Seeing 2008 (#48)

Father's Day Eve. One of many captivating sights my wife Julianna and I enjoyed during our post-dinner walk back to our hotel. It was a windy, brisk, and extraordinarily clear evening for summer in San Francisco.

The intense exterior lighting contrasted with the invitingly warm, soft interiors held a powerful draw over both my eyes and heart. Of course I yearned to own not just a suite but the entire structure. I'd spend two hours every night reading in a different room, and our bedroom would have to be in one of the circular corner chambers. Bonsoir . . .

San Francisco Building, #3735

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 20, 2009; Canon 20D; f/5.0 @ 1/10 sec; -1 EV; ISO 800; 35mm.

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Seeing 2009 (#47)

San Francisco: taken while sitting in an Irish bar (!) for breakfast (superb Eggs Benedict).

This image absolutely sums up my inexplicably visceral feelings about motorcycles - or, rather more the point, the tragically too frequent fate of those who ride them. (Make no mistake: I love speed and drive my car faster than I should . . . Remaining firmly restricted to four-wheeled vehicles sharply restricts my unleashed capacity for fatalistic behavior and attendant consequences.)

Fatal Attraction Traction, #3739

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 21, 2009; Canon 20D; f/5.0 @ 1/50 sec; -2/3 EV; ISO 400; 35mm.

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Seeing 2009 (#46)

A storefront in San Francisco.

More than any other image I've produced, I've struggled to determine my own feelings (and thus a suitable commentary) about this submission.

This seems to me a subtly discordant vignette of motherhood: Madonna and child seem oddly disconnected; a sense of wary, distant emotions permeate the scene. The infant seems at best neutral to the maternal affections, which appear to be accompanied with an expression of nostalgia . . . and the woman watches over the pair with an ill-defined seriousness (perhaps reflecting her own feelings about mother-child relationships).

Enhancing the mood as a study in vague conflicts, the proximity of the frame creates a claustrophobic construction, imposing a forced intimacy amongst this trio.

Untitled, #3721

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 20, 2009; Canon 20D; f/5.6 @ 1/15 sec; -2/3 EV; ISO 800; 55mm.

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Seeing 2009 (#45)

Father's Day, San Francisco.

Down a side alley, on the way to SF MoMA, 1:49pm. The Sun was very nearly directly overhead, providing perfect conditions for the textures and sharp, plunging shadows. The wall was recessed from the sidewalk, yielding an odd and wonderful lighting.

Moments prior to discovering this scene my wife and I walked past a slightly disheveled middle-aged man, face scorching red, semi-conscious with intoxication even as he continued to nurse a bottle. He seemed too well dressed to be homeless, and that fact, combined with the simply gorgeous weather -- a perfect Father's Day -- made his plight all the more painful to witness.

The tableau offered here immediately seemed to me a mute and concrete testament to the stranger's interior condition, and likely immediate future: dark, and uninviting. Perhaps the title should be A Sign of Things To Come.

Untitled, #3745

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 21, 2009; Canon 20D; f/5.6 @ 1/3200 sec; -2/3 EV; ISO 400; 49mm.

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Seeing 2009 (#44)

Late afternoon, after a particularly long and exhausting day at work; I had a bit of time before an evening engagement and so explored a bit in the vicinity of my office. The timing was superb: this was captured with the last moments of direct lighting before sunset.

The scene roughly depicts the state of my mind as this week came to a close. I'm may end up retitling this Metamorphic Exfoliation, or simply Brain Waves.

Metamorphosis, #4125

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 24, 2009; Canon 20D; f/11 @ 1/200 sec; -2/3 EV; ISO 200; 45mm.

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Seeing 2009 (#43)

Chinatown, San Francisco, California. Buddha revisited.

I greatly enjoy photographing statuary; usually I strive to isolate such subjects against as simple of an environment as possible, making the inanimate form the sole source of power in the image. Occasionally, however, I'll include the object's surroundings so as to establish a sense of place, mood or other contexts . . .

