A photo taken last weekend in Monks Wood, with a little processing.
(To hide the fairies. They’re very camera-shy and wouldn’t sign a model release.)
I got a new tripod yesterday, and took it out to play today (just very briefly while I was ostensibly walking the dog).
One thing I’ve been enjoying recently is stitching together multiple images to create a panorama, and a tripod makes this work very much better. But how to display the very wide images that can result?
Well, here’s one way.
And here’s another image from a slightly different viewpoint.
I quite like this effect, but even in this form, I’m using images that are 1/5th of the original size in each dimension. Here’s the smaller one as a 60 Mpixel image, for example, albeit not at full quality.
Now, interestingly, I have a printer which can take rolls of photo paper, meaning that I could actually print out something like this at a decent size. Anybody got a spare corridor in which to hang it, though?
This bold new installation at Wimpole Hall asks difficult — some would say provocative — questions about the role of traditional art forms in a modern world.
Echoing the delayed gratification of the wrapped Christmas gift, the artist seems to imply that the projection of the sculptor’s immediate intent onto the viewer’s consciousness is, in itself, best understood as an ephemeral dualism.
The exhibition runs throughout the winter, and there is no charge for admission.
What is this strange exotic mix of natural textures flowing past the domed obstruction?
And the answer is…. chicken wire!
At least, it’s a fence post to which chicken wire is attached. I photographed it twice using a macro extension tube in the low winter morning light, then stitched the two halves together before doing a reasonably high-contrast conversion to black and white.
Here’s a more conventional view taken a bit later from further away – using the same lens, as it happens, but without the macro tube.
© Copyright Quentin Stafford-Fraser