Seeing 2011 (#67)

For your consideration: a scene from within the main hall at San José State University's Music building.

Taken during one of several minute intermissions during a series of brief pieces performed as featured during the twice-weekly Listening Hour; I struggled to time my exposures at opportune moments so as to minimize distracting audience members seated nearby.

This offering appealed to me for two reasons: first, the subtle irony the presence of a multitude of music stands provides when the only apparent instrument to be played is a piano, and secondly because of the composition's flow and symbolism — the black stands against the segmented background mimic undulating notes on a musical score . . . and this falling/rising geometry is itself echoed in the wall's pattern above.

Silent Quintet with Piano, #1532

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 28, 2011; Canon 20D; f/4.5 @ 1/40 sec; ±0 EV; ISO 400; 134mm.

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Seeing 2011 (#66)

For your consideration: an utterly unexpected vision — I was wandering around the grounds of a local landmark (seeking architectural, statuary and leafy subjects) when I rounded the corner of a building and was rewarded with this chimerical arrangement.

Taken by surprise, and not wanting to lose the chance composition, I managed to hastily and surreptitiously take two photographs before retreating from the scene. Only later did I have time to consider the narration here . . . this tableau reminds me of the kind of imagery my Clifton High School English teacher would have us write stories about.

I took the picture — you write the story. (I invite you to leave leave your visionary version as a comment.)

A Chance Encounter , #9528

© 2011 James W. Murray, all rights reserved.

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Details: September 7, 2010; Canon 20D; f/9 @ 1/200 sec; —2/3 EV; ISO 100; 100mm.

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Seeing 2011 (#65)

For your consideration: a pair of images exemplifying a duality of approaches to the gravity and relevance of Easter in our Modern Society.

The first submission was taken during a late, overcast afternoon of random wanderings through a large local cemetery. Over the years I've been drawn to the solemnity and quiet grace of such grounds (despite the rather grave atmosphere); when in these holy surroundings I strive to exhibit respect for both the permanent residents and the living visitors. In my several such explorations I'd never before spotted an ornamentation as unusual as this one; the pose, in particular, was nearly as disturbing as it was unexpected.

Just as much of a surprise, albeit with a vastly more light-hearted and playful touch, the second photograph was from a delightful excursion taken with my friend Jerry into the countryside about thirty miles distant. We set out well before dawn, meandering as we went along with only vague destinations in mind. Set as it was in a relatively remote stretch of bucolic back roads, this critter was all the more amusing and memorable on a day of many photo-worthy scenes.

* * *

Leaning Christ , #2734

© 2011 James W. Murray, all rights reserved.

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Details: December 4, 2010; Canon 20D; f/4.5 @ 1/160 sec; —2/3 EV; ISO 400; 100mm.

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San Benito Bunny, #6996

© 2011 James W. Murray, all rights reserved.

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Details: March 30, 2010; Canon 20D; f/11 @ 1/100 sec; ±0 EV; ISO 400; 72mm.

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Seeing 2011 (#64)

For your consideration: a domestic vision rendered as an alien atmospheric landscape — a macro photograph of a glass pane from a friend's front door.

Ultimately, for beings of Our Kind all realities are defined and informed by their manifestation in light.

In the vast spectrum available, I've long been utterly fascinated by the perception of blacks: at times indicating an absence of material, yet often instead speaking to cloaked solids. It remains difficult for me to truly comprehend the notion of an inexistence of light ever being properly understood as the presence of substance — something from nothing . . . yet we arrive wired to accommodate this strange reality.

Echoes and Murmurs , #2655

© 2011 James W. Murray, all rights reserved.

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Details: November 28, 2010; Canon 20D; f/8 @ 1/400 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#63)

For your consideration: an intimate portrait of a very close friend.

Mr. Blanchard is a man who epitomizes integrity, honesty, compassion and daily demonstrates a remarkable devotion to family, friends and his spiritual path. I am honored to share this human journey with him.

Mike Blanchard , #3254

© 2011 James W. Murray, all rights reserved.

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Details: Januray 7, 2011; Canon 20D; f/4 @ 1/160 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#62)

For your consideration: a pair of images which present radically different perspectives on scale.

In the first case, a macro photograph of the delicate stems of an exotic flower; this scene is a still-life taken in direct sunlight against a shadowed surface. The extraordinary vibrant colors combined with the extremely shallow focus yields a simple yet potent abstract -- a sense of nature in motion as mimicking a fireworks display.