Over Father's Day weekend my wife and I took a long stroll from our hotel to The Stinking Rose, the setting for our first "official" date. During our trek we meandered through the Chinatown district, always rich with interesting photographic possibilities.

Before long we discovered one of those wonderful shops crammed with a myriad of presumably Eastern trinkets -- geared largely towards the tourist crowds of course. A vast variety of objects of all sizes, colors and uses competed for attention, almost to distraction. Thus I was delighted, and surprised, to discover a very large and singular statue of the Buddha -- and a beautiful one at that -- keeping watch over an intersection of narrow shopping aisles.

Beyond the elegance of the artistry put into this piece I was struck by the pose: both hands out, stiff palms in front, as if to warn against further encroachment. From what, I wondered? I was immediately the stuck by the juxtaposition of this serene, spiritual icon against the flotsam crammed into bins and on shelves in all directions, crowding in . . . Small wonder the defensive stance, a deliciously ironic indictment of the economic mess permeating our world of late. Some degree of lost serenity might be regained by means of resisting the siren call of rampant consumerism as a means of therapy.

I can't help but wonder if this Buddha's arms were once relaxed at its sides.

Pushing Buddha, #3686

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 20, 2009; Canon 20D; f/5.6 @ 1/50 sec; -2/3 EV; ISO 800; 47mm.

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Seeing 2009 (#42)

Two views of my office, which is the Dr. Martin Luther King, Jr., Library on the campus of San Jose State University.

Both were taken well before opening, both between 6:01am and 6:22am.
I had taken my wife Julianna to the airport for an early flight last week, and planned ahead for the opportunity to capture this structure while it was still dark enough to see the glow of the interior lights even as the sky began to take on color. In the earlier scene a bicyclist decided to ride right through my scene just as I tripped the shutter for a long (8 seconds) exposure even though, with my tripod and camera bag, it must've been clear what I was doing . . . but my annoyance with the intrusion quickly turned to delight as I previewed the effect of his taillight blinking along behind him.

My grandfather revered books and reading, and I am quite fortunate that he passed this passion down to me . . . thus having the privilege to report to work in this spacious (>475,000 sq. ft.), modern and beautiful structure -- filled with books as well as a large variety of other media and art -- is a daily pleasure deeply felt. I strive to arrive between 30-45 minutes early, before most staff are in (and while still closed to the public) in order to find a quiet spot on the upper floors and sit for some meditation and reflection. A wonderful way, and place, to start one's day.

(NOTE: beginning with this entry the images I am posting to this blog will open to larger sizes than before, adhering approximately to the 1024x768 format . . . the top entry here is sized thusly, although I processed the lower image two nights ago in the smaller 800x600 size I have heretofore been employing.)

Dr. Martin Luther King, Jr., Library, Early Morning, #4006

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 14, 2009; Canon 20D; f/11 @ 1/3 sec; -1 1/3 EV; ISO 100; 27mm.

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Dr. Martin Luther King, Jr., Library, Early Morning, and Bicyclist, #3997

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 14, 2009; Canon 20D; f/11 @ 8 sec; -2/3 EV; ISO 100; 28mm.

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Seeing 2009 (#41)

Contrasts between night and day for your consideration: simple studies in composition and lighting, one taken in natural light the other under the harsh glare of sodium. Both are lean images, with precious few objects to demand attention, and yet it is this very spareness of the arrangements which provides surprise and interest.

The eggs were shot in intense overhead sunlight, outdoors; this image is one of many taken as preliminary studies for some ideas I've been quietly nurturing for at least a decade. My eventual goal is to present a series emphasizing subtleties in form and texture by means of offering the viewer the challenge and puzzle of what primary characteristic distinguishes one egg from another (amongst a clutch of only the white variety).

However, in this case Mom made a rare contribution to the creative process by pointing that she had a crate of brown eggs handy . . . this rendered moot my original goal as stated above, yet introduced a more entertaining, even surprising element to the scene. (Consider this an embryonic first public display of my egg series.)

