 25, 2010; Canon 20D; f/5.6 @ 1.6 secs; —2/3 EV; ISO 400;
Canon EF 100mm f/2.8 Macro USM

________

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Seeing 2012 (#7)

For your consideration: as suffix to the prior entry, let us momentarily consider another recent entry in the Lastest Discovery category . . .

The deeply penetrating Keck telescope has recently discovered more evidence that this particular universe of ours is populated with millions, if not billions of other planets beyond our humble solar system. Now the search is on to unearth observations of rocky spheres which revolve around suns at such as distance as to never long be either too cold or too hot — but rather in a narrow orbital circuit (the so-called inhabitable zone) such that surface and atmospheric temperatures are suitable for water to exist. In such cases the presumption is there is H20, life can arise from the ooze and take form.

Thus, a plethora of unknown species and their representatives on such wet planets might well be patiently awaiting to be encountered.

I've long thought it a disturbing case of acutely-human-centered anthropological conjecture that Life Elsewhere would look something akin to life as we currently know it on Earth (from a species point of view). What might a creature evolved from sulfur, say, appear to be to us? A yellow mound of moving powered mustard?

Perhaps instead other carbon-based aliens have evolved, comprised of vast stretches of connected molecules, creating multi-cellular life forms, just as we are. Who knows: our interstellar neighbors might turn out to be water creatures . . . strange things can happen when enough spherical objects closely congregate and congeal.

Water Entity, #9682-20D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 11, 2010; Canon 20D; f/4.5 @ 1/6400 sec; ±0 EV; ISO 200;
Canon EF 100mm f/2.8 Macro USM

________

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Seeing 2012 (#6)

For your consideration: perspectives on the possibility of realities beyond our ability to truly fathom.

For the past few years I've taken up the practice of meditation. Often, as I begin the process of "sitting", I'll venture down a specfic intellectual journey of reflection to clear my mind (a non-sequitur if there ever was one). I start by contemplating the fact that my body, and indeed all physical objects of which I'm aware, consist purely of atoms hanging out together in particular configurations.

These impossibly small particles are themselves essentially empty space: if an atom's nucleus were enlarged to the size of a golf ball, the closest electron would orbit nearly 3,300 feet distant. (Consider too that the nucleus itself consists of similarly void particles — quarks and their kin.) Consequently it is literally the case that the entirety of the physical universe is virtually without substance.

At times, as I follow this path of awareness (with obviously vaguely-defined visualization) a sublime sense of floating astonishment and awe fills my sense of being: the very notion of existence, let alone consciousness, arising from and manifested from such nonsensical nothingness is an incomprehensible miracle. Shells within shells of sub-microscopic architectures as the substrate of such concepts as Self-awareness and emotions (love, hope, joy, grief - the entire gamut) . . . this well-surpasses the Knowable.

And now this news, on the astronomically macro scale: it is increasingly plausible that our universe is but one of an unthinkable number of other Multiverses — a vast reality as simply one bubble amongst untold myriads of others.

Truth is often far more bizarre than any fiction; perhaps no realms of consideration surpasses the domains of physics and astronomy in the richness of case studies supporting this thesis . . .

Untitled (Multiverse), #5188-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: January 17, 2017; Canon 7D; f/4.5 @ 1/1300 sec; —2/3 EV; ISO 800;
Canon EF 100mm f/2.8 Macro USM

________

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Seeing 2012 (#5)

For your consideration: a guiding light in the dark, a beam suggestive of warmth, optimism and safe harbor.

We call all use a beacon now and then. Sometimes we become the signal for others . . . a humbling calling, that.

Pigeon Point Lighthouse, #4379-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 11, 2011; Canon 7D; f/2.8 @ 1 sec; ±0 EV; ISO 1250;
Tokina 11-16mm f/2.8 @ 11mm

________

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Seeing 2012 (#4)

For your consideration: a study in contour, surface texture — and emotional ambiguity . . .

Is the mood hostile? Or one of confident greeting? Is that a smile, or an anticipatory grab for an imminent mammalian morsel? It's impossible to decipher; perhaps time will tell.

News across the wire today stated that astronomers' instruments have now surveyed enough of the sky to determine that we share a place in the heavenly vault with far more planets than stars. This makes sense: one Sun to nine planets in our Solar System [don't bother correcting me: Pluto gets my vote until my dying day!]. The accumulation of visual evidence now reveals many other systems with similar spherical distribution ratios as found in our interstellar neighborhood.

