Saturday, September 30, 2006
Underground Art
Comments:
One of the big attractions of this is the colouring despite the suspicion that there is a slight cast (even if there isn't!). It certainly conveys the feel of the Underground.
Judging by the low camera position you had more of the floor than you wanted but the crop is effective even if the full picture on the wall to the left could have benefitted from being whole (but doesn't need to be).
There is a central puzzle which is how the figure appears so ghostly. It's very effective but it would be interesting to know how - is it a reflection across him? Or two different exposures, one with and one without? There certainly appear to be some different surfaces that I, for one, can't reconcile.
A great use of the different elements: space, artwork, figure and light.
A lovely image Rex. Dreamy and oddly comforting. I think that has something to do with the space itself, enclosed, warm, clean. I'm a fan of the colours.
Echoing John's comments about reconciling aspects of this image I'm finding myself flitting about with one question occuring over and over again...."but how?"
Mirrors, glass? Did someone nudge the camera during the exposure?
It's a tease.
This is the inside of the Jackfield Tile Museum, Ironbridge.
They supplied tiles for London Underground Stations which includes murals made of tiles.
The camera is on the floor using the strap under the lens to lift the lens a bit (not enough to catch the top left of the mural). The camera is in front of two large mirrors at the end of the 'tunnel'. The camera is at F18 30s using a 12 sec delay to allow me to hide in the recess on the right of the image. Having set the camera on 'go' another museum visitor came in and studied a mural down the 'tunnel'.
Obvious isn't it?! If you had bought What Digital Camera a couple of months back you would have got a dwarf tripod for free, standing about 4 - 5". I have never tried it but it looks as though the E-1 might topple it! We're off to Vienna and Bratislava for a week so back next Sunday.
I do carry one of those in my camera bag.
I use it most for support inside buildings (where tripods are often not permitted for safety reasons).
I put the tripod on the camera and hold the tripod against the walls of the building.
I have to bend the legs out very wide to get the stability if I try to 'stand' the E1 on the tripod.
I use the strap as an adjuster for height *1, *2 or *3 under the hood or further back.
Rex, you gave the game away too soon. Us slowcoaches were still trying to work it out...
Even with the explanation I still find this a bemusing photo. I get sucked into the detail and find it difficult to view as a whole, although as JohnJo says, the colours work to enhance the dreamy nature of the thing.
Curious aspect ratio. I'm not sure that you have used all the horizontal space available, but it's a neat photo.
Given the dark tone of the shot the extremely bright light immediately takes my attention. I'm then interested by the ghostly figure to the right and the shadow thrown on the wall. That's the shot and the rest creates a general atmosphere but no specific interest. Given the 30s exposure and lack of willing models perhaps some strategic self-portraiture would add an even more sinister overal look and provide more interest in the 'empty' sections.
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Judging by the low camera position you had more of the floor than you wanted but the crop is effective even if the full picture on the wall to the left could have benefitted from being whole (but doesn't need to be).
There is a central puzzle which is how the figure appears so ghostly. It's very effective but it would be interesting to know how - is it a reflection across him? Or two different exposures, one with and one without? There certainly appear to be some different surfaces that I, for one, can't reconcile.
A great use of the different elements: space, artwork, figure and light.
Echoing John's comments about reconciling aspects of this image I'm finding myself flitting about with one question occuring over and over again...."but how?"
Mirrors, glass? Did someone nudge the camera during the exposure?
It's a tease.
They supplied tiles for London Underground Stations which includes murals made of tiles.
The camera is on the floor using the strap under the lens to lift the lens a bit (not enough to catch the top left of the mural). The camera is in front of two large mirrors at the end of the 'tunnel'. The camera is at F18 30s using a 12 sec delay to allow me to hide in the recess on the right of the image. Having set the camera on 'go' another museum visitor came in and studied a mural down the 'tunnel'.
I use it most for support inside buildings (where tripods are often not permitted for safety reasons).
I put the tripod on the camera and hold the tripod against the walls of the building.
I have to bend the legs out very wide to get the stability if I try to 'stand' the E1 on the tripod.
I use the strap as an adjuster for height *1, *2 or *3 under the hood or further back.
Even with the explanation I still find this a bemusing photo. I get sucked into the detail and find it difficult to view as a whole, although as JohnJo says, the colours work to enhance the dreamy nature of the thing.