Eggs #3834 (version II)

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 4, 2009; Canon 20D; f/11 @ 1/800 sec; -2/3 EV; ISO 100; 41mm.

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The image below is an outcome of my continued delight with night photography. Not so very long ago my beautiful wife (see post# 40) and I took in a film at San Jose's Santana Row; afterwards, as we returned to our car, I noticed the striking lighting and dramatic rays formed by the deliberate furrows in the theater's back concrete wall. I returned to the scene late the following night, and was rewarded by noticing the imperative in the asphalt, which here provides a superb reinforcing compositional anchor for this strictly structured, forceful tableau.

Door(s) Stop #3809

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 28, 2009; Canon 20D; f/11 @ 2.5 sec; -2/3 EV; ISO 200; 31mm.

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Seeing 2009 (#40)

My sweet and beautiful wife, the love of my life:

Julianna #3818

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 4, 2009; Canon 20D; f/11 @ 1/100 sec; -2/3 EV; ISO 400; 50mm.

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It is unfortunately too rare for me to have the pleasure of viewing Julianna through my camera's lens, so when the opportunity presents itself I strive to make the best of it. (On the other hand both my father and step-daughter are willing subjects. Hannah's visage will certainly be featured here in future posts; in fact a hint of it can be found in entry 29.) This particular photograph was taken over the July 4th weekend, at a tiny farmer's market near Lakeport.

Those familiar with my body of work know that the majority of it consists of abstractions usually derived from inanimate objects (e.g., entries 10, 13, 26 and 31); any variations of this approach most often come in the form of nature shots (e.g., entries 27 and 38).

While one reason my oeuvre is so heavily weighted towards static subjects arises from my passion for the intrigues and delightful discoveries to be revealed in abstractions, I must confess to another explanation for my focus on inorganic subjects. Susan Sontag illuminates the matter in her book-length essay, On Photography, from which I offer a few quotes:

"There is an aggression implicit in every use of the camera." (pg. 7)

"As photographs give people an imaginary possession of a past that is real,
they also help people take possession of space and time in which they are
insecure." (pg 9)

"Many people are anxious when they're about to be photographed . . . because
they fear the camera's disapproval." (pg. 85)

For me, at least, it is one thing to take a considerable amount of time becoming intimately close to a pattern of condensation droplets on the surface of a vase, and quite another to risk the MUTUAL discomfort which is the predominant emotional response arising from attempting to photograph a person. Sontag's quote lifted from page 9 of On Photography speaks to the notion of hiding behind the lens - using the camera as a sort of shield (she elaborates on this thesis in the context of tourists in unfamiliar territory). In my case I am rather more often intensely, positively engaged - excited - when framing and "capturing" those found objects I choose to subject to my camera.

In recent months I've had a few chats with a fellow photography enthusiast about our mutual desire to turn our sights more on people (both candid shots and more formally posed situations). As Sontag's other observations suggest, the pursuit of this genre requires a degree of courage as compared to the relative shooting-fish-in-a-barrel emotional ease of photographing fountains and star trails. (Well, notwithstanding my perfectionist's angst and perpetually fervent hope that each and every image I produce will induce awe and reverence in my audience - whoa! Did I just admit that in public or was I just thinking again???)

All of which leads me to this: while my first love (photographically) will likely always be mining abstractions, I'm nonetheless increasingly motivated to get people in front of my Canon. My father has been a recently agreeable subject in this vein; I'm hoping my wonderful Julianna will also gain more ease and willingness to put up with my digital intrusions.

Seeing 2009 (#39)

A bit of a lag between posts; 'tis been an unusually busy week or so.

Spent the Independence Day holiday at my parents' home in Northern California; took a large number of shots of which a small few may prove worthy.

The evening of July 4th we lagged in making a commitment to drive the twenty minutes from my folks' rural home into the nearest village offering pyrotechnics; at the last minute all piled into my dad's truck and off we dashed. Amazingly the small downtown was not overly crushed with the locals' cars and carrying-on, so it was easy for father to drop mom, my wife, daughter and daughter's friend off at the lake front; I then rode with him as he sought parking which we found a mere four blocks away.