The second image offers a study of mood and form; the monolith ridges of the concrete edifice are echoed and reinforced by the huddled organic spires stretching towards the sky . . . the late afternoon lighting combined with a mixture of atmospherics in the background creates an odd, muted tension.

* * *

(Incoming) , #1076

© 2011 James W. Murray, all rights reserved.

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Details: April 8, 2011; Canon 20D; f/4 @ 1/250 sec; —1 1/3 EV; ISO 100; 100mm.

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Untitled (SJSU), #1029

© 2011 James W. Murray, all rights reserved.

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Details: April 7, 2011; Canon 20D; f/22 @ 1/320 sec; —1/3 EV; ISO 400; 162mm.

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Seeing 2011 (#61)

For your consideration: a soothing end to another revolution (of planet Earth, on its axis, at least). Featured prominently are the remnants of other objects' journeys: contrails originating from distant points northward.

Taken from a quiet, peaceful vantage point -- and one that by reputation may be considerably and undeservedly under-appreciated. Let's keep it a secret: there are precious few venues left in the crowded local metropolis where one can still find relatively unpopulated escapes in which to simply relax, reflect and experience repose.

Alviso Sunset, #1223

© 2011 James W. Murray, all rights reserved.

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Details: April 15, 2011; Canon 20D; f/20 @ 1/640 sec; +1/3 EV; ISO 400; 360mm.

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Seeing 2011 (#60)

For your consideration: a pointed perspective on the combined effects of image compression and shallow depth-of-field arising from the use of a long telephoto . . . and another riff on Impermanence.

As an Arizona native I have an inherited love and affection for desert flora; I grew up with both a saguaro and a palo verde tree in my backyard. Since 1984 I've been on an unexpectedly long, apparently extended visit to the realm of Northern California's Bay Area, a clime far removed from that of my homeland. Thus, despite having lived here for nearly seventeen years I continue to be surprised whenever I encounter plant life which strikes me as incongruous with the local Pacific atmosphere.

I relish such simple moments, as they not only call me back to my arid roots but also remind me of life's capacity to adapt and flourish even when out of its element. Hence, a lesson that as all things are subject to change, naturally our personal environment (be it on the emotional, physical, or spiritual level) adheres to this often discomforting principle. Yet the cactus illustrates the essence that the willingness to accept change may indeed be a prerequisite for survival . . . pain arises from resistance, while liberation flows from embracing reality as it presents itself.

Alviso Agave Apex, #1187

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 15, 2011; Canon 20D; f/5.6 @ 1/320 sec; ±0 EV; ISO 400; 480mm.

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Seeing 2011 (#59)

For your consideration: hanging on by the thinnest of threads . . . a gossamer scaffold, anchored to an entity of ambiguous origin and descending towards an unknown foothold.

All in all a stoical monolith apparently in the service of a courageous engineer, yielding a scene which depicts the ying/yang interplay of strength and grace, rigidness and flexibility, and the underlying uncertainty and requisite faith inherent in attachment.

A Tenuous Grasp on Solidity, #0973

© 2011 James W. Murray, all rights reserved.

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Details: November 28, 2010; Canon 20D; f/8 @ 1/250 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#58)

For your consideration: a landscape oddly elegant and yet ominously evocative of one my childhood nightmares, courtesy of H. G. Wells and 1953 Hollywood.

This tiny bastion of organic fortitude - a foothold in the midst of a (relative) expanse of condominium concrete - caught my peripheral vision as I descended the stairs into our underground parking garage.

Photographed at eye-level with my 100mm Macro, the shallow focus combined with stark lighting and barren landscape accentuates both the grace and wonderful determination of life to exist and even flourish despite ostensibly impenetrable obstacles.

Alien Oasis, #0973

© 2011 James W. Murray, all rights reserved.

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Details: April 3, 2011; Canon 20D; f/8 @ 1/500 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2010 (#57)

For your consideration: an unlikely organic unfurling commences while bathed in late afternoon light . . . on just the second day of winter.

An optimistic demonstration of life's persistence.

Afternoon Rays, #3131

© 2011 James W. Murray, all rights reserved.

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Details: December 23, 2010; Canon 20D; f/4 @ 1/1252 sec; —1/3 EV; ISO 100; 100mm.

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Seeing 2011 (#56)

For your consideration: a modern update on the power of a guiding light to compel one to follow it towards unseen destinations and fates.

