Monday, October 17, 2011

Seeing 2011 (#154)

For your consideration: earlier today (Sunday, October 16, as I write) the sporting world was shocked and aggrieved by the horrible death of Dan Wheldon on the 12th lap of the Las Vegas Indy 300 race.

I may be one of the (relatively) few Americans who still puts the annual Indy 500 race on the calendar well in advance. My father got me interested in it when I was quite young (sadly, the only sport we share as a passion); we listened to it on AM radio before it began to be aired via tape delay on television. It was a bit of nirvana for me when the broadcasts went live, despite the fact that this required an adjustment of getting up before 8:00am to begin a 3 or 4 hour lock on the family television, rather than the evening, post-dinner airing of those video tapes. (My family was grudgingly, graciously accommodating and, truth be known, even mom "got into it" as the cars screamed down the track as the race progressed.)

Countless so-called sports fans have dismissed the event as a boring series of 800 left-hand turns. Superficially, yes, but at 220 MPH with traffic determined to get ahead you sans turning indicators, and millions of dollars and great fame on the line, I hardly deem such dismissals informed. I've driven 145 MPH, briefly, and even that comparatively pedestrian pace seemed to bend and blur the normal lines of sight as far I was concerned (brain: "take your foot slowly off the accelerator, and don't make any sudden movements of the steering wheel until you're under 90 . . . "). My long-cherished fantasy of someday turning laps at the Brickyard have been dimmed by the notion of the of insanity of actually strapping my butt into a seat barely a foot off the racetrack pavement and voluntarily subjecting myself to unimaginably blinding speeds as the professionals master.

And yet at events throughout the year that is exactly what race car drivers do (on closed circuit, scrupulously maintained and medically-supervised and supported tracks, not public streets and highways). They do it well, they're paid well to do so, and everyone involved is acutely aware of not only the risks but also the vital, essential need to rigidly adhere to the very narrow parameters of prescribed behavior during the competition. Failing to do so kills any chance of a checkered flag . . . Still, Death in racing, as was the tragic case today, is blessedly far less frequent than it once was due to advances in engineering safety in the cars. Of course, its specter lingers nonetheless.

These reflections bring me back to this: while this country shed 58,000 lives over the course of fourteen years of military combat in Vietnam — deaths which caused massive upheaval and continue to echo in our national political consciousness — every year upwards of 38,000 men, women and children die driving in the United States. Every year. More than 100 a day.

It doesn't take much deep thought to posit that the vast majority of these fatalities — and the pain, suffering and irreplaceable loss they bring to an untold sea of affected family members — are needless, pointless, and the result of reckless, inane, inexcusable driving. And yes, most by teens who play A. J. Foyt pretenders even while undoubtedly oblivious even of the name, if not some notion of the thrill and distorted perception of coolness to be bestowed by revving engines, sheer velocity and demonstrating a pathetically macho sense of being faster than the car in the next lane.

Thirty-eight thousand.

Sobering? One might hope, but I fear it is a myopic wish on my part.

In my youth Arizona's highways seemed dotted with roadside memorials (in the days before the Highway authorities began frowning upon and banning such important talismans). During a visit to my home state a few years back I spotted four such altars along a road which was long, straight, and free from obstruction. That brought back those childhood memories of the crosses and flowers laid in places for reasons I did not yet have the capacity to truly understand; since then I keep an eye out for them when traveling.

I've been slowly assembling a series, Roadkill, (for that is what it is), and plan to publish the imagery in a book eventually. Meanwhile, I'll hold out some optimism that these public, raw markers might serve to moderate the carelessness of at least a few.

I recently spotted the scene below while returning to civilization from my annual October men's retreat. The roses adhered to the massive eucalyptus trunk wrapped in fading, ever more opaque plastic only magnified the grimness of the spot.

