Liquid gold? Slag pouring at the tail end of ore refinement? Both are unlikely for various reasons: access to such substances is problematic, and a close study of the streams suggests a rather thinner pour.
Having a Whi-Bal card allows the photographer to "correct" the scene's original white-balance during the equivalent of digital developing; doing so yields an image whose colors quite closely reflect the true lighting conditions present at the time of exposure. In this particular case the scene was bathed in the ubiquitous amber glow of sodium-vapor city street lighting. Even had I remembered to use my Whi-Bal card when recording this subject I almost certainly would not have applied the "proper" hue adjustments which would have been available to me: I much prefer the warmth and consequent mood arising from this biased lighting . . . Correcting would have shifted the entire tableau largely towards the blues, an emotional tone I did not wish to introduce here.
For a taste of juxtaposition, compare this submission to that of this blog's prior entry: both photographs are of the exact same locale, albeit from different perspectives in both observation point and time of day. We see again that the familiar may not be so much so under even the simplest non-invasive alterations of context. There is much much more to our everyday surroundings than we generally bother to notice — to our collective detriment.
Light Falls, #0632
© 2011 James W. Murray, all rights reserved.
(click image for larger version)
Details: March 22, 2011; Canon 20D; f/5 @ 1/5 sec; — 2 EV; ISO 400; 320mm.
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perfect name to the picture. Light Falls :)
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