Timing was good: just as we locked up the vehicle the first concussions of explosions aloft hit our ear drums, and since the walk to the boat ramp with its relatively unobstructed view was short we missed little. I'd brought my tripod on the trip with this event in mind as a key element of my photographic opportunities, so I was mentally set to quickly set up my gear at the first reasonable vantage point. Thanks to Jerry's dontation of those incredibly handy finger lights I was able to hurriedly get the camera in place, compose, focus, and begin attempting to capture the skyward celebration.

Perhaps due to both being a small town and a depressed economy
the show was surprisingly short: no more than ten minutes, from start to finish, including those bursts missed while briskly walking down to the lake from the truck. Consequently I managed to capture barely five images. Still, it was lot of fun (a blast, even) as I'd never before attempted to photograph fireworks.

In retrospect I ought to have done at least some minimal research ahead of time as to suggested exposure settings. As it was I took some wild, random guesses ranging from 16 to 38 seconds @ f/11 (ISO 200), utilizing my normal lens. Below is the best of the lot; beyond significant cropping few adjustments have been made to the original - a slight tweaking of curves and some minor sharpening. Enjoy!

Lakeport Fireworks #3975

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 4, 2009; Canon 20D; f/11 @ 38 sec; ISO 200; 38mm.

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Seeing 2009 (#38)

Just on the cusp of July, and the local daytime temperatures are only now (and rather suddenly, at that) rising to something worthy of being characterized as summer readings: 95⁰F Saturday, and 94⁰F today. The locals consider these as sweltering conditions; as an Arizonan I'd find the air a bit warm but nothing too discomforting . . . except I've now had twenty-five years to acclimate, rendering me thermally softer than I'd like to admit.

In homage to cool relief, I submit two versions of aquatic action.

The first utilizes a very fast shutter speed (1/2000 sec) in order to emphasize the form of the water mass (drainage from a percolation pond feed pipe).

The second was shot at a relatively slow 1/30th sec in order to convey a sense of immense energy, movement and volume.

Water Abstract #3767

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 21, 2009; Canon 20D; f/7.1 @ 1/2000 sec; -2/3 EV; ISO 400; 55mm.

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Water Abstract #3787

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 21, 2009; Canon 20D; f/32 @ 1/30 sec; -2/3 EV; ISO 200; 38mm.

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Seeing 2009 (#37)

My family and I went to see movie The Hangover tonight, a pretty ridiculous although quite funny farce. Taking place as it did in Las Vegas, I came home compelled to offer an image from Sin City and this one came to mind . . . Like the film it certainly has no aspirations to high art.

I couldn't pass up the chance at irony when I took this photograph, and after tonight's cinema fare I simply had to dish up some humor by sharing these women's dilemma.

Meat Moment #7579

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: November 11, 2006; Canon 20D; f/14 @ 1/400 sec; ISO 800; 25mm.

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Seeing 2009 (#36)

A post of a post-repast image, being a simple study in form, texture and formal composition.

It turned out well for a hand-held 1/4 second exposure.

Cold Fusion #3713

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 20, 2009; Canon 20D; f/9 @ 1/4 sec; -2 EV; ISO 800; 56mm.

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Seeing 2009 (#35)

Finally, the coda to the Father's Day (week) theme . . .

Alternative titles were considered for this entry's photograph: Putting His Right Foot Forward, The Stand-In and Without A Leg To Stand On, among others. This offering aspires to a bit of whimsy, amid some subtle symmetries and irony . . .

The chair stand's incompleteness (suggested by the severed leg) is echoed by an proportionally flawed man (leg: check; body . . . like the chair itself, only implied to be above).

Happy Father's Day, dad, and to all the other fathers out there.

As for my Father's Day: my wife lovingly treated me to an outing in San Francisco . . . the two of us drove up to our hotel early Saturday evening, checked in, then took in quite a bit of the streets' sights as we strolled a fair distance (perhaps 1.5 miles) to one our favorite restaurants for dinner, the Stinking Rose. (We ate there on our very first date.) After the equally long walk back (how did that happen?) a lengthy slumber ensued.