With so many unknown worlds out there, who could say what form and appearance other entities have taken on? I daresay it won't be any easier to assess their mood and intent than it is regarding the subject of this submission.

Vegas Denizen (Mirage), #5110-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 31, 2011; Canon 7D; f/10 @ 1/500 sec; —1 1/3 EV; ISO 500;
Canon EF 70-300mm f/4-5.6L IS USM @ 170mm

________

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Seeing 2012 (#3)

For your consideration: a study in texture, and a knotty mystery of of some substance.

It reminds me of an ancient fossil fish embedded in strata beyond the ages.

Fence, Kingman, Arizona, #4988-7D

© 2012 James W. Murray, all rights reserved.

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Details: December 29, 2011; Canon 7D; f/11 @ 1/665 sec; —1 1/3 EV; ISO 500;
Canon EF 100mm f/2.8 Macro USM

________

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Seeing 2012 (#2)

For your consideration: justice, back home . . . well, perhaps in the olden days of yore, the Wild West, but by now most of us have found the accuracy of our childhood history books at least as off-kilter as the beams supporting the eaves here.

The dark implications of the coffin notwithstanding (ironically placed in front of the "bank" — although not a trace of Occupy Ghost Town was in sight), this honorable effort of a tourist spot was a quite blissful encounter, being largely deserted during most of the time I spent strolling the sole soul street.

I felt entirely safe, even when peering around dark corners . . . for, after all, I was always armed with my pix shooter in hand . . .

Casket, Chloride, Arizona, #4673-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 27, 2011; Canon 7D; f/8 @ 1/1025 sec; —2/3 EV; ISO 250;
Tokina 11-16mm f/2.8 @ 11mm

________

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Seeing 2012 (#1)

For your consideration: a tableau from my most recent desert excursion — a little-known forest a bit north of Chloride, Arizona.

I spent upwards of four hours simply wandering, seeing, photographing and meditating within a space no larger than as many acres.

Well after sundown I departed, ruefully, knowing yet again, as always, that this arid Sonoran atmosphere with its seared peace and prickly beauty is my soul's true home.

I shall always ache for it's inhospitable and indescribable comfort.

Yuccas and Moon, Northwest Arizona, #4913-7D

© 2012 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 28, 2011; Canon 7D; f/8 @ 1/64 sec; ±0 EV; ISO 250;
Canon EF-S 17-85mm f/4-5.6 IS @ 17mm

________

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Seeing 2011/2012 (#190)

For your consideration: due to the lengthy 30+ second exposure, an expanse which appears here much brighter than it actually was well before dawn on the Pacific coast.

Even so, the sentiment intended is that of optimism for an enlightened year to come . . .

As 2012 arrives (on schedule, of course), let us take some substantial time to pause and reflect: on our individual successes, failures, trials, tribulations, heartbreaks and blissful moments, such that we may be better able to offer our best sense of loving compassion, equanimity, empathy and patience to ourselves, our kin, our friends and the plethora of strangers with whom we shall share the seasons ahead.

Let us be mindful that life can be difficult for every human being, and with such awareness let us remember to celebrate and encourage the spirits of our fellows and be a little less concerned with our own agendas.

Thus, my all our seas be calm, our horizons limitless, and our souls and hearts filled with fresh air.

Self Portrait, Pigeon Point, 4:27 a.m., December 11, 2011, #4372-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 7, 2011; Canon 7D; f/5.6 @ 1/32 sec; —2/3 EV; ISO 1000;
Canon EF 70-300mm f/4-5.6L IS USM @ 252mm

________

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Seeing 2011 (#189)

For your consideration: à la Rod Serling, a scene from a play (Dead Man's Cellphone, a wonderful production put on by the theatre students at San Jose State University) . . .

A nod to the primary legacy and expected traditional pursuit in honor of this artificially imposed demarcation of our tiny planet's completion of yet one more circuit around the Sun.

Dead Man's Drink, #2406-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 7, 2011; Canon 7D; f/5.6 @ 1/32 sec; —2/3 EV; ISO 1000;
Canon EF 70-300mm f/4-5.6L IS USM @ 252mm

________

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Seeing 2011 (#188)

For your consideration: an unintentionally poignant, ironic, and all-too-apropos setting for the symbol to which far more monetarily-driven consciousness is devoted vis-à-vis the profoundly spiritual message meant for our consumption.