The homemade marker:

RUIZ 22
YEARS



Roadkill (Ruiz, 22 Years), #2330-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 2, 2011; Canon 7D; f/11 @ 1/1320 sec; —2/3 EV; ISO 320; Tokina 11—16mm f/2.8 @ 12mm

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Sunday, October 16, 2011

Seeing 2011 (#153)

For your consideration: one of the last shots of early evening excursion from last weekend, taken at 6:35pm with the "long lens" in my glass inventory. An exquisite coda to a lovely exploration and walk.

While writing this post I am suddenly remembering my first attempt to photograph the moon at night . . . I was very early in my photographic journey, living in Clifton, Arizona, in 1975-76. I lived with my parents in a bizarre home, one fashioned by somebody having attached a structure lengthwise to the side of a single-wide trainer of some considerable vintage. There wasn't a level floor in the place. This eclectic abode also featured a porch which afforded a commanding view east, overlooking the town and hills in the distance and a terrific perch for taking in moon rises. (Ironically, Clifton featured waterway is the San Francisco River, seen from our outlook, about as far roomed from Bay Area ambiance as one could imagine.)

It was from this porch that I decided one night to take a shot at photographing La Luna. Being nighttime, I mounted my Minolta srT-102, loaded with either Plus-X or Panatomic-X film, and tried a number of long exposures. (After all, it was dark.) It didn't take long to experience disappointment: I had a semi-permanent darkroom in the laundry room, and the negatives showed the moon as a blindingly glowing blob more akin to the sun shining through a nuclear winter shroud of blackness than anything else. I was perplexed . . . nighttime, long exposure — what???

Years later I learned the "secret": the Moon, after all, is bathed with brilliant sunlight, so . . . one exposes for that (the illumination of the subject, regardless of its surroundings, just like any other situation demands). The darkness of sky is irrelevant.

Thus it may now not be so surprising to the astute reader who notes that the exposure for this submission's subject is f/11 @ 1/400 sec, with a relatively low ISO of 320, all hand-held even with a heavy telephoto lens.

It's a beautiful thing.



Moon Shadows, #2534-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 8, 2011; Canon 7D; f/11 @ 1/400 sec; —1/3 EV; ISO 320; Canon EF 70-300mm f/4-5.6L IS USM @ 252mm

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Saturday, October 15, 2011

Seeing 2011 (#152)

For your consideration: easily the most delightful — and utterly unanticipated — discoveries during the recent dusk photo excursion with Jerry (see prior post).

Aside from the sheer vibrancy and virility of the organism, providing me with great relish in trying to capture this image (very challenging due to low light and consequent depth-of-field issues) was the fact that it was hidden in plain view: the tree is located in the midst of a blind S-curve on a particularly winding section of mountain roadway.

Cars careen at the rapid pace of downhill skiers on this route, so not only did I need to focus on the details of composition and exposure, I also needed to ensure a successful execution and survival of the shoot by paying close attention to the sound of oncoming drivers. Obtaining the combination of framing and close detail I wanted require stepping back several feet onto the roadway; motors approaching called for a temporary project abandonment and a quick return to the safety of the tree.

I can well imagine the several drivers who were doubtless startled by my loitering just off the pavement in the middle of nowhere . . . and I felt a sweet pleasure knowing that I was lucky to be able to enjoy the sublime beauty of this immobile life-form, simply because I had the luxury of slowing my life down enough to take a walk in in the woods as the world rushed by.



Eruptive Fungal Florescence, Bear Creek Road, #2443-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 8, 2011; Canon 7D; f/5 @ 1/250 sec; —1 EV; ISO 1000; Canon EF 100mm f/2.8 Macro USM

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Friday, October 14, 2011

Seeing 2011 (#151)

For your consideration: a post-sunset post, one of a dear friend . . . a chip off the old block as they used to say.

