Seeing 2011 (#120)

(Note: this posting is an update to correct an error from the original text, which incorrectly stated a wingspan of seven feet for ancient dragonflies.)

For your consideration: a seemingly-annual visitor to the intimate confines of the man-made pond at my semi-secret meditation spot.

Last year I photographed either this returnee or an identical (recent) ancestor in the same general location; the differences this year are the vast leap of crispness and high-ISO shooting capabilities of the 7D which permit faster shutter speeds and smaller apertures, yielding (in theory) sharper images with greater depth-of-field. For macro work especially, these are two vital components.

Acquiring this degree of magnification required remaining precariously perched on a small boulder for long periods while remaining essentially motionless: this flighty creature made repeated reconnaissance sorties in its local airspace, buzzing my vicinity to test the threat level I posed. Wanting a shot like this required sitting as still as possible for much longer than I would have liked, but perseverance has its rewards.

While observing my observer between shots I had the time to gratefully consider my good fortune to have been born in the 20th Century: had this critter's prehistoric kin survived their own journey into Modern Times I would be as deeply entrenched in a safe haven as I could squeeze my pudgy body — this subject's ancestors, have wingspans of up to two-plus feet across.

Dragonfly, #0821-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 23, 2011; Canon 7D; f/18 @ 1/256 sec; —1/3 EV; ISO 500; Canon EF 100mm f/2.8 Macro USM

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Seeing 2011 (#119)

For your consideration: the miracle of birth taking shape by means of a multitudinous uprising of lilies from their protective husk.

Due to a considerable range of lighting tones I utilized spot metering, emphasizing the brighter areas on the sheath harboring the buds; I did not want to risk grossly overexposing this delicate surface which would've obliterated the fine textural details. Similarly, I left untouched the distant background highlights, as the ill-defined contrast provides the canvas a sense of depth.

Emergence, #0779-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 21, 2011; Canon 7D; f/9 @ 1/200 sec; —2/3 EV; ISO 250; Canon EF 100mm f/2.8 Macro USM

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Seeing 2011 (#118)

For your consideration: another 7D Shakedown Cruise offering . . . this a simple study of minute detail with moderate ISO and shallow depth employed for direct late afternoon sunlight.

Impermanence, transition, and a bit more than meets the eye: the obvious states of solid and liquid are duly represented, but the essential by-product of evaporation — gaseous matter — must be inferred.

Of most interest to me is the pooled water's magnification of the wood grain, which illustrates two of my favorite notions: that visual evidence is often the weakest (here we have a prime example of distortion), and that if we only pause to look closely remarkable beauty and complexity is awaiting our discovery.

Life for us fallible humans tends to be this way: I can make snap judgments based on illusionary initial impressions, leading to incorrect conclusions, decisions and behavior. Upon reflection, however, clarity and truths can be revealed and, when necessary, atonement proffered and with it a return to grace.

Meltdown, #0643-7D

© 2011 James W. Murray, all rights reserved.

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Details: July 20, 2011; Canon 7D; f/11 @ 1/330 sec; —1/3 EV; ISO 640; Canon EF 100mm f/2.8 Macro USM

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Seeing 2011 (#117)

For your consideration: a new angle on construction . . . according to at least one source this streaming tapestry is designed to convey an accurate sense how impending additions to the existing architecture are supposed to look.

It appears to me that the budget is stretched thin.

In the parking lot across the street from where I have frequent appointments an interesting array of these oddly wayward demarcations are hoisted to and fro . . . Today I finally had the synchronicity of remembering to bring my camera (along with the wide-angle lens) and the lusciously, intensely angled light of the late afternoon sun. It was effortless to take 44 exposures
over the course of 25 minutes; look for an expanded series on my main photo repository site soon.

No Trespassing / Orange Network, #0735-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 21, 2011; Canon 7D; f/11 @ 1/256 sec; —2/3 EV; ISO 125; Tokina 11-16mm f/2.8

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Seeing 2011 (#116)

For your consideration: a purely experimental shot, testing the boundaries of high ISO (1000) resolution combined with high contrast lighting and spot metering.

Frolicking fish, frozen in place by means of both shutter and bronze casting, in their fixed spotlight at a local car wash.

