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No photograph that is displayed and posted on this blog may be reproduced, copied, stored, manipulated or used in whole or in part of a derivative work without the prior written permission of the Copyright (c) Owner & Photographer: Trevor David Betts BA (Hons). All rights reserved.

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If you want to use any of my photographs displayed upon this blog, for inclusion in an essay, presentation, talk, or for posting on your blog or web site. Or for use in any other way or means. Then it would be very much appreciated if you could contact me first (as a matter of courtesy and decency) to seek my permission to use any of my photographs. Failure to do so is breach of my copyright and rights.





Wednesday, 16 September 2009

FOREGROUND TO DISTANCE

Reeds in the foreground give way to wind swept ripples upon the water, then the reflection of the footbridge in the water before the footbridge itself.

Willoughby Woods, Market Rasen, Lincolnshire, England.

From no specific project as such, 1989.

Copyright of all images and work displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.
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8 comments:

  1. J Adamthwaite16 September 2009 at 17:04

    Another beautiful photo. I love the dominance of the water and the reeds.

    And what a lovely name Willoughby Woods is!

    ReplyDelete
  2. Unknown16 September 2009 at 20:04

    And thank you once again young lady for your kind comments.

    There was either a book or a film that was entitled: "The Wolves of Willoughby Chase", I think.

    It's a nice place, just off the main Market Rasen to Louth road, just past the racecourse on the opposite side of the road.

    ReplyDelete
  3. Azure Accessories18 September 2009 at 14:00

    Wonderful photo...feels so calming, as though you could almost feel the gentle breeze on the water!

    Cheers

    ReplyDelete
  4. Unknown18 September 2009 at 17:19

    Thank you for your comment.

    I don't know about you, but water has this soothing and calming effect upon the senses. At the same time you seem to be drawn to it (a bit like a magnetic force).

    Glad you like this photo.

    ReplyDelete
  5. jennyfreckles19 September 2009 at 16:30

    I'm surprised by how effective this is in monochrome. I must try more mono experiments.

    ReplyDelete
  6. Unknown19 September 2009 at 17:33

    Well Jenny monochrome film based photography is still pretty effective in my opinion.

    It's how you take the original image, then the work you do in the darkroom that gives you this finished image.

    Nothing stopping you experimenting though.

    ReplyDelete
  7. Kristanna30 September 2009 at 08:49

    I am glad to browse this article.What an awesome monocrome photography here.I have no words to say.Thanks for sharing it.Please share the other like this I am eager to see all this.
    spiele

    ReplyDelete
  8. Unknown15 November 2009 at 12:57

    First and foremost Kristanna sorry for the very late reply to your posting. Thank you for your comments.

    ReplyDelete

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HELLO AND WELCOME

To my Photo Blog,

All my monochrome photography is darkroom produced. This portfolio consists of photographs from several of my projects, assignments, personal and course related work. Some of these monochrome photographic prints are then selectively toned.

Take a look at the slide show, or the popular posts. Click onto some of the many excellent blogs that I have listed in my blog roll. I welcome constructive feedback (post a comment).

Click onto the links in some of my posts which will then take you to the relevant website link where you will be able to find out more about that location, charity or organisation etc featured in the post and which is relevant to that specific image.

Also please click onto my links. Join my blog and my Google + followers. If you would like to know more about any particular photograph or project then please send me an email. My email address is at the foot of this page.

Also from time to time I will post videos that are of interest to me, mainly from my military background.

Yours sincerely

Trevor David Betts BA (Hons)

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TECHNICAL INFORMATION

All the photographs featured on this blog spot were taken on Canon analog 35mm SLR cameras which included: Canon A1, Canon AE1 (non-programme) and Canon T90. The Canon A1 was rendered useless after prolonged exposure to salt spray residue, and the AE1 suffered a malfunction, and one of my T90s just packed up on me during a photographic shoot.

Most of my camera equipment was initially purchased brand new, then as the years have past I have purchased second-hand equipment. But the vast majority of equipment I currently possess is well over twenty years old.

Canon FD lenses used were: 28, and 35mm wide angle, 50mm standard, 35-105mm short telephoto zoom and a 70-210mm large telephoto zoom lenses. Also used was a loaned Mamiya 645 with 50 and 80mm lenses. My favourite combination is a T90 fitted with the 35-105mm lens with an Hoya orange filter. I use Hoya orange, red, neutral density, and skylight filters. Hoya and Canon lens hoods. A Canon remote cable. I have used a great Metz 45 CT-4 flashgun for many years. I used this for the bounced and fill-in flash for some of the documentary and portraiture work.

Studio flash used was Courtenay brolly flash (just two heads fitted with soft boxes) at Hull Community Artworks studio (sadly this excellent local arts facility closed in 2001). Billingham and Tamrac camera bags (the Billingham is a old model that I have had for years - wonderful bags). The Tamrac one is a medium sized back pack type bag. Slik Black Diamond 88, and 500 DX Pro tripods. A Cullmann touring set (which consists of a light tripod, ball and swivel head, all-purpose clamp, suction cap, and a ground spike). I presently have three Canon T90 and one A1 SLR cameras.

Film used was mainly 35mm (with some 120mm). Ilford Delta monochrome negative print film, 100 asa (a few rolls of 400 asa as well). Ilford HP5 and FP4 (400 and 125 asa respectively). Fuji Neopan 400 asa. Various Fuji colour film. Photographic chemicals: Ilford ID-11 and Microphen film developers. Agfa Rodinal fine grain film developer, and Ilford Hypam fixer.

Photographic paper: Ilford Multigrade IV VC paper, Fibre based VC paper including warm and cool tone. Kentmere Velvet Stipple and Art Document papers. Kodak selenium toner. Barclay and Fotospeed sepia toners, and Colorvir blue toner. Durst M60 and Meopta 5 enlargers fitted with 50 and 80mm Schneider lenses. Kenro negative sheets and Jessops negative folders.

Most of my photography involves the use of the camera being securely mounted onto the tripod, with the shutter set to the 10 second delay. I bracket my exposures (relying on the excellent Canon in-camera meter). My aperture settings are usually between F5.6 and F22. In the vast majority of cases the very first exposure I take is usually the correctly exposed one.

Finished photographic prints (spotted if needed). At the 10 x 8 inch size are then scanned on an Epsom 1660 photo perfection scanner using Adope Photoshop CS2 at the 5.5 x 3.5 inch image or canvas size, 150 dpi and at the 750 x 550 pixels size, and saved as for the web. The only thing that is manipulated is the brightness balance and contrast levels.

DON'T FORGET

"It is the soldier, not the minister, who has given us freedom of religion.

It is the soldier, not the lawyer, who has given us the right to fair protest.

It is the soldier, not the politician, who has given us freedom of speech.

It is the soldier, whose coffin is draped by the flag, who allows the protester to burn the flag."

From: "Fighting for Queen and Country,
by Nigel 'Spud' Ely. Blake Publishing London, 2007."