Jerry and I have developed quite a good friendship stemming from both a mutually-shared large circle of friends as well as photographic pursuits. While our essential vision is somewhat divergent, a common sense of delight in the pursuit of intriguing subject matter (and the occasional successful result stemming from these adventures) has served to forge a delightful bond between us.

Pictured here, Jerry "sat" at my request as an oblique homage to a black and white image I took many many years ago — circa 1976 — which involved having my high school photography teacher (Mr. Swenerton) poke his head into a window opening (looking into the room) of a bunker at Battery Spencer. That posed shot, probably taken with my Minolta XE-7 with a Rokkor 135mm, was the last on my roll of 35mm film, likely Plus-X Pan (ISO 125). The outcome turned out to be an award-winning effort: titled The Cell, it took First Place in three of the four photo contests in which I entered it.

Although I doubt very much this post's offering will win any prizes, there are some interesting parallels, not the least of which is that, like that long ago day in '76, Jerry and I were exploring a similarly decrepit, deteriorating landscape, one of buildings long abandoned and suffering the slow erosion imposed by the unceasing toll taken by nature's elements.



Jerry Berkstresser, #2492-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 8, 2011; Canon 7D; f/3.5 @ 1/125 sec; —1 EV; ISO 800; Canon EF 100mm f/2.8 Macro USM

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Tuesday, October 11, 2011

Seeing 2011 (#150)

For your consideration: a post post, as it were. After all, such are the the staple of blogs, n'est-ce pas?

Spotted during a (too rare) exercise excursion in the form of a brisk walk about the perimeter of campus (~ 2 miles, that). Apparently not so rapid a pace as to preclude spotting the odd scene for which my eye and lens hunger.

The exiled scrap trapped in this tableau may well be a modern fossil: I wonder if, in this Age of ubiquitous obsession with all things electronic media, any consciousness exists any longer for the simpler, passé modes of communication via actual paper-based signage? As the masses even when strolling outdoors stare now virtually uninterrupted by the gravity of their mobile devices' seductive glow, who would notice, or even comprehend, a flier stapled to a telephone pole?

In this image we can linger over a reminder of simpler times, and ponder the mystery of that last message. The flow of the staples themselves across this image seems to suggest that even they are moving on.



Staples, #0897-2011-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 31, 2011; Canon 20D; f/8 @ 1/400 sec; ± 0 EV; ISO 400; Canon EF 100mm f/2.8 Macro USM

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Friday, October 7, 2011

Seeing 2011 (#149)

For your consideration: a tableau echoing a stark summit, a peak radiating fractured transmissions in all directions.

Perhaps there is a subtle economy here . . . with scant detail one can nonetheless discern a downward trend being conveyed.



Untitled, #2270-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 2, 2011; Canon 7D; f/6.44 @ 1/395 sec; —2/3 EV; ISO 320; Canon EF 100mm f/2.8 Macro USM

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Thursday, October 6, 2011

Seeing 2011 (#148)

For your consideration: a vortex deceptively bathed in a warm glow . . .

Taking on airs of hurricane proportions, nonetheless this frame captures the stiff filaments which make up the skeletal remains of a sunflower's disk florets. Things are certainly not a smooth as they may (or may not) seem.




Sunflower Eye, #2294-7D

© 2011 James W. Murray, all rights reserved.

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Details: October 2, 2011; Canon 7D; f/8 @ 1/1300 sec; —2/3 EV; ISO 800; Canon EF 100mm f/2.8 Macro USM

________

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Tuesday, October 4, 2011

Seeing 2011 (#147)

For your consideration: a late afternoon illumination, being lightly brushed across the bark of a long-ago fallen eucalyptus limb.



Untitled, #2286-7D

© 2011 James W. Murray, all rights reserved.

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Details: October 2, 2011; Canon 7D; f/8 @ 1/332 sec; —2/3 EV; ISO 800; Canon EF 100mm f/2.8 Macro USM

________

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Wednesday, September 28, 2011

Seeing 2011 (#146)

For your consideration: a local's discarded, neglected cabinet, material which devolved to furnish my observation of it as an appealing objet d'art.