Fountain, #0561-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 18, 2011; Canon 7D; f/5.6 @ 1/3165 sec; —1/3 EV; ISO 1000; Canon EF 70-300mm f/4-5.6L IS USM @ 188mm

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Seeing 2011 (#115)

For your consideration: another offering from the vaguely defined journey I'm entitling the "7D Shakedown Cruise"; these images are the result of my early trial and error in becoming familiar with the myriad of sophisticated controls featured in my beautiful new camera body.

Early results confirm what I've read and have also suspected: with advanced and greatly enhanced sensor quality and native image rendering come a double-edged sword: photographs emphasizing fine detail are either exquisitely rendered to such delight as to be breathtaking . . . or, if my focus point is off to the slightest degree — well, another, considerably dampened flavor of breath-taking follows. Thus it has come to pass so far that very few of my preliminary shots have been satisfactory . . . and I'm well aware the weak link is on my side of the camera.

This particular entry is presented simply as a small cozy patch of terra firma which struck me as sublimely pretty, an easily overlooked oasis amidst the frenzy of silicon valley. Perhaps it will serve as a reminder to take a deep breath, look around yourself, and discover your own local treasure hidden in plain sight.

Flower and Bud, #0584-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 19, 2011; Canon 7D; f/7 @ 1/100 sec; —1/3 EV; ISO 800; Canon EF 100mm Macro f/2.8 USM

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Seeing 2011 (#114)

For your consideration: an intimate portrait of an species which figured large in my childhood . . .

I had an aunt, one Mrs. Marguerite Tonyan née Vick, who being tiny in stature was universally addressed as "Dot." My aunt Dot had an iron will, quick wit, suffered fools but little and could be both deeply compassionate and blindingly stubborn — and was the sanest person in our entire neurotic family tree.

She also had a love of ladybugs, and decorative examples could be found perched in various places in her home (mostly on the refrigerator, or "ice box" as our family still called that appliance). Thus when I think of ladybugs nostalgically warm memories of aunt Dot make quiet visits.

Ladybugs also evoke a rather different set of childhood scenes: annual trips up to Kitt Peak National Observatory, home of the planet's largest gathering of astronomical telescopes and related instruments. My grandparents would take me up there for a day outing each spring, and the entire mountain was seemingly blanketed with ladybugs.

I photographed this entry's submission earlier today, on the grounds of Kaiser Hospital in Santa Clara, CA. Moments before I'd emerged from a stint in a massive, loud, enclosed MRI chamber. I'd brought the new 7D along for a continuation of my camera "shake down cruise", expecting to spy some flower shots amid the ample landscaping. Much to my delight, I had a face-to-face with this tiny creature. The transition from the blaring energy of the magnetic procedure to the silent yet fierce sentry here was just what the doctor ordered.

Even so, once I got a full-sized view of the resulting image I recorded I was immediately grateful this subject is smaller than I am . . .

Ladybug, #0529-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 18, 2011; Canon 7D; f/7 @ 1/2049 sec; —2/3 EV; ISO 1250; Canon EF 100mm Macro f/2.8 USM

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Seeing 2011 (#113)

For your consideration: a cadre of glowing blades lingering (and loitering) . . . leaning into the day's last rays of sunlight.

Photographed during a casual stroll through a downtown neighborhood, another early shakedown cruise and familiarity exercise for me and the 7D. Although I had my 100mm macro along for the trek, in the end I relied exclusively on the long telephoto for its extended reach, perspective compression, and superior image stabilization, each a key element in this composition. Most impressive to me, however — the fine quality of sharpness retained at ISO 800, a triumphant performance here simply beyond the capabilities of my now semi-retired 20D.

Red Leaf Trio, #0492

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 17, 2011; Canon 7D; f/8 @ 1/1600 sec; —2/3 EV; ISO 800; Canon EF 70-300mm f/4-5.6L IS USM @ 221mm

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Seeing 2011 (#112)

For your consideration: a goose gazing heavenward, straining to see — who knows? (I was too focused on this amiable avian to take note.)

After seven days' sequester in the increasingly small quarters of my condo, laid low by lumbar afflictions, I finally managed an excursion outdoors. The destination of choice was easily arrived at: the nearby Edith Morley Park, beloved (by me at least) due it its relatively unpopulated, clean and simply yet lusciously landscaped grounds. A primary meditation spot of mine, and seasonal aerodrome for several annual squadrons of geese.

