Forcedly spending some time at the fairground (too noisy, too many too young kids and too much alcohol around), I exercised my 85mm lens, trying to find out the right compression for that cacophonia of light and movement and sound. It was only when editing the images that I found that face included in all the screaming bulbs, words and signs. It seems I was prepared for the luck.
made of a rainstorm and early morning traffic lights during commuting in Munich. And you are right: commuting traffic is more like a horror trip.
While it is not always convenient to take photographs during winter time, leastwise it is a challenge: familiar subjects change completely, some vanish, others appear, many of them in a quite volatile way, especially when related to snow. Seeing better the more images I take, the orange-yellow color of the snow catched my eye. Together with the black lines of the tramway tracks and the irregular patterns of the pedestrian’s tracks it formed an image where the conversion of matter by light and framing becomes a subject in its own sense. And yes, I am onPaul Butzi’s side, when he emphasizes the importance of subject. If there’s no connection between my mind and the subject, no image will start to exist, just a wasted file.
I’ve always been interested in reflections and the corresponding circles of confusion that the backlight brings out so strongly. But photographing for decades, up to now I had never deliberately misfocused – sharpness for a long time was like a holy cow for me, as I see it as one of the genuine characteristics of photography to render the scene sharp and full of details. This small creek I found 2 weeks back during our hike in the Berchtesgaden national park, and the quality of the autumn light I found transported best in this blurred rendering of the scene.
This image is probably more conventional, and it was easy for me to accept. Backlight is the light I cherish the most since decades, however it eluded me often back in the film days. Chimping has improved my skills in dealing with this light form very much, and now I find more time to deal with the colours in this light situation.
sorry, i simply had to use this pun now. the light at the moment is gorgeous, especially if the sky is scattered with clouds and the backlight is less pungent and more revealing. even the lens flaws (my not-often-enough-used tamron 11-18) and the raw conversion problems don’t stop me to include the direct sun in the picture. f22 makes up for a nice star effect even without any criss-cross-filter – i do well remember the hype around those in the 80th of last century.
the animals enjoy the fresh pasture, too. this white stallion grazes at schleicherhof, subject of yesterday’s post, and enjoys its charity. with probably 30 years (24 according to the horse trader, but popular wisdom here in germany recommends to never believe a horse trader) there is no work any more, maybe a bit posing for the kids and the tourists, not to forget the photographer.
one thing that irritated me throughout all my stays in (sub-)tropical places was the extreme short dusk and dawn periods you experience there. sometimes i had the feeling that sunrise is only a 15 minutes affair, and sunset the same with only a short grace period until night falls in.
so i learned to cherish european twilight times even more, this wonderful transit from a warm, energetic sunlight into fainter illumination where only the clouds still hint to the power of the sun until it becomes darker and first illumination and later on the stars become visible. so i enjoyed the long holiday sunsets, even the more so as they left enough time to properly set up the tripod.
I had looked at this facade quite often during day- and nighttimes as the offer a rich play of effects – just see onion spire, reloaded
Whilst the moving body parts in the gym windows of the first floor don’t really lend themselves for a (static) photograph, the reflections do so quite well.