This composition serves to further my astonishment at the mind's ability to recognize patterns, even amidst chaos. Significantly cropped to more tightly focus on texture, nonetheless enough visual references exist to render this scene immediately identifiable as a common bedroom piece. Ironically, the small handle, being the singular element utterly devoid of both texture and color, provides the convincing argument enabling this recognition.




Peeling Dresser, #2666-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: November 28, 2010; Canon 20D; f/16 @ 1/320 sec; —1/3 EV; ISO 400; Canon EF 100mm f/2.8 Macro USM

________

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Tuesday, September 27, 2011

Seeing 2011 (#145)

For your consideration: perhaps for the foliage congregated herein, a nightmarish outcome (life after death becomes a rather wooden pedestrian journey).

For the rest of us, this scene may be at once soothing and edged with unresolved tension . . . Where do these paths take us? What to make of the platform affording an elevated vantage point, yet does not seem to promise a clear view to the way out?

An odd construction seemingly in midst of a forest, echoing the overarching nature of one's journey: strive as we might to find a path to enlightenment, in the end the Unknown remains just that, until we pass out of sight and through the unseen portal.



Los Gatos Stairs (stasis), #2838-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 29, 2011; Canon 20D; f/4 @ 1/50 sec; —2/3 EV; ISO 400; Tokina 11-16mm f/2.8 @ 14mm

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Thursday, September 22, 2011

Seeing 2011 (#144)

For your consideration: the results of a blissfully peaceful, quiet, solitary sit by a slowly ebbing campfire (see prior post) . . . this specific inactive activity is probably my absolute favorite, all-too-rare, indulgence in life.

Taken during this contemplation: a composite image — sandwiched photographs of the moon's surface, correctly exposed — layered over the otherwise overwhelming brightness picked up by the camera's sensor during the much longer exposure required to reveal the fog-enshrouded sky and trees.



Sunset Beach Midnight Moon, #1647-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: September 10, 2011; Canon 7D; f/4 @ 1/6 sec; +1 1/3 EV; ISO 1250; Canon EF 70-300mm f/4-5.6L IS USM @ 70mm

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Tuesday, September 20, 2011

Seeing 2011 (#143)

For your consideration: two photographs depicting four married concepts: Earth, Fire, Water and Air.

Elementary, of course.




Homage to Dante, #1616-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: September 10, 2011; Canon7D; f/5.6 @ 1/40 sec; —1 EV; ISO 1000; Canon EF 70-300mm f/4-5.6L IS USM @ 100mm

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Water Pillar, #9669-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: July 11, 2010; Canon 20D; f/4.5 @ 1/4016 sec; ± 0 EV; ISO 200; Canon EF 100mm f/2.8 Macro USM

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Saturday, September 17, 2011

Seeing 2011 (#142)

For your consideration: a subtly defensive pose . . .

In this canvas things are certainly not what they seem, on many levels . . . virtually all aspects of this composition may be suspect . . . as dubious a representation as the demeanor of the visage which exudes a contempt for something seen apparently just beyond our view.

Our presumed subject, comfortably smug in his private (yet publicly displayed) disapproval of unseen offenders, might be shaken up and find himself disoriented were the image perspective rotated 90-degrees . . . for the original scene from which this is extracted is a burning candle depicted close-in.



The Aristocrat, #1572-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 30, 2011; Canon 20D; f/16 @ 1/1000 sec; —2/3 EV; ISO 200; Canon EF 70-300mm f/4-5.6L IS USM @ 244mm

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Wednesday, September 14, 2011

Seeing 2011 (#141)

For your consideration: a depiction of the nature arc of Life, at least as we tend to experience it on this mortal coil.



Genesis Pod, #1168-7D

© 2011 James W. Murray, all rights reserved.