This day's visit featured three personal goals: to test my back's healing progress via brief strolls hither and yon (more the former than latter), a thirty-minute meditation sitting, and (most anticipated of all) my first semi-genuine outing with my new Canon 7D body.

I was armed with three lenses: the Tokina 11-16mm, Canon 100mm Macro and the Canon 70-300mm L. It was far too breezy for any hope of easy Macro work, and I was not in a mood of envisioning wide-angled perspectives (a possibly ironic consequence of my health incarceration) . . . so it was up to the long telephoto to carry enlightenment to the new body.

This was very much a maiden voyage of the 7D; from the first shot taken last week it has been clear to me that this device is a quantum leap in quality and sophistication over my 20D workhorse of the last seven years. It is equally obvious to me that in some crucial ways it's going to require some time to understand and then master the vastly enhanced capabilities; think "making the leap from a go-cart to a Lamborghini". Well, perhaps not that great of a jump, but the comparison has some seed of accuracy.

Consequently, of the 95 images I took, maybe 5 - 7 are worthy of eventual processing and publishing. Two things are already apparent: I need to better understand the quite advanced focusing system, and the layout of the body's controls which are just different enough . . .

In any event, all things are as they are supposed to be: being acutely mindful of my back's still iffy status I forced myself to stroll especially slowly and deliberately while peering for some new photographic material yet to be mined after my many frequent explorations of the park. The unexpected benefit of my snail's pace wanderings was that I was able to make an unusually close approach to a large gaggle of geese without unduly disturbing them.

Thus geese was the main course on the photographic menu. This turned out to be an excellent development, since a primary focus for my outing was to try some experiments with the 7D's performance in the rarified end of the ISO exposure range: 1000 and above. The delicacy and complexity of my fowls' feathers were perfect subjects — much would be revealed in results of comparing shots of ISO 250 vs. 100 and 1250.

Only preliminary results are in, but the future looks very fine indeed. Perhaps this is the message my day's favorite subject envisions as well.

Seeking Swan, #0293

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 14, 2011; Canon 7D; f/6.4 @ 1/664 sec; —1/3 EV; ISO 250; Canon EF 70-300mm f/4-5.6L IS USM @ 300mm

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Seeing 2011 (#111)

For your consideration: this image has been aged 3 years in my photographic inventory; I seriously doubt the insect is still perched on this appealing snippet of early morning sunlight.

What surprised me when I turned my attention to processing this photograph was the discovery that I used my 17-85mm zoom (as opposed to my macro) . . . since it would four months later before I purchased the latter as a birthday gift to myself. At the time the zoom was the premier lens in my collection (a wonderful birthday present from my wonderful wife Julianna); over the three years since I've added the aforementioned 100mm macro, a 70-300mm and an 11-16mm to my lens kit. The lens used here did a fine job . . .

I have relatively little practice photographing insects; in terms of sharpness and magnification my current body of work in this theme doesn't stand up to many, many images I've seen taken by those who clearly have made a well-honed specialty of the genre. I deeply admire such work, for I realize the incredible technical skills required, to say nothing of the limitless patience and trained eye required to pull it all together.

Even so, I'm pleased with this offering for the mood it sets: a sense of tranquil warmth seems to exude from the atmosphere, and to whatever extent critters of this sort have awareness I should think this entity is enjoying the moment.

Hopper, #1138

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 16, 2008; Canon 20D; f/7.1 @ 1/160 sec; —2/3 EV; ISO 200; Canon EF-S f/4-5.6 IS 17-85mm @ 85mm

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Seeing 2011 (#110)

For your consideration: one from the archives (of sorts) . . .

I am in constant awe of how simple, universally recognizable forms (such as the gushing of fountains) may at first glance appear to be mundane in their basic makeup . . . yet upon closer inspection reveal themselves to be infinitely, beautifully varied in their fundamental structure — and singular manifestations of the notion of Impermanence.

Thus, for 1/5000 of a second this water entity held a particular arrangement of bubbles and air, a façade of instantaneous moment and duration — only to be supplanted by a different and never exactly reproducible form in the next instant.