Ironically, a hand of tiny pixels seems to hold far greater sway than a parallel sign posting, information likely unnoticed due to the obsession at hand.

The Traveling Talisman, #3878

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: January 31, 2011; Canon 20D; f/5 @ 1/15 sec; ± 0 EV; ISO 400; 216mm.

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Seeing 2011 (#55)

For your consideration: a macro vision of the elegant complexities and symmetries of nature.

While this image's subject is hardly unique, the particular specimen here surely is as individually distinguished amongst its kind as each of us bipedal observers are likewise utterly differentiated from our kin. Such nuanced evolution, repeated beyond computation and comprehension, is miraculous and a source of personal wonder and amazement.

This tableau's composition reminds me of satellite imagery of hurricanes; this swirling mass is considerably softer, gentler and quieter in its approach and impact on those fortunate enough to pause long enough to encounter it.

White Flower, #0943

© 2011 James W. Murray, all rights reserved.

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Details: April 3, 2011; Canon 20D; f/16 @ 1/500 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#54)

For your consideration: a simple (and for me, relatively rare) still life image, inspired by spotting a similarly trapped orange on our upstairs railing last night . . .

This was taken in the glorious natural lighting which spills into the hall outside of my office door about mid-morning these days.

Aside from a straightforward study in texture and spacial form, I am often increasingly intrigued by the impermanence of all things -- and the potentiality inherent and implied by this evolutionary context.

Orange (Juice) Glass, #1056

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 8, 2011; Canon 20D; f/11 @ 1/80 sec; —1 EV; ISO 100; 100mm.

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Seeing 2011 (#53)

For your consideration: a parting of the curtain, of sorts, revealing the specter of a floating edifice.

Tis doubtful to be a parting of the veil, allowing a concrete glimpse of John 14:2 manifested: seems a bit too crowded and disturbingly lacking a solid foundation.

In any event, this caught the attention of my camera lens the morning after a heavy storm's departure; taken on top of the SJSU campus parking structure on Fourth Street at San Carlos.

Fata Morgana (Heaven's Gate), #4857

© 2011 James W. Murray, all rights reserved.

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Details: February 16, 2011; Canon 20D; f/16 @ 1/400 sec; ±0 EV; ISO 200; 205mm.

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Seeing 2011 (#52)

For your consideration: an unexpected, spontaneously discovered tableau resplendent with texture, structure, and subtle surprises . . .

This scene exemplifies what I consider to be extemporaneous vision: spotted as I was trailing my family to our car at the end of a morning spent in the Campbell Farmer's Market scene, the backside of this building presented itself in high relief due to my sheer good fortune of passing by when the Sun was nearly directly overhead -- its acutely angled rays drawing out maximum effect for nuanced surfaces and shadows.

The moment par excellence is completed by a confluence of compositional serendipity of subjects within the frame.

Starch Landscape, #0969

© 2011 James W. Murray, all rights reserved.

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Details: April 3, 2011; Canon 20D; f/9 @ 1/250 sec; —1/3 EV; ISO 100; 100mm.

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Seeing 2011 (#51)

For your consideration: a casual, candid portrait of my father, as he sat in my condominium's living room enjoying a Sunday morning chat with my wife and mom.

With relatively little advanced notice, my parents lovingly made the four-hour journey from their wine-country home to my wife's and my abode the day before, to support, honor and celebrate a significant personal anniversary of mine. It was a very moving weekend, healing, loving and joyful, and a good time filled with laughter, abundant food and soulful nourishment was shared all around.

James Houston Murray, Jr., April 3, 2011, #0918

© 2011 James W. Murray, all rights reserved.

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Details: April 3, 2011; Canon 20D; f/2.8 @ 1/40 sec; —2/3 EV; ISO 100; 100mm.

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Seeing 2011 (#50)

For your consideration: scenes from an alien future.

Having grown up in the high desert of southern Arizona, I've soaked in countless hours of plumbing the unfathomably deep, glitter-filled night skies rotating across the black ocean overhead. Long before the Official Results were in -- that indeed a bounty of exoplanets gracefully trace arcs around myriads of suns strewn across existence -- my friends and I felt it an inescapable fact that truly advanced, intelligent life teems Out There, Somewhere.

The consequence of such a conclusion is akin to the nature of earthquakes: the question of a significant encounter is not if but rather when. Parallel to that: would you want to be around for the introduction? Friend, or foe? It's best not to assume that any extraterrestrial species more technologically adept than ours would necessarily be benign -- ask the native Americans how that worked out for them in the face of European immigration . . .

