* Wednesday C&C "No Theme" Thread #888 / Revived #108 on 2025 04 23*

Just one word - masterclass.

I like this cornucopia...Brilliant.

It never ceases to amaze me that those birds are willing participants in the live show of nature. And I bet you don't pay them...
Maybe next time bring them some crumbs...

Yes, you can write an essay on this capture...

The rock sculpture was commissioned by the National Trust to celebrate their hundredth anniversary. Supposedly there are 100 notches or grooves or something - I started counting them but gave up after 5 :-)

In Spain there are also old hammans with star shaped roof openings in domed roofs that create a night sky effect. It's spectacular.
Using a wa lwns to give so much space to the roof while still including broom details, captures the atmosphere. The longer lower rays of the sunburst link the roof and the room so we feel the wholeness of the experience. Roof and room work together.

I agree with Arvo re offsetting the subject a little to the left. Although the subject is still, the bent leaf and its reflection create an impression of movement, right to left. It reminds me of one of Bryan's dragonfly images. While there is no actual movement, placing the subject closer to the left hand edge feels unbalanced to me. I'd prefer the image to retain the landscape format but with the subject closer to the left and more empty space behind it to the right.

Absolutely has to be viewed large to appreciate the pattern of the movement blurred raindrops.
The simplicity of the three horizontal background bands provides a muted non distracting canvas for the rain drops. The near vertical lines of the drops contrast with the horizontal lines as well.
Then there are further slanting near vertical lines from the pine needles - but this time they are dark. The pine tree needles draw the three bands together.
Subtle and very sophisticated composition. I can't decide which o like best, I just enjoy them both.

A series based on the many islands of the bay has plenty of potential. The first and third images are the same island from slightly different angles and distances. The series would have been more interesting if we had three different islands. Consider some variation in the positioning of the islands within the frame and consider more variation in the positioning of the horizon.

It might qualify for the Lonely Bench genre?
There's a surprise element here as it isn't an angle we expect. Thanks to the viewpoint there is an unexpected web of lines at right angles to each other and these are made stronger because of the contrast from the white snow. The space to the right hints that something is to be seen out there when the seat is occupied.
Now and what's to come.

I can't work out what is going on. It looks like an alternative reality steam punk?

Or maybe it's the mob measuring up the king and queen. The shape behind the king and queen looks a lot like a structure from the Paris Streets. Madame Defarge?
And behind them?Apres mois, le deluge.
The Dam once more provides a stage setting for high drama.

The title/text apart, the image itself is dominated by vertical lines. Tree trunks, characters and the sign on the left. I tried to see meaning connecting the elements together. Was there something relevant in the sign? If there is, I couldn't find it.
Repeating vertical lines like these in visual art are generally felt to induce dignity and solemnity. Half hiding the subjects hints at privacy. The photo feels like it has captured a genuinely personal moment. A proposal?
But yeah, I'm old enough and cynical enough to laugh, with a touch of guilt.

A thought provoking series.
Generally I don't particularly like moving water shots that are smoothed out bt long exposures. These are different. The subject isn't the water. You are using long exposure to gather extended dof in low light conditions. I would think you are applying some carefully controlled brightening to selected areas of the images as well. I like the gentle lifting of details out from the semi dark landscape.
Photo 3 is especially interesting. Using the converging lines of jetties is something of a cliche. Generally they suggest something of an infinity journey. Your shot uses the middle pillar at the end of the jetty to declare an emphatic "stop here." I like the small touches of light on the tops of each pillar that give further lines while picking up the brightness of the deck. This breaks up the starkness of the contrasts we'd have had otherwise.
There are many similarities between this landscape and Cradle Mountain in Tasmania.
If you don't mind, what shurtter speed were you using with these?

Hi Mike

I'd have to check the exif to be sure, but I generally shoot LE between 1min and 4 mins depending on the conditions. The wooden jetty shot I think was 1 min because there was a boat coming into dock and I had to be quick!

Interesting to read your take on why I blur the water (and the clouds, if available). My own interpretation of why I do this is to simplify the composition. I'm very much into simplified, minimalist compositions, I don't like to see too much detail fighting for attention. I want a primary subject that is detailed with the supporting subject matter heavily detail suppressed. It's similar to my understanding of Bruce Percy's work which I sum up to myself as: beach-sea-mountains-sky. Most of the components do not have competing detail.