Without cessation every specific moment arises a new creation, which in turn immediately gives way to yet another unique permutation of itself.

Viewing reality this way brings hope, for no matter the circumstances at hand things will always change — this too shall pass.

Pillar (Old Man), #9698

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 11, 2010; Canon 20D; f/4.5 @ 1/5000 sec; ±0 EV; ISO 200; Canon EF f/2.8 100mm Macro USM

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Seeing 2011 (#109)

For your consideration: a rather different stage of a rose's development compared to a youthful kin featured in a recent blog entry.

Rose Star, #2744

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Detail July 4 , 2011; Canon 20D; f/4.5 @ 1/200 sec; —1 EV; ISO 400; Canon EF f/2.8 100mm Macro USM

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Seeing 2011 (#108)

For your consideration: a rose grandly conducting a symphony of similarly coiffed sepals off-camera.

I've been fascinated and awed for quite a long time now by the gorgeous effects arising from direct sunlight pouring through leaves, petals and other elegant canvasses wrought by nature. Thus this image, captured in the last waning moments before sunset.

It was a real challenge to get this photograph. Not only was this particular rose nestled rather deeply into a veritable bush of its brethren, but I also needed to lean down and then somehow crane the camera angle up slightly in order to gain the correct angle. Standing in a particularly awkward position posed trouble in holding the camera still enough to avoid blurring the image . . . maintaining the desired point of focus and judging the exposure were additional taxing factors to manage — especially since the light conditions were rapidly deteriorating as the sun dove towards the horizon.

I am pleased with the final result; the shape of sepal topped by the array of luscious petals reminds me of a praying mantis showing off its over-the-top hat at the Ascot races.

Rose Head, #2731

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Detail July 4 , 2011; Canon 20D; f/8 @ 1/100 sec; —1/3 EV; ISO 400; Canon EF f/2.8 100mm Macro USM

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Seeing 2011 (#107)

For your consideration: a brilliantly complex masterpiece of nature, at once glorious and fragile in its exalted homage to the Sun.

Photographed using a tripod, to allow for the depth of a f/22 aperture, in early morning direct daylight.

Having taken in a re-run of Close Encounters of the Third Kind this evening, it occurs to me that if this delicate and short-lived organism emerged as a 10-foot tall extraterrestrial from an alien craft our reaction to it would be worlds removed from the peaceful pleasure it evokes in its normal earthly niche.

Red Spindly Flower, #1061

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 8, 2011; Canon 20D; f/22 @ 1.3 sec; —2/3 EV; ISO 100; Canon EF f/2.8 100mm Macro USM

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Seeing 2011 (#106) - 7D First Light

For your consideration: the first image taken with the grand and sparkling new Canon 7D which my amazingly supportive wife encouraged me to purchase.

My technical mentor agreed, graciously, to pose for the unique honor of being the first subject to reflect photons onto my camera's virginal sensor; he stood patiently at the precipice of the staircase immediately outside of my office door.

While in the most basic sense this new and highly sophisticated device performs the same fundamental function as the model 20D which it now supplants — creating the raw material for digital photographs — I immediately found myself facing a new learning curve. To wit: this capture was as a .jpeg in its original state . . . I've not utilized this comparatively lossy format since my earliest days using a Canon G2, c. 2004. It wasn't until I'd taken several more shots of various inanimate objects in my office that I realized the error of my ways; fully another ten minutes were required for me to decipher my first challenge in this camera's much more extensive menu system and change to RAW mode.

Even so, I chose to deliberately start testing the quality of the new body's higher ISO settings . . . considering that I took this pose at ISO 800 in a jpeg format it turned out rather nicely for a first try.

Processed with Lightroom 3.2 and Photoshop CS3.

Bruce, #0001

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 5, 2011; Canon 7D; f/2.8 @ 1/400 sec; ±0 EV; ISO 800; Canon EF f/2.8 100mm Macro USM

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Seeing 2011 (#105)

For your consideration: scenery of the before-and-after variety — within the same time-frame are to be found two stages of a poppy's development.

Subtly and particularly unusual about this specific image is that it was recorded not with my 100mm macro — normally the lens of choice for such subjects . . . but instead with the current Big Gun in my inventory, the 70-300mm telephoto. Due to the multiplier effect of my camera's APS-C sensor the effective focal length employed in this photograph is 320mm, a measurement far more commonly associated with long-distance shots than for intimate close-ups.

