Monday, October 31, 2011

Seeing 2011 (#160)

For your consideration: connections dyadic, static and dynamic.

The metallic pair face down the scene, a set of heavies strategically posted as racketeers staking out turf (and carriers of old news); perhaps the consequences of crossing them lie at their feet beneath concrete markers. The authoritative fireplug faces away — paid off?

Even the directional sign points to the better idea of skirting this scene stage-left.

Regardless — or simply oblivious — a couple in love (or at least on their way) boldly stride through this territory with confidence and verve, demonstrating the power of their mutual affection, connection and joyful immediacy to carry them through whatever gauntlet awaits.

The power of optimism can thrive even in the grayest times.



Metro Couples, #0359-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 31, 2011; Canon 20D; f/4 @ 1/200 sec; —2/3 EV; ISO 400; Canon EF 70-300mm f/4.5-5.6L IS USM @ 74mm

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Wednesday, October 26, 2011

Seeing 2011 (#159)

For your consideration: evidences of past voyagers echo visitors apparently moments from touch down.

The parallel contrails, which unexpectedly rhyme with the tower's columns, provide the essential structure to this composition.

There is something of an ominous feel here: one hopes the unseen runway is not smothered and rendered invisible to the pilots in charge. More acutely, an illusion of a dirigible mooring post (complete with gauzy line) hearkens back to another, long past, landing gone terribly awry.

(The photographer can report that the vessel captured here reached its destination without undue difficulty.)


Sunset Flights, #0370-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: May 31, 2011; Canon 20D; f/8 @ 1/3205 sec; —2/3 EV; ISO 400; Canon EF 70-300mm f/4-5.6L IS USM @ 135mm

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Friday, October 21, 2011

Seeing 2011 (#158)

For your consideration: a surrealistic echo of the ebb and flow of life, ethereal and defying any clear geographic frame of reference . . .

. . . although, in the larger view a frame would fit the scene exactly.

The essence of this particular depiction of implied suspended motion depends largely on a transitory bath of angular lighting, as well as the passing effects of atmospherics. With some careful contemplation the true nature of the subject may seem transparent.



Falls, #2356-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 7, 2011; Canon 7D; f/6.3 @ 1/1250 sec; —2/3 EV; ISO 400; Canon EF 70-300mm f/4.5-5.6L IS USM @ 146mm

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Thursday, October 20, 2011

Seeing 2011 (#157)

For your consideration: an invitation to rise above the occasion, by means of solving a mystery and conceit of rectangular layering.

The trick of course is to somehow surmount the wall — to effect an ingress as prerequisite to egress (and, despite a famous advertising campaign's promise, the light's obviously not been left on for you).

Curious too: the notion of a rooftop door, in a rooftop wall, as a portal to open sky above. A disconnect is afoot in this schema. Dante inverted.



Sky Door (Heaven's Gate), #2354-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 7, 2011; Canon 7D; f/11 @ 1/640 sec; —2/3 EV; ISO 400; Canon EF 70-300mm f/4.5-5.6L IS USM @ 70mm

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Wednesday, October 19, 2011

Seeing 2011 (#156)

For your consideration: an example of one of the many reasons I'm glad I won the Earth's Species lotto . . .

This past Saturday my beautiful wife and I attended an event in Mill Valley; she sat indoors and absorbed much wisdom and good humor from Michael Meade . . . on my way in to join her, a camera in hand (de rigueur for me) my optic nerves were at once assaulted and captivated (only metaphorically thankfully) by a series of magnificent webs and their astounding engineer/architects.

Being armed with my f/2.8 maco in lovely but low-light conditions, I just had to try . . .

As with virtually everything on this globe of ours, this subject category has been recorded on film and pixel times beyond count, yet the technical challenges posed by the macro's extremely thin depth-of-field, the potentially skittishness of the "sitter", and the additional factor of unpredictable and nearly constant movement from wafting breezes demanded the challenge be taken.

Out of perhaps 120 shots taken over the period of 45 minutes or so, six or seven were within tolerable consideration for post-processing. Thus, one of the few . . .

(By the way, I did get to hear some of Mr. Meade's fascinating talk.)



Brown Orb Spider (Butterfly Stroke), #2829-7D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 15, 2011; Canon 7D; f/8 @ 1/400 sec; —1 1/3 EV; ISO 1250; Canon EF 100mm f/2.8 Macro USM

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Tuesday, October 18, 2011

Seeing 2011 (#155)

For your consideration: a study in formal geometric composition — and illusion.

The tromp l'oeil derives itself from the juxtaposition of the planes, which are actually perpendicular faces of buildings standing at least fifty feet apart.

As for the title: that mystery is for you, dear reader, to surmise.



24/Red Lines, #2352-20D

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: October 7, 2011; Canon 7D; f/11 @ 1/664 sec; —2/3 EV; ISO 400; Canon EF 100mm f/2.8 Macro USM

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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.

(click image for larger version)

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.

(click image for larger version)

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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