Seeing 2010 (#146)

For your consderation: a colleague from work, in a rare outdoors sighting.

Andy is a fascinating, razor-sharp fellow, possessed of quick wit and astute skills in the IT universe. He is also infused with an artistic flair of which I've only seen rare hints.

I'm grateful for his willingness to pose; although the lighting was quite muted by means of a largely overcast day, I've been wanting to capture that fence of earrings for quite some time.

Andy, #2395

© 2010 James W. Murray, all rights reserved.

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Details: October 27, 2010; Canon 20D; f/9 @ 1/320 sec; —2 EV; ISO 200; 100mm.

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Seeing 2010 (#145)

For your consideration: the essential component of an activity which has undoubtedly been the stuff of frequent dreams since time immemorial -- an avian instinct performed with the greatest of ease and grace . . . an endeavor which inspired majestic human achievements (Apollo 11 and its progeny) as well as our species' propensity to also conjure up nightmarish distortions (ICBMs and their ilk) of grand notions and inventions.

Regardless of the complexity, mass and mission of the craft at hand, the fundamental properties remain elementary: adequate thrust and lift from aerodynamics. Dove, glider or SR-71, the principle remains the same. As does the ultimate goal: glorious release from the invisible bonds of gravity.

Feather, #2098

© 2010 James W. Murray, all rights reserved.

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Details: October 23, 2010; Canon 20D; f/6.3 @ 2.5 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2010 (#144)

For your consideration: spheres suspended in an acrylic atmosphere, eternally conjoined as an arching constellation (The Hook?).

Images often rely upon angular perspective to convey a sense of depth within the constraints of a two-dimensional surface. Here, however, the perspective is implied by a duality of focus and tonal range: the bubbles' sharpness and clarity pull them towards the "surface", while blurriness and shading render the less-defined orbital neighbors as somewhat distant.

These visual cues rely upon the brain's predetermined rules for spatial interpretation.

Thus this photograph demands the solving of a puzzle: what is the reality here? Are these objects minuscule -- pockets of an unknown gas swimming in a largely transparent bath of some sort? Are they hovering? Rising? Moving in coordination or chaotic, unrelated paths?

Or is this submission that of a system exoplanets, inhabitants of a far off corner of a parallel Universe, a few of which possibly home to alien photographers?

That this presentation was taken with my 100mm Macro lens argues against the latter proposition. In fact, the largest of these globules is perhaps the size of a BB.

Orbitals, #1861

© 2010 James W. Murray, all rights reserved.

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Details: October 16, 2010; Canon 20D; f/4 @ 1/200 sec; —2/3 EV; ISO 400; 100mm.

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Seeing 2010 (#143)

For your consideration: a visitation, perhaps, of glowing spheres upon a glassy, gently rippled plane . . . a canvass of delightful illuminations and unexpected mysteries.

Offered in honor of a spectacular day: an enlightening audience with the Dalai Lama, followed by a talk given by Karen Armstrong, both at Stanford University. In between: nourishing time with Julianna, and both meditation and photography (in a large meditation garden).

Despite shadows and uncertain currents of late, there is a constant plethora of joyous experiences, presently and eternally, to be relished.

Untitled, #0715

© 2010 James W. Murray, all rights reserved.

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Details: August 25, 2010; Canon 20D; f/13 @ 1/200 sec; —2/3 EV; ISO 200; 100mm.

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Seeing 2010 (#142)

For your consideration: an oxidized terrain, with aspirations and airs of Klee & Miró.

What to make of this canvass? A satellite image of a long abandoned, post-Armageddon housing tract? Fossilized cells from an alien world? Perhaps an ancient cave painting of the first Stone-Age car experiment, à la Duchamp . . .

Linger, and enjoy exploring the possibilities.

Untitled, #1671

© 2010 James W. Murray, all rights reserved.

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Details: October 9, 2010; Canon 20D; f/9 @ 1/1252 sec; —2/3 EV; ISO 400; 100mm.

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Seeing 2010 (#141)

For your consideration: an abstract offering from the Glass Series. Also, a second experiment with HDR (five exposures combined; details listed are for image # 1764.)

Reminds me a bit of Nessie, she of the Loch fame.

Vortex Emergence, #1764-1768

© 2010 James W. Murray, all rights reserved.

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Details: October 10, 2010; Canon 20D; f/5.6 @ 1/125 sec; ±0 EV; ISO 400; 100mm.

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Seeing 2010 (#140)

For your consideration: an expression of life, fresh and awakening, reaching for its own enlightenment.

Arising Rose, #1487

© 2010 James W. Murray, all rights reserved.

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Details: October 6, 2010; Canon 20D; f/8 @ 1/320 sec; —2/3 EV; ISO 400; 100mm.