Ever earlier the frenzied calls for material worship begins now: sickly sweet and pervasive caroling music assaults the ear beginning ere Halloween in some quarters of our Modern Society. Buy those presents!, on Sale!, be sure its not only the right gift, but better than last year's too! And if a real steal can be had via the early-bird approach, but the strategy threatened by competing shoppers — well, a little pepper spray provides the advantage!

Alas, I admit to being a curmudgeon for about the last quarter of the year: find me a clean, dry, modestly furnished hermit's cave far removed from the Christmas chaos and, in my own fashion, I'll be happy to emerge groundhog-like to see my own shadow sometime removed from New Year's.

It is sad to reflect upon just how walled off our society has become from the deeply reflective original spirit of the season; this is true regardless of one's particular religious tradition.

Pink Floyd was onto something.

Untitled, #1584-20D

© 2011 James W. Murray, all rights reserved.

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Details: April 30, 2011; Canon 20D; f/11 @ 1/800 sec; —2/3 EV; ISO 400;
Canon EF 70-300mm f/4-5.6L IS USM @ 128mm

________

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Seeing 2011 (#187)

For your consideration: hints of a suspension bridge by means of sweeping, archetypal arcs; yet the supported platform here is vertical rather than horizontal.

A tiny segment of a very large installation, this image evokes for me beauty inherent in gracefully sweeping symmetries, marvelous interplay of light and shadow, and allusions to a fascinating experiment related to quantum phenomena. The chains here stand in for photons seeking their way . . .

On a simpler and more practical plane, I submit this as an homage to the winter solstice: I, for one, am quietly exuberant that moving forward for the next six months the daily ratio of lightness to darkness begins marching in favor of sunshine . . .

Blind Chain (Slit Experiment), #2348-7D

© 2011 James W. Murray, all rights reserved.

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Details: October 7, 2011; Canon 7D; f/5 @ 1/1328 sec; —2/3 EV; ISO 400;
Canon EF 70-300mm f/4-5.6L IS USM @ 214mm

________

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Seeing 2011 (#186)

For your consideration: a native son, leading his tribe in silent procession.

Golden Gate National Cemetery, Great Eagle, #4575-7D

© 2011 James W. Murray, all rights reserved.

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Details: December 17, 2011; Canon 7D; f/11 @ 1/2660 sec; —2/3 EV; ISO 500;
Canon EF 70-300mm f/4-5.6L IS USM @ 188mm

________

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Seeing 2011 (#185)

For your consideration: a solitary moment of reflection . . . a study in contrasts between shadow and light, gravitas and flights of fancy, and the immeasurable gulf between permanent residency versus ad interim visitations.

Small conveniences of slightly elevated perspectives at best for the avian observer, these holy engraved slabs mutely testify of profound sacrifices to those paying attention . . .

Golden Gate National Cemetery, Crow Wives., #4637-7D

© 2011 James W. Murray, all rights reserved.

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Details: December 17, 2011; Canon 7D; f/16 @ 1/332 sec; —2/3 EV; ISO 500;
Canon EF 70-300mm f/4-5.6L IS USM @ 300mm

________

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Seeing 2011 (#184)

For your consideration: heaving seas aglow under the diffuse illumination of an obscured full moon. The relatively piercing light escaping the sleeping structure emits a wholly insufficient hint of what is sheltered within: the now removed Fresnel of the unseen, watchful pillar of the nearby lighthouse.

Despite the ominous atmosphere conveyed by this image, being utterly alone with the ocean's undulations, mild breeze and limitless sense of space was at once exhilarating and deeply soothing, an experience to which I ought submit myself much more frequently than I do. It refreshes my soul.

Pigeon Point, Museum Lights, 3:20 a.m., #4181-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 12, 2011; Canon 7D; f/6.3 @ 32 sec; ±0 EV; ISO 400;
Tokina 11-16mm f/2.8 @ 11mm

________

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Seeing 2011 (#183)

For your consideration: yesterdayI spent a the afternoon carefully exploring, at long last, the Golden Gate National Cemetery, located in San Bruno just next to I-280. It was virtually abandoned, forgiving of course the permanent residents.

This evening I made a rare foray into the holiday Mall Scene (maul seen), with Julianna, for some brief shopping.

Nobody seemed to have noticed the season's Good News — The War is over.

Golden Gate Cemetery, Late Afternoon, #4522-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 17, 2011; Canon 7D; f/11 @ 1/2000 sec; —2/3 EV; ISO 500;
Canon EF 70-300mm f/4-5.6L IS USM @ 79mm

________

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Seeing 2011 (#182)

For your consideration . . .

