Ad astra per aspera
But you just know if you sent that to a film lab it would come back with a QC sticker on it. :)
Why would a gorgeous picture like that need a Quality Control...?
Unless you're hinting the Brits are really more prudely paranoid than I could ever imagine.
This is a strange one because it reminds me of the light landing on a beautiful old dusty wooden floor, like in a castle or big hall or church, maybe through stained glass windows. In reality everything about it is superficial. It's a modern (possibly) laminate floor and the windows are doubled glazed but designed to look like they are olde worlde. Kind of cheating. Ad astra per aspera
Hey, Grandma Moses started late!
"What can I do, What can I write, Against the fall of Night". A.E. Housman
I like it too, something like colored B&W... But shot quickly in awful conditions! In facts, I tend to find that all the "desperate" pictures I have are much better (in my viewpoint) then the more "calculated" ones... Maybe the stress makes me go to the essentials :-) "What can I do, What can I write, Against the fall of Night". A.E. Housman
Didn't get the lighting quite right on this, it's one of the pieces that my mother made to obtain membership in the guild of glass engravers. Any idiot can face a crisis - it's day to day living that wears you out.
I'll have to try the underexposed minimal version - it makes a change from the usual, and looks like it could produce some very interesting shots.
Stansted Airport Exterior Night
Camera held on top of post for stability i.e. without tripod. Manual exposure, based on camera meter readings. The general lighting throughout Stansted is based on strong lights pointed upwards from the base of the spreading trusses of the roof. The light bounces off the white roof elements. During the day this gives a light, airy feeling to the whole space. At night, the concourses are a little underlit, but punctuated by signage and the check-in desk lighting. The feeling is quite relaxing and soothing ahead of a late night flight. Designed by Norman Foster.
Portrait in the kitchen
The kitchen has a roof light - explaining the strong top light, and the direct sun was bouncing off a high white wall to the upper right, and acting is a rear modeling light. There was some soft light from a door window behind me. I often use the same kind of set-up in the studio, because I like the strong sculptural modeling that differentiates between `figure' and `ground'. `Figure' means the key `meaning content' of a picture. The `figure' can be a person/s, an object/s or even just a shape. The `ground' is the context that modifies interpretation of the `figure'. The separation of figure from ground appears to be some basic physiological activity of our visual processing systems. We look for discrete `objects'. One can also play with this `automated' feature of the brain. You can't be me, I'm taken
I scrambled for my camera and took a few unstable pictures hoping to find my tripod before he turned off his iron :-)
I was unlucky in that respect, but blurry or not, I like this picture of the 'ironer'.
(Unlit) chandelier at the Hagia Sophia
And lamps at the Spice Bazaar