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Seeing 2010 (#139)

For your consideration: a tableau educing fond - even aching - memories of innumerable, Impressionistic Arizona sunsets from my youth. Life was much simpler then . . .

One small detail, however: except in the arroyos immediately after the sudden torrential downpours known as monsoons, such spectacular displays of nature's palette were notably absent of water in my deserts.

This offering is my first attempt at High Dynamic Range (HDR) imaging, and is comprised of three photographs combined and processed in Photomatrix and Photoshop CS3. The exposure settings given pertain to the mid-exposure photograph of the trio utilized.

Skies such as this are relatively rare in this part of the country, but a standard coda to a Tucson summer afternoon. Thus it was an added pleasure to have witnessed this on the eve of the Autumn Solstice -- the last full day of summer.

Sunset, Alviso, #1298-1300

© 2010 James W. Murray, all rights reserved.

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Details: September 21, 2010; Canon 20D; f/6.3 @ 1/100 sec; ±0 EV; ISO 200; 17mm.

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Seeing 2010 (#138)

For your consideration: an intruder reminiscent of of the Twilight Zone.

At least those episodic nightmares were predictably limited to thirty minutes; those surreal times were more innocent than modern life.

I've had my own dose of Rod Serlingesque staging this week, culminating in a acutely painful plot twist -- claw marks raked across the psyche, familiar terrain bleached of color, rendered as disorienting and alien as this monstrous appendage.

Talons, #1324

© 2010 James W. Murray, all rights reserved.

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Details: September 21, 2010; Canon 20D; f/5.6 @ 1/60 sec; —2/3 EV; ISO 400; 44mm.

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Seeing 2010 (#137)

For your consideration: a local reptilian denizen, glimpsed during a recent nocturnal photo adventure.

Mildly inspired -- albeit prescheduled -- I had my teeth cleaned yesterday morning . . .

Dragon Mouth, #1322

© 2010 James W. Murray, all rights reserved.

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Details: September 21, 2010; Canon 20D; f/9 @ 1/13 sec; —2 EV; ISO 400; 30mm.

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Seeing 2010 (#136)

For your consideration: local geometry -- a tableau with sweeping contradictions and tensions between motion and rigidity, airiness and imprisonment.

(A working title, yet to be decided: Self-Defense.)

Untitled, #0880

© 2010 James W. Murray, all rights reserved.

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Details: September 4, 2010; Canon 20D; f/16 @ 1/500 sec; —2/3 EV; ISO 400; 100mm.

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Seeing 2010 (#135)

For your consideration: in homage to the just-passed Autumnal Equinox.

While visiting my wife's parents in Palm Desert, I took some solo time during our last day and trekked just far enough beyond the city's boundaries to enjoy the illusion (and quiet solitude) of being removed from civilization. Doing so was a temporary immersion and recollection of the soothing peacefulness and arid, severe beauty of my Sonoran Desert heritage. Such all-too-rare moments are a refreshment to my soul as would be a cool, water-filled oasis to a nomad.

This photograph is thus deeply personal in its evocation of my spiritual home.

However, it also depicts a scene emblematic of my in-laws' condition: their lives are winding down, their energy and health beginning to fade . . . twilight is on the horizon. We visited to see to their comfort, and to spend time with the remaining light in their eyes. There is a profound sense of rapid change in the air, attended by a potent reminder of the miracle, and tenuousness, of life.

Sunset, San Jacinto Peak, #1091

© 2010 James W. Murray, all rights reserved.

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Details: September 18, 2010; Canon 20D; f/5.6 @ 1/3200 sec; —1/3 EV; ISO 400; 85mm.

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Seeing 2010 (#134)

For your consideration: a pair of interrelated images, abstractions from the same location, albeit inhabiting radically different scales.

The first is a study of complex formal composition, conveying mass and an incongruous sense of motion; the second is bit of a visual pun, a new entry drawn from the still-under-wraps Droppings series, which will soon be unveiled at my main photography repository site.

* * *

Campbell Water Tower, #0602

© 2010 James W. Murray, all rights reserved.

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Details: September 16, 2010; Canon 20D; f/13 @ 1/200 sec; —2/3 EV; ISO 400; 100mm.

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Eatin' It, #0613

© 2010 James W. Murray, all rights reserved.

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Details: August 22, 2010; Canon 20D; f/5.6 @ 1/640 sec; —1/3 EV; ISO 200; 100mm.

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Seeing 2010 (#133)

For your consideration: a simple study of form, contrast, and compositional flow. Taken in very late afternoon fading light. This tableau reminds me of a marching banner . . .

Twig With Yellow Leaf, #0965

© 2010 James W. Murray, all rights reserved.

