The bridge in today’s photo is the northern span of Sprotbrough Bridge which crosses the navigable part of the river Don. The southern span crosses the river just below Sprotbrough Weir.
In the background of the shot can be seen Sprotbrough Lock.
Chroma 4×5. Fujinon NW 135mm f/5.6 & Fomapan 100. Fomadon R09 1+50 9 mins @ 20°
Taken 4 March 2023.
Just downstream from the bridge I shared a photo of yesterday (you can see it in the background of today’s shot) is a second bridge, this time an active railway bridge. Indeed, as I was setting up this photo a train was sat idling off the the right of fram and actually crossed when I was ready to take the picture. I waited until it had passed though as, even though it was moving slowly, the half-second shutter speed I was using would have rendered it blurry, and probably not in an aesthetically pleasant way.
I’ve been out making more photos today, although with the Bronica ETRSi rather than the large format kit. We’ve had a big dump of snow the last couple of days which eased off yesterday afternoon and then began to melt quite rapidly. However temperatures overnight fell below freezing so I decided to go out this morning – a lovely sunny start – and try and catch some wintry scenes while they remained. I managed to shoot the full roll of HP5+ I had loaded, and also one or two frames of expired Provia 100 that is loaded in a compact I was carrying in my coat pocket. It was a nice morning and I was pleased that it actually fell on a day where I could take advantage of it for once!
Thos shots will appear here in due course, although I expect the snow will have become memory by the time they do.
Chroma 4×5. Fujinon NW 135mm f/5.6 & Fomapan 100. Fomadon R09 1+50 9 mins @ 20°
Taken 4 March 2023.
Just downstream from Sprotbrough, the Trans Pennine Trail crosses the River Don on this former railway bridge.
While I wish I’d had better light, the riveted structure still manages to be an interesting subject, and the large format negative really captures the detail.
Chroma 4×5. Fujinon NW 135mm f/5.6 & Fomapan 100. Fomadon R09 1+50 9 mins @ 20°
Taken 4 March 2023.
This is another of those scenes that I’ve photographed on more than one occasion. The subject almost cries out to be photographed and the location features in the photographs of many others besides mine.
You can see an earlier picture here, when I walked the same path three years ago.
Some nicer light would have been good, but, hey – the UK…
Chroma 4×5. Fujinon NW 135mm f/5.6 & Fomapan 100. Fomadon R09 1+50 9 mins @ 20°
Taken 3 March 2023.
I returned to work today following a week-and-a-day’s leave. The whole week I was off, the weather was dull and overcast, which kinda spoiled the days of photography I’d hoped for. I still went out and took pictures, but I knew the light was poor and they wouldn’t be what I might have hoped for.
Today, back at work and unable to venture out to take pictures, the weather has been lovely all day. Blue skies with smatterings of cumulus clouds and nice light. Sometimes it feels like I am being punished…
Here’s one of the pictures from last week, took while walking alongside the River Derwent in the Peak District near Calver.
Chroma 4×5. Fujinon NW 135mm f/5.6 & Fomapan 100. Fomadon R09 1+50 9 mins @ 20°
Taken 3 March 2023.
Crossing the River Derwent at Froggatt, this narrow stone bridge dates back to the 17th century.
On the day I took the picture it was difficult to find a spot to get an unobscured view, so I plumped for framing the slighly messy bush in the centre of the arch.
Chroma 4×5. Fujinon NW 135mm f/5.6 & Fomapan 100. Fomadon R09 1+50 9 mins @ 20°
Taken 3 March 2023.
Today’s picture is another that would have fit well in my post about converging verticals that I published a couple of days back. It’s another image where the converging lines work well to produce a sense of scale in the composition, the buildings towering over the viewer (and the people in the scene) even though they are relatively low-rise structures.
Bronica ETRSi & Zenzanon 50mm f/2.8 MC & Ilford HP5+. Ilfotec DD-X 1+4 9 mins @ 20°
Taken 5 February 2023.
I posted last week about my ill-fated attempt to photograph some light-trails for a photo competition entry. The following evening I made a second attempt and, thanks to removing the dark-slide this time, this one was successful. I made three exposures and like the one here the best (the first two are very similar to one-another, but you can’t see the mororway snaking into the distance as well as you can on this one).
I exposed the film for 8 seconds at f/22. I used a digital camera to meter the scene which gave me a 4 second exposure, but I had to factor in some reciprocity failure for the HP5+. I calculated it as requiring 6 seconds, but the ETRSi only had 4sec or 8sec setting, so I erred for the longer exposure and it seems to have worked pretty well.
If I’d had enought time to get ist developed before the competition closing date I’d have used colour film instead, which would have been much more effective, but beggars can’t be choosers and I’m pretty happy with the results I got in the end.
Bronica ETRSi & Zenzanon 75mm f/2.8 PE & Ilford HP5+. Ilfotec DD-X 1+4 9 mins @ 20°
Taken 24 February 2023.
A chap I know who shoots exclusively in large format claimed that I’d damaged his eyes with the converging verticals in the shot below. He suggested I take the picture again with my 4×5 camera. He was joking, of course, but it did make me think about the opposition to this geometrical distortion when it occurs in photographs.
Converging verticals seem to cause quite some consternation when they appear in photographs – the photography club I used to be a member of had photo competitions where, should your vertical lines not be perfectly perpendicular, you would lose points and receive a judgemental comment from the, well, judge. It was this sort of arbitrary nonsense that, in combination with covid shutting everything down for some time, led to me stopping attending, even though the other club members were all very nice people (and I should emphasize, the judges were not members of the club).
Converging verticals are how things appear to the eye though, so attempts to “correct” them is inheritantly false unless the photograph was made from a location where they do not occur, such as ensuring the camera is aligned with the ground, or you are so far away that the effect becomes minimised by distance. Stand at the foot of a tall structure though, especially one with regular features such a an office building with regularly spaced windows, and look up and you will see converging verticals. It’s just perspective. In exactly the same way that a long straight road will appear to narrow to a point in the distance, so looking up at a tall building will show the same effect. And I never hear anyone complain that photographs of roads should have the perspective corrected.
I do think that some shots can work well if the verticals are all perpendicular, especially where the angle of convergence is only slight but, as a counterpoint, convergence can add a sense of scale. The photo published here today does this, even though the buildings are not tall. Combined with the steep street the buildings appear to loom over the viewer.
I am kinda interested in seeing what the same scene would look like “corrected” by the movements on my large format camera though. 🙂
Bronica ETRSi & Zenzanon 50mm f/2.8 MC & Ilford HP5+. Ilfotec DD-X 1+4 9 mins @ 20°
Taken 5 February 2023.
I went out to a steak restaurant this lunchtime and ate my fill, and was then out for the rest of the afternoon. Now all I want to do is sleep.
So a quick post today. I guess these hotels would have plenty of places to snooze. 🙂
Bronica ETRSi & Zenzanon 50mm f/2.8 MC & Ilford HP5+. Ilfotec DD-X 1+4 9 mins @ 20°
Taken 5 February 2023.
Steel City Snapper photography 