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COPYRIGHT NOTICE

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.

A POLITE REMINDER

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.




Saturday, 25 July 2009

OLD GANG SMELT MILL (No.2)

A view of this industrial heritage site which is located in the Yorkshire Dales. Arkengarthdale, North Yorkshire, England.

From no specific project as such, 2008.

Copyright of all images and work featured on this blog spot are the exclusive property of Trevor David Betts. All rights reserved.

Friday, 24 July 2009

TIDE PATTERNS

A lone bird feather sits upon the sand and water, which has been patterned this way by the tide.
Cleethorpes, Lincolnshire, England.

From The Next Wave Project, 1996-98.

Copyright of all images and work depicted upon this blog spot is the exclusive property of Trevor David Betts. All rights reserved.

Sunday, 19 July 2009

1939 ISSUE

A still-life study, shot in the studio. Consisting of a loaned original 1939 issue Air Raid Precautions gas rattle with yellow tulips. Lit only by candle light.

From the Remembrance Series Project, 2000-01.

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

PROJECTS: TRACES FROM ALONG THE EDGE

This project is a continuation and an expansion on The Next Wave project. About the East Coast of England. I have always being interested in the environment of the coast from an early age, taking holidays in locations such as Bridlington, Skegness and Withernsea.

The British seaside has seen many changes since it's conception during the industrial revolution and victorian era. The advent of the railways meant the coast was more accessible to the working class masses. Then with the explosion in cheap foreign travel and the budget airlines proved to be a potential nail in the coffin of the British seaside resort. However it would seem that there is a noticeable increase in people taking holidays in this country recently due to the global economic downturn.

This project concentrates upon locations as far North as Berwick-on-Tweed in Northumberland to Southend-on-sea in Essex. A large area of coast to cover actually, which includes Northumberland, Durham, Cleveland, North Yorkshire, East Yorkshire, Lincolnshire, Norfolk, Suffolk and Essex. It is a mixture of documentary, still-life and landscape, shot as usual in monochrome.

Locations visited thus far include: Lindisfarne, Bamburgh, Seahouses, Craster, Alnmouth, Redcar, Saltburn-by-the-Sea, Staithes, Sandsend, Robin Hood's Bay, Runswick, Skipsea, Scarborough, Whitby, Filey, Bridlington, Fraisthorpe, Hornsea, Kilnsea, Spurn Point, Cleethorpes, Donna Nook, Saltfleet, Anderby Creek, Mablethorpe, Gibraltar Point, Hunstanton, Brancaster, Wells-next-the Sea, Sheringham, Cromer, Overstrand, Sea Palling, Winterton-on-Sea, Great Yarmouth, Aldeburgh, Southwold, Dunwich, Orford, Felixstowe and many more.

It is intended that locations that are very rarely heard of, or featured in any projects are visited, documented and included in this project. Due to various reasons not to mention the sheer distance involved this project is a rolling one which will last for a number of years. At completion it is hoped to have an exhibition touring programme.

To date it has being very enjoyable and on the whole the weather has being very kind from a photography perspective. But there is still plenty more to do.

Thursday, 16 July 2009

REFLECTIONS

The late afternoon sun casts shadows from this wooden picket fence onto the water. Near Ollerton, Nottinghamshire, England.

From The Tree Stories Project, 2003-.

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

Sunday, 12 July 2009

THE SPA

Plenty of shape, shadow and form in this image. Which features part of the exterior wall of the newly refurbished Spa Pavillion. Bridlington, East Yorkshire, England.

From the Traces from along the Edge Project, 2006-.

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

Friday, 10 July 2009

FOOTBRIDGE TO THE DEEP

A early winter's evening shot of a footbridge that leads across the River Hull to the Deep subaquarium at Sammy's Point. Kingston upon Hull, East Yorkshire, England.

From a project about urban nocturnal photography, 2007-.

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

Sunday, 5 July 2009

EMPLACEMENT REMAINS

The heavy concrete and iron remains of a circa WWII gun emplacement now rest upon the beach (this is the central turntable that the gun turret rested on). Yet another victim of coastal erosion along the East Coast. Kilnsea, East Yorkshire, England.

From the Traces from along the Edge Project, 2006-.

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

Saturday, 4 July 2009

DRYPOOL BRIDGE

An early winter's evening shot of one of the several bridges that span the River Hull. This one is Drypool Bridge. Kingston upon Hull, East Yorkshire, England.

From a project about nocturnal urban photography, 2007-.

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

Friday, 3 July 2009

PROJECTS: THE REMEMBRANCE SERIES

This project came about back in 2000, after one of my tutors at Bradford College mentioned something in conversation about photographing "The flowers of Pachendale". So I started this project for the final assignment of my Higher National Diploma (Design) Photography course.

I placed an advert in the local media requesting the loan and use of certain items of war memorabilia. I had an excellent response and I was loaned: photographs, medals, the rear wheel of a spitfire, a gas rattle, helmet, ammunition boxes and many other useful items.

After doing detailed research into the history of specific species of flowers and their link with the act of remembrance. I constructed a wooden base for use as a sandpit. The relevant materials were purchased and I used the studio facilities at Hull Community Artworks (a local community arts resource centre).

After deciding upon and drawing up a list of flowers that I knew I could purchase locally. I set about photographing these selected flowers alongside the various loaned items in the sandpit. The sandpit was meant to represent the sands of beaches where allied troops landed, such as Normandy and Sicily etc.

I used the camera mounted on a tripod with two Courtenay brolly flash heads. The finished project then went on display at The Design Centre in Bradford, West Yorkshire, England. Other exhibition venues followed.

This project was very enjoyable and interesting to do and work upon. I learned a great deal about the link and symbolism between specific species of flowers and the act of remembrance. I also learned more about the practical side of studio photography.

TILES AND SHADOWS

A beach hut in the shape of a giant glass of gin and tonic, complete with hundred's of mirror tiles is depicted in this photo, complete with the shadow of a nearby wooden fence. Mablethorpe, Lincolnshire, England.

From the Traces from along the Edge Project, 2006-.

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

SLIDE SHOW

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.
"