Orson Wells quite effectively shook things up in this regard, long ago. Lucky for us that was only a dress rehearsal. Who knows what the real interactions will be like?

Beyond the simple probably of Others, the major question is "well, how did they get here?" The galactic distances are vastly beyond any current technology we can practically dream up . . . which brings up the option of wormholes. A convenient shortcut to the problem. Or not.

Thus this presentation: allusions of potentialities, perhaps best not realized.

The Visitation, #8497

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: June 5, 2011; Canon 20D; f/3.5 @ 1/640 sec; —2/3 EV; ISO 200; 100mm.

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Wormhole Dream (Crystalline Orifice), #8470

© 2011 James W. Murray, all rights reserved.

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Details: June 5, 2010; Canon 20D; f/8 @ 1/125 sec; —2/3 EV; ISO 100; 100mm.

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Seeing 2011 (#49)

For your consideration: a delightful friend with an equally pleasing sense of humor . . .

A rare photograph of him garbed in a brimmed hat, captured out in the wild -- during a hike amidst the foothills above Los Gatos.

Kevin Groth, #4012

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 5, 2011; Canon 20D; f/4.5 @ 1/50 sec; ±0 EV; ISO 400; 128mm.

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Seeing 2011 (#48)

For your consideration: an aerial perspective, being a riff on some recent readings of Stephen Hawking.

Particularly intriguing: the notions of the universe being flat, of time as an illusion, and of spacial constructs such as "up" and "left/right" being meaningless and irrelevant from any arbitrary point in space.

More pertinent to me: empirical experiences indicating that life is an endless and perpetual series of utterly unknowable outcomes, arising from an infinite array of directions and choices before us at every instant of our existence.

A Contemplation of a Vector Fields, #3294

© 2011 James W. Murray, all rights reserved.

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Details: February 2, 2011; Canon 20D; f/6.3 @ 1/3200 sec; ±0 EV; ISO 400; 79mm.

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Seeing 2011 (#47)

For your consideration: a rather straight-forward snap of my favorite brother and his wife. I particularly like the asymmetric duality contributed by Eric's tee.

We are a wonderfully creative family, and this dynamic duo leads the way.

Taken at a family gathering in our parents' kitchen, near Kelseyville, California.

Sharon & Eric Murriguez, #1710

© 2011 James W. Murray, all rights reserved.

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Details: October 9, 2010; Canon 20D; f/5.6 @ 1/60 sec; —2/3 EV; ISO 400; 64mm.

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Seeing 2011 (#46)

For your consideration: a command performance by a stellar cast, in this particular case members of the Branham High School Choir. These young men were among many quite talented youthful artists (among them my daughter Hannah) present for the opening night of the school's sparkling new Performing Arts Theatre.

The pronounced, delightfully startling contrast in this troupe's attire set the stage for a study in repetitive yet fractured and varied form, the result being an unexpectedly abstract scene.

Triumvirate Ties, #0564

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 14, 2011 ; Canon 20D; f/5 @ 1/50 sec; —1/3 EV; ISO 800; 353mm.

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Seeing 2011 (#45)

For your consideration: the closing moments of another cold, wintry day.

Not much comfort is promised by this setting . . . even the warmth suggested by the lantern takes on a furnace-like glow, suggesting it as a source of being scorched rather than thawed. What small light offered here seems doomed to be engulfed and smothered by the impending darkness -- even the full moon is destined to lose itself, momentarily, behind a chill blanket.

Portents, #6408

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 27, 2010 ; Canon 20D; f/5.6 @ 1/100 sec; —2/3 EV; ISO 400; 85mm.

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Seeing 2011 (#44)

For your consideration: an abstraction derived from a sidewalk stroll . . .

An incoming streak across a deep-sky image? A fossilized imprint of an ancient avian of an extremely long-necked variety, mired in tar? Who's to say?

Inspired by Siskind, one of my earliest influences.

Untitled, #3123

© 2011 James W. Murray, all rights reserved.

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Details: December 23, 2010 ; Canon 20D; f/164.5 @ 1/800 sec; —1/3 EV; ISO 100; 100mm.

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Seeing 2011 (#43)

For your consideration: a scene of subtle vanity, or at least a misunderstanding — when it comes to thin sheets of plywood, adding a snarl of locks does nothing to fortify against assault by sledge hammer or chainsaw . . .