'Tis the Season, eh?

Ah, the sweetness of plastic Santas, elves, reindeer and snowmen aglow in front yards, on roof tops and in mall windows; homes and retail edifices resplendent in multicolored lights; freeways and shopping center car lots similarly infused with (mostly red) , in the form of brake (but few signal) indicators and hot tempers . . . the annual ritualistic quest for parking spaces and harvesting of those requisite perfect gifts (especially on sale!) . . . and let's not forget the ubiquitous caroling, descending from speakers in elevators, display rooms and food courts . . . electronic voices well-honed and practicing since, oh, at least Halloween, no?

Yes, the hastened rush, as another calendar's close swiftly approaches, to check off all the names on the lists and fill the economy's coffers with hard earned coin and associated spreadsheets with positive numbers.

That time of year again.

So here I propose a pause, no matter momentary, to reflect upon the superficiality of so much of the trappings (increasingly elaborate on the whole), and to genuinely consider a matter far more crucial to glad tidings and cheer — the fabric of life, the most precious, sustaining (and often elusive) gift of all . . . the window into the soul's true yearnings.

Heart String, #3817-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: November 18, 2011; Canon 7D; f/4 @ 1/400 sec; —1/3 EV; ISO 640;
Canon EF 100mm f/2.8 Macro USM

________

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Seeing 2011 (#181)

For your consideration: an effervescent sea, seen via a lengthy thirty-two second exposure taken under high clouds which played hide-and-seek (tide-and-seek?) with the full Moon . . . which never quite managed to break through.

Never mind: after two full hours in communion with the oceanic atmosphere (in virtually perfect conditions) my eyes had adjusted to the degree that all seemed awash in the dim glow of an embryonic dawn. Thundering waves, deliciously crisp, sparklingly fresh air and barely a wisp of a breeze wrapped my sorely needed solitary time with my spirit in a profound sense of comfort and deep pleasure.

Truly, it in such moments as these that I feel unfathomably alive, free and at peace.

Pigeon Point Rocks, 3:36 a.m., #4359-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 11, 2011; Canon 7D; f/6.3 @ 32 secs; ±0 EV; ISO 400;
Tokina 11-16mm f/2.8 @ 11mm

________

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Seeing 2011 (#180)

For your consideration: a late afternoon study in portals, rectangles, and rhyming geometry.

Pigeon Point Houses, #4153-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 10, 2011; Canon 7D; f/11 @ 1/200 sec; —1/3 EV; ISO 640;
Canon EF 70-300mm f/4-5.6L IS USM @ 70mm

________

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Seeing 2011 (#179)

For your consideration: the scene greeting me and some close friends upon arrival yesterday for an overnight gathering at the Lighthouse hostel at Pigeon Point.

A composite of two exposures sandwiched (one using an overlay layer effect at 50%); consider this a first draft . . . the sky is a bit overdone and the foreground could be lightened some.

Pigeon Point Sunset, #4180-7D

© 2011 James W. Murray, all rights reserved.

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Details: December 10, 2011; Canon 7D; f/8 @ 1/1600 sec; —2 EV; ISO 250; Tokina 11-16mm f/2.8 @ 11mm

________

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Seeing 2011 (#178)

For your consideration: another scene from last weekend's nocturnal safari . . . once the pork had been captured (see prior post) we strayed and wandered a bit east, and stumbled onto a free wheeling scene of delight and amusement . . .

Light Rides, #4040-7D

© 2011 James W. Murray, all rights reserved.

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Details: December 2, 2011; Canon 7D; f/8 @ 1/2 sec; ±0 EV; ISO 100; Tokina 11-16mm f/2.8 @ 12mm

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Seeing 2011 (#177)

For your consideration: some of the unexpectedly diverse bounty culled from a recent nocturnal neon hunting excursion.

This, on a sketchy, run-down corner on the fringes of downtown, was the first catch of the night. Denoting what must certainly be a local institution of some renown (it was new to me, however), its design and general condition suggested a long period of bringing home the bacon. An Irish bar is nearly directly across the street, on the other side of the tracks (take that as you wish).

Pure Pork Pig, #4014-7D

© 2011 James W. Murray, all rights reserved.

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Details: December 2, 2011; Canon 7D; f/16 @ 1/3 sec; ±0 EV; ISO 200; Canon EF 70-300mm f/4-5.6L IS USM @ 214mm

________

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