Taken on an overcast day, the resulting muted indirect lighting was ideal for evoking a natural glow from the petals.

While processing this offering it occurred to me that regardless of man's impressive progress in the realm of technology, we're still quite a long, long way off from reaching the gentle, amazing elegance of nature's own production efforts such as this.

California Poppy, #1388

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 24, 2011; Canon 20D; f/8 @ 1/640 sec; ±0 EV; ISO 400; Canon EF f/4-5.6 L IS 70-300mm USM @ 200mm

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Seeing 2011 (#104)

For your consideration:

A bit of escapism, featuring elements rising to unknown destinations while simultaneously emphatically rooted to modern structural canvas.

Launch Window, #0080

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 27, 2011; Canon 20D; f/6.3 @ 1/2004 sec; ±0 EV; ISO 200; Canon EF f/4-5.6 L IS 70-300mm USM @ 182mm

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Seeing 2011 (#103)

For your consideration: a jumbled vision of what passes for a redundant observation.

Spotted and framed during a Sunday morning stroll through the delightfully unpopulated grounds of San José City College.

Order Chaos, #0058

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 27, 2011; Canon 20D; f/5.6 @ 1/500 sec; ±0 EV; ISO 200; Canon EF f/4-5.6 L IS 70-300mm USM @ 135mm

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Seeing 2011 (#102)

For your consideration: a notable passage of quietude on an indeterminate scale.

There are subtleties afloat here, amplified with the motionless movement induced by the receding perspective lines. A well-lighted platform which could just as well be suspended in a cavern, yet was captured on stage in the San José State University Music building's auditorium.

Silenzio, #1646

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 23, 2011; Canon 20D; f/5.6 @ 1/25 sec; —2/3 EV; ISO 400; Canon Canon EF-S f/4-5.6 IS 17-85mm @ 85mm

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Seeing 2011 (#101)

For your consideration: a particularly serendipitous discovery — having rounded a building's corner at precisely the optimum time of day to capture this choreography of shadows and geometry.

This tableau is but one of an unusually high percentage of quality images which was my good fortune to garner during a rather extemporaneous and exceedingly delightful Sunday morning meander about the campus of San José City College (not SJSU). I had the complex virtually to myself, the weather was perfect, and the setting offered many attractions for my 70-3oomm telephoto, all subjects which allowed me to test the sharpness and overall performance of the optics.

The results were rather sweet.

Untitled, #0031

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 27, 2011; Canon 20D; f/6.3 @ 1/5000 sec; ±0 EV; ISO 200; Canon EF f/4 L IS USM 70-300mm @ 70mm

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Seeing 2011 (#100)

For your consideration: a spotty link to my (relatively) recent posting as IT support to the Dr. Martin Luther King, Jr., library . . .

I recorded this image not long after acquiring my exquisite macro lens; the setting was the amazing fifth-floor conference room tucked well-beyond public access in the Special Collections area of the library. It was late afternoon and the massive west-facing windows beckoned to and seemingly amplified the ample stream of sunlight flooding the space. The dots are shadows cast by a sun-protection screen.

The arrangement is an homage to Picasso and his cubist/abstract visions.

Mother and Child (Cyclops), #7391

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 22, 2010; Canon 20D; f/11 @ 1/160 sec; ±0 EV; ISO 200; Canon EF-S USM 100mm f/2.8 Macro

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Seeing 2011 (#99)

For your consideration: a simple still-life study of a fallen fruit, hardened to the point of rigor mortis after losing its grasp on its life source — apropos for a found-object discovery on a December day in a cemetery.

Native Plant, #2747

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 4, 2010; Canon 20D; f/4.5 @ 1/100 sec; —1 EV; ISO 400; Canon EF-S USM 100mm f/2.8 Macro

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Seeing 2011 (#98)

For your consideration: an oddly disquieting tableau, clad in a few eccentricities . . .

Shadows here are in turns potent yet upon closer inspection reveal themselves to be not quite uniform; vertical channels run up the building's face, yet are both opaque as to function and asymmetrical to what appears to be — what? an impossibly high and acutely misplaced call box? Unlikely, but then again so too the unexpected tear in the container's silhouette.