Less is often more: advertising a perceived need to so extensively secure whatever is behind these doors may well intensify the interest of those prone to illegally procure valuables . . .

Insecurity, #0450

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 11 2011 ; Canon 20D; f/16 @ 1/640 sec; —1/3 EV; ISO 400; 160mm.

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Seeing 2011 (#42)

For your consideration: a pair of images depicting the astounding complexity, subtlety and sophistication of body language, context, and our ability — perhaps necessity — to properly interpret the messages communicated, both explicit and implicit.

In the first case a man uses upraised hands to evoke a highly choreographed response from an unseen audience (or so we must surmise: no visual evidence is extant to prove anyone else's presence). The attire, lighting, and tool at hand all conspire to suggest an act of directing, cajoling even; presumably to affect a lofty result for the listening pleasure of others. The pose connotes a call for momentary restraint, just before the next scripted action. Even in its simplicity all seems highly controlled, exactly as it is supposed to be in a specific point in time.

Not so in the second image. Ironically, here an obviously inanimate gesture conveys a visceral sense of avidity, a cry heavenward — an intensely emotional state of mind universally recognizable and depicted, again, by outstretched arms. However, this setting — culturally and atmospherically — is radically different, mining an entirely different desire. Alas , due to the absence of a tiny yet vital detail — the facial expression (utterly irrelevant in the first photograph) — we don't know whether the scene is one of agony or ecstasy.

* * *

Conductor (Restraint), #0594

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: March 14, 2011; Canon 20D; f/4.5 @ 1/160 sec; —1 EV; ISO 800; 224mm.

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Conductor (Yearning Streaks), #1474

© 2011 James W. Murray, all rights reserved.

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Details: October 3, 2010; Canon 20D; f/11 @ 1/250 sec; —2/3 EV; ISO 400; 66mm.

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Seeing 2011 (#41)

For your consideration: a solo artist, in the throes of a delicate balancing act.

This image speaks to the notion of the decisive moment -- that instant when time is frozen, pregnant with possible outcomes . . .

Yet there is a subtle ambiguity here: is the skater suspended in a drop towards a silhouetted landing, or might it just be possible that his magic rests in an upwards, gravity-defying trajectory? His shadow lends little to the solution of the riddle, being at once upon the threshold of the triangular base yet coiled a pending leap of faith.

There is a secondary theme in this presentation, that being of discovery: an unusually complex composition, with dominating lines, repetition and an organic thrust which at first draws attention by being jarringly out of place, then upon investigation reveals itself as camouflage and surprising support for the true subject -- joie de vivre despite imprisoning walls.

We call all use some of that.

Suspended Animation, #4123

© 2011 James W. Murray, all rights reserved.

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Details: July 24, 2009; Canon 20D; f/11 @ 1/500 sec; —2/3 EV; ISO 200; 50mm.

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Seeing 2011 (#40)

For your consideration: a tableau evoking a sense of foreboding news . . .

When seeking word from afar -- scanning for signs of alien communiqués -- exercise great caution, as sometimes the results are quite different and altogether more dangerous than we plan on receiving.

Still, one mustn't abandon all hope . . . especially where glimmers of light exist.

Listening, #0110

© 2011 James W. Murray, all rights reserved.

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Details: March 10, 2011; Canon 20D; f/11 @ 1/400 sec; —1 1/2 EV; ISO 400; 112mm.

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Seeing 2011 (#39)

For your consideration: a simple vision of an elegant species.

Recent readings in meditation have directed me towards the reality of universal interconnectedness. One facet of this is revealed by the contemplation that just as you and I are carbon-based life forms, so too this lily and all of its kindred spirits (Plantae) . . .

Looking more deeply reveals the insight that the same fundamental building blocks of our respective Kingdoms' organisms and creatures are the primary ingredients of the incomprehensibly vast universe.

Perhaps then it is only natural that this particular ambassador of the miracle of sheer existence seems to radiate another profound, and possibly shared joy: wonder at the majesty of life itself.

Glowing Lily, #7267

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: April 13, 2010; Canon 20D; f/8 @ 1/60 sec; —2/3 EV; ISO 200; 100mm.

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Seeing 2011 (#38)

For your consideration: an abstract study of a confluence of both symmetric, tightly controlled repetition and unexpected, seemingly arbitrarily imposed chaos.