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Details: September 16, 2010; Canon 20D; f/13 @ 1/200 sec; —2/3 EV; ISO 400; 100mm.

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Seeing 2010 (#132)

For your consideration: scenes from the local village, encapsulated as it is within a sprawling metropolis.

The first photograph is of a local landmark so familiar as to be largely ignored as background noise (by me, at least) -- in fact until quite recently I'd never bothered to so much as investigate it as a potential subject. However, as I strode through the downtown area at dusk en route to a café unexpectedly wintry weather conjured a dramatic sky, contrasting nicely to the warmly glowing edifice.

After a moment's hesitation -- I thought it might be too dark to capture this canvas sharply: the required slow shutter speed would sorely test my skill at holding the lens steady enough, even with a monopod at hand. Still: the cost of taking that risk was insubstantial, and the resulting reward quite pleasing. Despite the ominous overtones, the sturdiness and warmth of the tower suggests a safe harbor . . .

The second image was one of several unusual and quirky façades I encountered a few weeks ago during a walk with my wife and a mutual friend. The early afternoon lighting then wasn't amenable to my vision, so I returned a few days later, not long before sunset, which afforded the elongated shadows and heightened texture.

Thus: a study of contrasting surfaces, forms, and the incongruous distortions and power of shadows.

* * *

Campbell Water Tower, #0987

© 2010 James W. Murray, all rights reserved.

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Details: September 8, 2010; Canon 20D; f/5.6 @ 1/20 sec; —2/3 EV; ISO 400; 79mm.

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Untitled, #0599

© 2010 James W. Murray, all rights reserved.

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Details: August 22, 2010; Canon 20D; f/11 @ 1/500 sec; —1/3 EV; ISO 100; 100mm.

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Seeing 2010 (#131)

For your consideration: a ferocious sighting of a beast which has undoubtedly remained steadfastly on guard duty, in the same stationary rooftop perch, for years if not decades. I've driven within eyesight of this wooden looming death countless times without noticing it, until only recently. Either this restrained predator is excellent at practicing stealth through silence, or I ought to consider looking up more often.

(On a related note, I went camping with wife, daughter, and an extended circle of friends this weekend; no sightings of this bear's cousins were reported during our stay. I'm grateful.)

Ursa Campbell, #0838

© 2010 James W. Murray, all rights reserved.

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Details: September 2, 2010; Canon 20D; f/8 @ 1/640; —1 EV; ISO 200; 100mm.

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Seeing 2010 (#130)

For your consideration: an image in homage to those unfortunate souls who so senselessly lost their lives nine years ago this day. May their families be free from fear and suffering and filled with peace and lovingkindness.

Taken from the vantage point of San Jose's City Hall; the thin spires (which are actually misters) serve as both echoes of the Towers and as silent sentries, seemingly outstretched as if striving to caress the jet as it makes its final approach. One small tentacle is slightly bowed, in silent witness to the still lingering sorrows of 9/11.

Incoming, #0882

© 2010 James W. Murray, all rights reserved.

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Details: September 4, 2010; Canon 20D; f/16 @ 1/640; —2/3 EV; ISO 400; 100mm.

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Seeing 2010 (#129)

For your consideration: a frozen, ambiguous encounter . . .

What is in play here? The signals are mixed -- the child's expression is unsettled, as if searching for a coherent emotion . . . which creates a sense of tension: is the hand's purpose to comfort, or something more disquieting?

Noon, In the Garden, #9525

© 2010 James W. Murray, all rights reserved.

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Details: July 10, 2010; Canon 20D; f/8 @ 1/800; —2/3 EV; ISO 100; 100mm.

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Seeing 2010 (#128)

For your consideration: a subtle incongruity, amidst a surface of symmetrical and inverse geometries . . .

A bracing hinge, presumably in place to keep something closed -- and an apparent objection to the entrapment.

Untitled, #0421

© 2010 James W. Murray, all rights reserved.

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Details: August 14, 2010; Canon 20D; f/8 @ 1/2500; —2/3 EV; ISO 400; 100mm.

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Seeing 2010 (#127)

For your consideration: intimations of a star chamber, perhaps.

When I was a child growing up in Arizona I endlessly marveled at the roiling, searing, fiery ball of the Sun at it set behind the Tucson Mountains. I often fell asleep taking comfort in the sharply-defined mental image I nurtured of the Sun resting in the secret cave to which it retired after each day's journey across the sky.

I never quite worked out how it slipped out of its den in order to reappear in the eastern horizon the following mornings, without its escape being noticed ahead of time . . .

(Son/Sun), #0760

© 2010 James W. Murray, all rights reserved.

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Details: August 28, 2010; Canon 20D; f/4.5 @ 1/2500; —2/3 EV; ISO 400; 100mm.

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