The coda is provided by a sky which hints at indecisive atmospherics — intruding smoke from a nearby fire? fog burning off or rolling in? a storm gathering . . . or evaporating?

A trivial construction, which leaves ample space for indeterminate conjecture.

(Enjoy: the script is yours!)

Red Box, #0354

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 10, 2011; Canon 20D; f/6.3 @ 1/8000 sec; —1/3 EV; ISO 800; Canon EF 70-300mm f/4-5.6L @ 125mm.

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Seeing 2010 (#97)

For your consideration: a friend of many years, yet one who I see but annually . . . no, not then. In June. Usually.

It does not surprise that this gentle soul serves as an official Santa — one of the rare editions whose beard is genuine.

A jolly fellow, to be sure; Gene is possessed with a personality matching his sparkling eyes and kindly smile. As we would all expect of Mr. Claus, just being in this man's company brings a sense of warm comfort and pleasure — priceless gifts without the tedious necessity of unwrapping and saving the paper.

Santa Gene Doherty, #0592

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 5, 2011; Canon 20D; f/3.2 @ 1/100 sec; —1 2/3 EV; ISO 400; 100mm.

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Seeing 2011 (#96)

For you consideration: my father James Houston, content after a brunch in Alameda celebrating the grace of the love provided by two wonderful mothers — my mom Joan and my wife Julianna.

Offered belatedly to honor dad's Father's Day.

Mother's Day, Father, #2122

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 8, 2011; Canon 20D; f/3.2 @ 1/100 sec; —1 EV; ISO 400; 100mm.

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Seeing 2011 (#95)

For your consideration: the crown jewel, in my opinion, of the San Jose State University campus. Taken moments after sunset on an unusually chilly afternoon on the cusp of June, this perspective is looking south from the roof of the City parking garage across the street.

The expansive sky, given added depth by the clouds, in concert with the luscious skirting of trees masking the edifice's grounding below, yields a surprising sense that this beautiful vault of lofty ideas is indeed itself floating.

Dr. Martin Luther King Jr., Library, #0196

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 31, 2011; Canon 20D; f/8 @ 1/100 sec; +1 EV; ISO 100; Tokina 11-16mm f/2.8 @ 11mm.

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Seeing 2011 (#94)

For your consideration: a stoic, silent observer of the observing, from the perspective of an elevated stature.

Taken during a delightful, modestly long walk through an estuary hard on the edge of a massive power plant on the northern California coast. Normally prone to lingering marine layer fog at this time of year, the conditions for my recent visit (the first in twenty years or so) were sparkling to the degree that shorts and a tee shirt would've been entirely comfortable. Consequently, with an assist from my tripod, ample late morning light existed allowing for this record of a regal creature calmly surveying its domain.

The combination of such splendid weather and accommodating subject was a bit of grace indeed.

Barn Owl, Elkhorn Slough, #0935

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 15, 2011; Canon 20D; f/5.6 @ 1/6 sec; ±0 EV; ISO 200; 480mm.

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Seeing 2011 (#93)

For your consideration: an update on a sette setting . . .

At once elegant and sterile, with an undefined terminus, the composition is formally poised for a fulfillment — yet even then, if a suitable populous were to manifest, it's not at all apparent that an engaged conversation would arise.

Silence Sitting, #2785

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 26, 2011; Canon 20D; f/11 @ 1/100 sec;
±0 EV; ISO 400; Tokina 11-16mm f/2.8 @ 16mm.

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Seeing 2011 (#92)

For your consideration: a return to the scene of my last self-portrait . . .

This instance being nearly as much of an opposite as possible: flooded with ample, late-afternoon sunlight; an extreme wide-angle view versus seen through the compressed magnification of a long telephoto, black & white treatment . . .

And not a soul in sight, creating a tableau reminiscent of ray-spewing space invaders from 1950s era sci-fi films.

Mary Avenue Bridge, #0880

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 13, 2011; Canon 20D; f/11 @ 1/200 sec; — 2/3 EV; ISO 200; Tokina 11-16mm f/2.8 @ 16mm.