There are various ways you might achieve compositional simplicity. Square format is the most obvious, it removes any questions over what aspect ratio to use; every image is the same. Pristine snow is another. Or heavy fog. Or a homogenous sandy desert or beach. Each of these removes detail and makes for a minimalist, more abstract image by obscuring confounding fine detail. A popular approach at the moment is very shallow depth of field where the out of focus parts suppress detail. LE smooth water is another very obvious method as it essentially removes all that confusing, choppy waveiness. Likewise blurred clouds (tricky to plan because the effect depends on cloud speed). In both cases of water and clouds, the LE blur does not remove them from existence; it merely strips away complexifying fine detail. With water what is left is usually tones/hues. And that is where you need to learn to control those tones/hues during the editing stage. I'm taking a reasonable stab at it, but the masters are photographers like Charlie Cramer and Bruce Percy whose tonal control is exquisite. Clouds usually preserve some structure, but gone is the usual billowing cloud detail to be replaced either by some kind of simplified dynamic streaking that on a good day adds energy to the composition or in more extreme cases, it comes back down to tones again.

I would say that that I've not heard of Cradle Mountain - except that would be untrue because I have a book called Beyond the reach: Cradle Mountain- Lake St Clair National Park by Chris Bell. This one www.lamdhabooks.com.au/product/17901/Beyond-the-Reach-Cradle-Mountain--Lake-Clair-National-Park. Very good it is, too.

Thanks for the discussion. I'll follow up on Perry and Cramer.
Yes, your book on Cradle Mountain is the area I was referring to. It's an area I've done some shooting too.
The absolute master of Tasmanian Wilderness photography is Peter Dombrovskis. His studies of the wilderness have had huge political impact as well. Google for him, I think you will like his work.
I understand how you are using long exposures for simplicity - it's why I was wondering about just how long your exposures are. Are you using density filters as well?
My own style is all over the place from Street photography to Landscapes. Abstraction and ultra simplification are passions of mine as well and there is one of mine in this mood over in the Abstract/Experimental thread this week.
Your shots certainly caught my eye. Looking forward to seeing more.

I use Kase Revolution magnetic ND filters. I have 3: 10 stop, 6 stop, 3 stop. I usually have to use them in combination.

I recently discovered this photographer on Flickr Bert Vilegen. He shoots very much in the Bruce Percy beach-sea-mountain-sky vein.

Examples:

www.flickr.com/photos/bert_vliegen/53387905901/in/photostream/lightbox/

www.flickr.com/photos/bert_vliegen/53384210674/in/photostream/lightbox/

www.flickr.com/photos/bert_vliegen/52579402566/in/photostream/lightbox/

www.flickr.com/photos/bert_vliegen/52574986002/in/photostream/lightbox/

You see what I mean by beach-sea-mountains-sky :-)

I can see why it caught your eye.
It is a minimalist but very effective reflection that makes those few leaves of the plant look like a symmetric insect of some kind.
Very cool.

Your first image is the most effective (at least for me), because we see the island clearly against a backdrop that is all sea and horizon (maybe some land in the far distance but it does not interfere).
The second and third are less "clean" because there is a lot of overlap of the island with the background.

The image itself is quite stunning as usual (I am running out of words to continue praising you without repeating myself).
Your narrative adds a layer. Suddenly there is not just presence but also behaviour. And menace.
And then the title adds another big layer on top of that.

Let me just continue on your riff here, with a song:

"Song for the Dumped" by Ben Folds Five

From their great album "Whatever and Ever Amen"

Lyrics (clearly inspired by Shakespeare) :

So you wanted
To take a break
Slow it down some and
Have some space
Well fùck you too

Give me my money back
Give me my money back
You b!tch
I want my money back
And don't forget to give me back
My black t-shirt

I wish i hadn't bought you
Dinner
Right before you dumped me
On your front porch

Give me my money back
Give me my money back
You b!tch
I want my money back
And don't forget to give me back
My black t-shirt

A true classic, showing that also men can make breakup songs, and not just Taylor Swift.

I am getting a very Scottish vibe from these.
The Scotland of Macbeth, more precisely.

Well, the Lake District is English, but only yards from Scotland so you are excused :-)