A late awakening, followed by a perfect meal of Eggs Benedict at an Irish Pub (!) just a block from the hotel . . . then the crown jewel of the weekend, being several hours absorbing the amazing art of Ansel Adams photographs, Georgia O'Keefe paintings, and (a brilliant surprise) Robert Frank's series The Americans at SF MoMA.

Father Puts His Foot Down

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 30, 2009; Canon 20D; f/7.1 @ 1/100 sec; -2/3 EV; ISO 800; 66mm.

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Seeing 2009 (#34)

Continuing the run-up to Father's Day, 2009 . . .

My father's birthday is May 29th, thus generally on the Memorial Day weekend. Last year my wife Julianna and I visited my parents' home for the holiday/birthday fête. On such occasions my father engages in one of his favorite activities, cooking meat on a charcoal grill . . .

This image, taken well into the dusk of the day, caught him in the midst of relishing a conversation (another of his favorite pastimes) during a momentary pause from tending the fire. His face is filled with interest and enthusiasm for the topic at hand, and is one of my favorite expressions of him.

Taken from the deck above him, this photograph features an unusual perspective, which I find interesting.

James Houston Murray, May 24, 2008

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 24, 2008; Canon 20D; f/5.6 @ 1/80 sec; -1 EV; ISO 400; 85mm.

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Seeing 2009 (#33)

Father is featured again . . . perhaps it's because Father's Day approaches.

This image was taken on the streets of downtown Oakland, California; we were passing a storefront bathed in warm, brilliant late afternoon light. The whitewashed walls of the building were monolithic, a large space broken only by the thin slices of a set of faded white blinds hanging in a window.

The monochromatic possibilities of this scene unfolded before me quite quickly; to get the angle I wanted I had to subtly drop off of our walking pace. This allowed me to juxtapose the thin swirling lines of my father's hair against the high ordered symmetry of the shades. I had to point and focus hurriedly, and hoped for the best . . .

I offer this image as a study in contrast to the prior entry's photograph. That effort features a pose deliberately set up to convey power and confidence set against a (subtly) moody sky. While not youthful, a sense of strength and a clear, limitless vision is present.

A much different scene is offered in the current entry: frailty and age emerges from the chaotic stark white hair and heavily sloping shoulders; the dark monolithic form of the jacket suggests the weight of time's passage. The slats in the background mimic prison bars and create a claustrophobic realm of negative space . . . in stark opposition to Entry #32's optimistically heavenward view, here the way ahead seems blind indeed.

(For the record, I'm pleased to report that my father was in jaunty spirits and no where near death's door; rather we were enjoying a lovely time aimlessly exploring, sharing rare time together in anticipation of my brother Eric's wedding the next day.)

James Houston Murray, May 30, 2009

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 30, 2009; Canon 20D; f/11 @ 1/125 sec; -2/3 EV; ISO 100; 85mm.

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Seeing 2009 (#32)

My father has unfailingly and frequently been a gracious and willing subject for my camera. Upon reflection I realize that of all those who've crossed my lens' paths, save for perhaps my sister Ami, he's always been the least self-conscious and good humored about risking the photographic capture of his soul.

This photograph is one of several taken at Highland Springs Park in Lake County on a cool, lightly overcast late afternoon March day, one which was far more wintry in nature than spring-like. The emotional atmosphere between my father and I was similarly slightly unsettled at this time. Even so, we did enjoy the excursion and avoided wading into any well-known emotional minefields. One topic which was discussed, however, was that of Death: I'd asked him if he was afraid of dying, to which my father easily and even light-heartedly replied "no." His faith in a good outcome from mortality is likely much stronger than my own . . .

Some of my favorite portraits (by other photographers) have been taken from slightly below the subject; this tends to yield a sense of power. My attempt to utilize this perspective came off better than I'd hoped, conveying my father's confident gaze towards his heavenly reward on that particular day. He is rarely without the adornoment of his gold necklace, which depicts Christ, with His cross surmounted on a ship's helm, as a "fisher of men"; this piece of jewelry nicely supports my father's point of view.