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Seeing 2011 (#91)

For your consideration: a long stretch of plywood fencing has been erected, possibly to keep away the riff-raff from the construction field of a massive new building on campus. A response from the exiled: painting the fence blue.

Looks like they missed a spot . . . else perhaps a statement was being made about a beacon of hope amid an existence swamped by the blues. In either case this Macro perspective the story is depicted as a weathered, wrinkled face . . .

Study in Blue and Gold, #0789

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 28 201; Canon 20D; f/16 @ 1/500 sec; — 1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#90)

For your consideration: a formal geometric abstraction — lines, tangents, cylinders and ellipse — arranged with a view towards contradictory thrusts . . . At once firmly anchored yet cast amidst zigzagging vectors, this steel pillar strives in vain to escape its Cartesian landscape, rooted to its shadow below.

An unexpected vision on the Rapture day of 2011 . . . ironic by its conflicting homages to steadfast strength and the presumptions of Fate.

Untitled, #2718

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 21, 201; Canon 20D; f/14 @ 1/1252 sec; — 1/3 EV; ISO 100; Tokina 11-16mm f/2.8 @ 12mm.

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Seeing 2011 (#89)

For your consideration: a dangling particulate as the newest member of the inorganic abstract collection.

Great fun with the razor-sharp 100mm Macro — a potent canvas constructed of the simplest of props awash in late afternoon sunlight.

Circumspect Shadow, #7215

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 6, 2010; Canon 20D; f/16 @ 1/160 sec; — 2/3 EV; ISO 400; 100mm

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Seeing 2011 (#88)

For your consideration: perhaps the return of Rod Serling — a door leading to another dimension . . .

The reality of the scene as I encountered it is closer to this conceit than you might think: this stand-alone portal is one of several jutting out of a wetland area, all in relatively good shape, each ultimately offering a wet and tangled egress.

Alviso Façade, #4449

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 9, 2011; Canon 20D; f/11 @ 1/801 sec; — 1/3 EV; ISO 400; 230mm

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Seeing 2011 (#87)

For your consideration: a surrealistic terrain derived from the passage of years . . .

All things must pass, yet it is from the substance such passages that the universe is renewed. Thus — exposed by the relentless and unforgiving slice of a saw — the map of a eucalyptus' lifespan, writ in dead wood, newly yields a swirling and undulating abstraction à la Van Gogh and Pollack.

Untitled, #0613

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 5, 2011; Canon 20D; f/8 @ 1/1001 sec; —1 1/3 EV; ISO 400; 100mm

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Seeing 2011 (#86)

For your consideration: a dramatic backdrop for one of the few gems still standing in San Jose's downtown.

Taken from the top of a parking garage, the final image below is a composite of three successive, hand-held exposures taken in burst-mode. Each shot was +1 1/4 f-stop removed from the next (thus one image was considerably underexposed, one closer to a "normal" setting, and the last overexposed). Initial processing was done using Photomatix Pro 3, followed by adjustment layer masking in Photoshop CS3 for some fine detail work on the building's façade and bits of cloud structure.

This roiled sky is (historically) a bit late and rare for this time of year: having checked the forecast the night before I took my camera to work, hoping to capture a final bit of atmospheric drama before the onset of months-long overhead monotony — imposed by the admittedly flawlessly blue, formless vault of summer skies . . . due any day now . . .

Bank of America Tower, San Jose (HDR), #2496-2498

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 31, 2011; Canon 20D; f/11 @ 1/500 sec; — 2/3 EV; ISO 100; 291mm

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Seeing 2011 (#85)

For your consideration: tableaux within a tableau — an unorthodox adornment, the entire stage being a bit out of kilter . . .

Foremost we're confronted with a jarring, complex atmosphere mixing agonizing grief with resignation and tender compassion, profound almost beyond comprehension by mere mortals. Yet closer examination of the scene yields an equally incongruous surprise — a garden ornament, apparently fixed with bemusement over the looming drama so dramatically memorialized.

This seems a very strange leap of sensibilities.

On the grounds of the St. Francis Retreat Center which I frequently visit and will do again this weekend coming.

IV Toad, #2391

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 14, 2011; Canon 20D; f/11 @ 1/500 sec; — 2/3 EV; ISO 400; Tokina 11-16mm f/2.8 @ 12mm.

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