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Details: August 14, 2011; Canon 7D; f/11 @ 1/2 sec; ±0 EV; ISO 500; Canon EF 100mm f/2.8 Macro USM

________

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Tuesday, September 13, 2011

Seeing 2011 (#140)

For your consideration: a simply study in yearning, and patience.




Tubular, #1156-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 14, 2011; Canon 7D; f/2.8 @ 1/664 sec; -2/3 EV; ISO 800; Canon EF 100mm f/2.8 Macro USM

________

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Wednesday, September 7, 2011

Seeing 2011 (#139)

For your consideration: a study in Euclidean geometry cast within a billboard, metal variety. On particular interest to me is the nimble, nearly instantaneous ability of the mind to recognize and properly complete familiar patters from partial clues.

The local viewers of this entry are challenged to determine the specific signage. The rest, enjoy meandering about the subtle flow and symmetries latent in this composition.



Blue and Gold Four-Square, #1580-7D

© 2011 James W. Murray, all rights reserved.

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Details: September 3, 2011; Canon 7D; f/6 @ 1/2049 sec; -2/3 EV; ISO 250; Canon EF 70-300mm f/4-5.6L IS USM @ 229mm.

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Monday, September 5, 2011

Seeing 2011 (#138)

For your consideration: after a fortnight or more spend indoors hunched over my dining table with matte cutter in hand my soul was in dire need of an exterior excursion.

Wandering near San Jose's main library where some of my work is currently on display, in splendid weather, I caught sight of this interesting interplay of texture, geometric layering, and subtle anomalies. The arrangement was a ready-made composition . . . yet here again we have a (relatively) rare example of shooting at noontime — normally unfriendly for dramatic shadowing and dynamic color — defying the norm by sharply enhancing the stucco surface of the walls.

Had I strolled by this scene an hour earlier, or much later, it would've been largely devoid of the elements which make it compelling here. As it is, it reminds of of a tug boat or old paddle-wheel making its way down the muddy Mississippi.



Pinched Stack House, #1533-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: September 3, 2011; Canon 7D; f/11 @ 1/1000 sec; -2/3 EV; ISO 250; Canon EF 70-300mm f/4-5.6L IS USM @ 200mm.

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Friday, September 2, 2011

Seeing 2011 (#137) - Exhibit Announcment



Greetings kind followers, subscribers and new visitors!

Twenty of my images are now on display at the Dr. Martin Luther King, Jr., library, in downtown San Jose, CA. (A photograph of the library from an earlier post appears below.)

For those of you are are local, or have quick access to a private jet for distance travel, I would love to see you:

Reception for the Artist today (Friday, Sept. 2, 2011) from 4:30pm - 6:00pm, on the fourth floor of the library. Entrance is of course free, and snacks will be provided. (The best parking option is in the City parking structure across the street from the library.)




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

© 2011 James W. Murray, all rights reserved.

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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 (#136)

For your consideration: a sunny early afternoon on the southern California coast, at Morro Bay.

Looking away from the famous rock, eastward . . . fog burns off while other elements seem to fill the void.

Moro Bay Fog, #1276-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 21, 2011; Canon 7D; f/7 @ 1/3000 sec; —2/3 EV; ISO 640; Canon EF 70-300mm f/4-5.6L IS USM @ 95mm; polarizer;

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Thursday, September 1, 2011

Seeing 2011 (#135)

For your consideration: a macro microcosm of peace, serenity, and impermanence in the pristine freshness of a new day.

At the smallest scale these orbs are universes unto themselves, formed from condensing vapor, soon to evaporate and scatter into an unfathomably large existence. A wondrous journey witnessed by nobody . . . demonstrating a profound lesson needed by many.



Early Morning Atmosphere(s), #1255-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 21, 2011; Canon 20D; f/5 @ 1/664 sec; —2/3 EV; ISO 640; Canon EF 100mm f/2.8 Macro USM

________

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