This image poses a few mysteries: whence the diagonal shadows? Why the puncture wound? What of the (suggested, at least) acutely asymmetrical impact zone -- not only far removed from being an evenly distributed form around the apparent epicenter, but also strangely indicative of another contraction: what accounts for the paint streaks? Certainly not heat-induced melting.

Ah, the paint: the coat throughout seems fresh - relatively recently applied. Odd, then, the bare, rusting metal . . . deliberately avoided? Unlikely . . . but an explanation of what concussion would at once wipe the surface clean yet leave the ridged structure intact is quite elusive.

This canvas is laden with incongruities, puzzles seeking the limits and creativity of your speculations.

Dissection, #0110

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 27, 2011; Canon 20D; f/7.1 @ 1/320 sec; ±0 EV; ISO 200; 176mm.

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Seeing 2011 (#38)

For your consideration: an undulating horizon, resembling a pointed barricade complete with ensnaring strands designed to trap the unwary.

A macro photograph wherein the full-size version, when viewed, presents the prickly topography at considerably greater than its actual scale.

(An added note: I recorded this scene not during my recent desert visit, but last year rather more locally, on the grounds of the Rosicrucian Museum.)

Needlework, #0507

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: August 16, 2010; Canon 20D; f/8 @ 1/320 sec; —1/3 EV; ISO 200; 100mm.

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Seeing 2011 (#37)

For your consideration: an early morning view of one of the few eating establishments in a local, quirky village.

For this photograph I set my tripod up directly in the middle of the local main line railroad tracks, which, running parallel to this façade as they do no more than fifty feet from the entry, surely spice up the atmosphere several times daily.

Marina Dining Room, Alviso (Window Seating), #4346

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 9, 2011; Canon 20D; f/6.3 @ 1/6400 sec; — 1 1/3 EV; ISO 400; 112mm.

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Seeing 2011 (#36)

For your consideration: an abandoned home, featuring a natural skylight. Perhaps this architectural addition is related somehow to the scarred terrain. Perhaps not.

Found object, late afternoon, off of Skyline Drive in the hills above Woodside.

Shell and Shadow, #2977

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: December 11, 2010; Canon 20D; f/11 @ 1/1000 sec; —1/3 EV; ISO 400; 100mm.

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Seeing 2011 (#35)

For your consideration: a quixotic ruin perched atop a mural depicting, perhaps, a yacht's tottering at another precipice . . . Peering into the bottom of the frame is an echo of the triangular geometries scattered about the scene.

The only reliable certainty in this aptly quirky (for Alviso) tableau is the arresting sign, itself a potent verdict against the wisdom any of further movement from this stage's various actors.

(STOP) Alviso Parthenon, #4417

© 2011 James W. Murray, all rights reserved.

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Details: February 9, 2011; Canon 20D; f/22 @ 1/500 sec; —1/3 EV; ISO 400; 240mm.

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Seeing 2011 (#34)

For your consideration: a contemplation on facets of being unceremoniously discarded, even when there remains evidence of lingering vibrancy.

Un-gloved (Discarded Blues), #0073

© 2011 James W. Murray, all rights reserved.

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Details: February 27, 2011; Canon 20D; f/11 @ 1/800 sec; ± 0 EV; ISO 200; 480mm.

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Seeing 2011 (#33)

For your consideration: a simply splendid Sunday morning (which I spent in achingly sweet near-total silence wandering the grounds of a local community college) presented this ironically sterile, severe tableau.

A study in geometry and composition, this scene also poses subtle, organic questions.

Blue Light District (awaiting Enlightenment), #0054

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 27, 2011; Canon 20D; f/8 @ 1/1000 sec; ± 0 EV; ISO 200; 256mm.

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Seeing 2011 (#32)

For your consideration: despite swaying in the unpredictably swirling breezes which were present at the time, thanks to a combination of image stabilization and a 1/1600th second shutter speed this subject retains its sharpness (much to my surprise).

Photographing with long telephotos significantly diminishes depth-of-field, which in this instance worked favorably: the background is sufficiently indistinct to not directly compete with the main object, yet also retains enough form to add interest by means of echoing the general sweep and implicit motion of the primary subject.

Ocotillo Branch, #9748

© 2011 James W. Murray, all rights reserved.

(click image for larger version)

Details: February 19, 2011; Canon 20D; f/8 @ 1/1600 sec; ± 0 EV; ISO 400; 146mm.

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