There was a time when most photos weren’t black and white but sepia. And today if we want to give our images that ‘antique’ look, sepia is the way to go.
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I think we all recognise now that the genie is out of the bottle. Mankind has created AI and now needs to learn how to harness it for good while avoiding the many pitfalls.
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This year our dreary spring has continued into this, one of my favourite months, with only a few brighter days. We did have one glorious weekend in the middle of the month, with temperatures more like summer than spring. But we also had more grey days and more wet ones.
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Who doesn’t love flowers? Very few people indeed, I am sure. And by extension, who doesn’t love a flower photo? Of course, no photo can fully convey the beauty, and no scents were ever appreciated through an image.
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Usually I like to choose a theme for my black and white galleries. Maybe a particular country, or a subject such as flowers or buildings. But sometimes it’s fun to mix it up a bit with an assortment of rather different shots.
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The albatross gets a bad name sometimes, as it was the killing of one that cursed Samuel Taylor Coleridge’s Ancient Mariner and his shipmates. But the curse came about because the albatross was seen as an omen of good fortune, NEVER to be killed. The good omen part of the story is often forgotten, and the albatross mentioned, unfairly, only as a harbinger of doom.
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Sometimes on a trip it’s important to take the pace down a notch. In the end it doesn’t matter if you squeeze in every sight or miss a few. By rushing around you can fail to really appreciate where you are and to notice the smaller details that distinguish one place from the next.
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A wonderful sense of design pervades the whole of Japan it seems, from architecture to clothing, household items to gardens … Somehow the Japanese know how to balance minimalism with intricate detail, with an apparently effortless emphasis on simple, natural elements.
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I can remember a time when wildflowers were always just that, wild. They grew randomly in places where they had self-seeded, in hedgerows or on verges. In towns they were too often seen as weeds, not part of the gardener’s plans. If we were lucky they might pop up in odd corners of our urban concrete jungles, softening them and giving us a lift whenever we spotted them.
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There’s something about both windows and doors that draws many photographers to capture them, isn’t there? Maybe it’s the intrigue of not knowing what lies within. Or perhaps it’s simply that their geometry is pleasing to the eye.
