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.

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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.

(click image for larger version)

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.

(click image for larger version)

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.

(click image for larger version)

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., #4353-7D

© 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.

(click image for larger version)

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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Seeing 2011 (#176)

For your consideration: a variation on Plato's Cave, wherein the implied information conveyed by the wall's shadows (apparently) are significantly removed from a much simpler reality.

From a simplistic and superficially disingenuous perspective, the "obvious" retort is of the form "naturally — it is obvious the silhouettes are cast not by the foreground tree but by others out of view". Yet this misses a much bigger picture. It is just the exact rush to swift deduction that too often leads us to ironically confirm the Allegory: far more frequently that we'd like to admit, we cling to our perceptions as truths based on quick assessments of what we believe to be the veracity of some set of supporting evidence.

We remain unconscious, oblivious to the possibility that the outlines themselves are illusionary and the genuine nature of the truth remains unseen behind our predisposed, and skewed, mental filters. It just may be that the reality of the tree at hand indeed leads to an enlightened comprehension of silhouettes, otherwise dismissed, as well as the Source.

Untitled (Winter's Sentiment), #2678-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: November 18, 2010; Canon 20D; f/8 @ 1/1600 sec; —1/3 EV; ISO 400; Canon EF 100mm f/2.8 Macro USM

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Seeing 2011 (#175)

For your consideration: after hibernating for nearly exactly a year, a canvas culled, massaged and significantly enhanced from my increasingly large pool of overlooked images.

From a relatively young age I've been drawn to the profound depths and stunning variety found in the night sky; the planets seemed to me to be living entities of their own, resplendent with character lines and personalities to match. Of special, enduring fascination has been Jupiter, in particular its centuries-old storm which by itself is the size of several Earths.

The subject of this submission is considerably more benign and entirely terrestrial in its nature: an otherwise ordinary plank of wood, whose topography has been transformed by the tools available to me in the digital darkroom.

Red Spot, #2828-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 5, 2010; Canon 20D; f/2.8 @ 1/160 sec; —1/3 EV; ISO 400; Canon EF 100mm f/2.8 Macro USM

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