A relatively straight-forward image, I nonetheless toiled and fretted for several hours over the development of this selection. In the raw image the sky is completely blown-out and featureless, a consequence of combined slight overexposure and a virtually amorphous layer of high, light-grey cloud cover. I spent considerable time attempting to utilize a combination of Adobe Lightroom and Photoshop adjustments to produce a fine balance between sky exposure and facial illumination.

James Houston Murray, March 29, 2008

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 29, 2008, Canon 20D; f/9 @ 1/250 sec; ISO 200; 76mm.

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Seeing 2009 (#31)

My grandfather was an amateur architect, among other things; perhaps this explains why much of my oeuvre is comprised of images featuring a formality of composition involving angular lines, symmetries, repetitive pattens and the like. (Or, perhaps I was simply born with this particular angle on art.)

Just after Sunday lunch at last weekend's retreat in San Juan Bautista I returned to our room in order to pack up. Somewhat unexpectedly my wife proposed that we take a nap before leaving the grounds and returning to the madness of modern civilization. The siesta was lovely.

Upon awakening I remained on the bed a few moments to take in the peaceful atmosphere of our spare and simple accommodations. While laying there I was struck by the play of muted light on the bathroom door, which was slightly ajar, and the several geometric planes -- ceiling, wall and door juxtaposed among themselves -- which presented a scene both of simplicity and powerful form.

Thus, here is an image which is sustained virtually entirely on the merits of angular arrangements combined with implications of depth derived not from receding perspectives but rather from both seamless and abrupt changes in the play of light on the surfaces. There is an additional aspect of interest from the subtle textures in the ceiling, in contrast to the vast expanses devoid of detail.

I spent several hours playing with several variations of this photograph, including differing orientations, color vs. black & white (there was virtually no color present in the scene), and filter effects. Several of the alternative "realities" had compelling appeal . . . I may post more versions of this image in the coming weeks. This edition actually represents the closest to the original scene in front of me whilst I was emerging from the cobwebs of my nap.

Sunday afternoon in Room 49 #3653

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 7, 2009; Canon 20D; f/5.6 @ 1/80 sec; -1/3 EV; ISO 400; 44mm.

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Seeing 2009 (#30)

My wife and I had the grace and immense enjoyment of spending last weekend at the St. Francis Retreat Center (see entries 25 & 26) with a number of other couples, several of whom who are beloved friends. The weather was perfect, the talks enlightening and the overall experience was relaxing and renewing. Julianna and I found our bed to be particularly comfortable, and we indulged in a luxurious 2.5 hour nap before departing on Sunday afternoon.

Throughout the retreat, when not participating in the formal gatherings, I was able to divide my time up nicely between the experiences of warm social interaction, mindful meditation, and of course a bit of devotion to my art.

This image was taken from the Fireside Room's porch (the building featured in entry #25), facing north at 1:30 in the morning. The exposure was 695 seconds, and the scene was illuminated by a combination of natural light from the nearly full moon and (to a much lesser degree) from the chandeliers within the Fireside room's interior. Due to the considerable effect of the bright moon's light washing over the celestial vault the star trails are significantly muted, as there were simply fewer stars bright enough to make their presence known in competition with la Luna.

Oak & Stars, 1:34 a.m., #3381

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 7, 2009; Canon 20D; f/11 @ 11 mins 35 secs; ISO 100; 17mm.

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Seeing 2009 (#29)

Excuse the absences - recent days have been incredibly busy; much of the time was wonderfully occupied by the joyous wedding of my brother, Eric, to his bride Sharon.

Amidst the three day nuptial preparations my step-daughter demonstrated considerable sanity and serenity by means of a tw0-hour nap in our hotel room.

The Nap #3381

(c)2009 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 30, 2009; Canon 20D; f/6.3 @ 1/125 sec; -2/3 EV, ISO 800; 85mm.

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