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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.

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.





Monday, 29 August 2011

WAREHOUSE DOORS

A sepia toned print of some old warehouse doors. A old warehouse on the West Bank of the River Hull. There used to be many of these buildings, but heavy bombing during the Second World War, demolition and modernisation means there are only a handful left now. This building was demolished after an arson attack. There are now modern apartment buildings on this site.

West Bank of the River Hull, Kingston upon Hull, East Yorkshire, England.

From a City & Guilds 9231 Photography Module: Photographing Buildings, 1989-90.

Copyright of all images displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.
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Thursday, 25 August 2011

URBAN DECAY

A old weather-worn and dilapidated store front, in this run-down area of town.

Humber Street, Kingston upon Hull, East Yorkshire, England.

From a personal project about the area, 2007-.

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Saturday, 20 August 2011

WILLOW BARK DETAIL

No this is not an image from my Tree Stories Project. I was just photographing things and places so that I could do some toning with the finished print. This is a Willow Tree blowing in the wind. The sepia toner brings out the detail and tonal depth in the bark.

The Boothferry Road area, Kingston upon Hull, East Yorkshire, England.

From no specific project as such, circa 1990-92.

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Thursday, 18 August 2011

PAINTING THE LINE

A Ship Yard Worker paints the white coloured line that separates the two distinctive colours of the RNLI Humber Lifeboat's hull. During bi-annual Hull and Keel cleaning and repainting in dry dock. Barnacles and other debris that accumulates below the waterline upon the hull and keel can affect the boats speed by up to two knots.

Alexandra Dock, Grimsby, South Humberside, England.

From my In the Wake of the Bow Project, 1994-95.

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Monday, 15 August 2011

ANOTHER MISTY DAY

A lone wooden boat lies stranded upon the beach. A damp, wet and misty morning on the North East Coast. In fact if you want to see a totally different example of this particular image then take a look at my sepia and selenium toned print of the same image that is depicted above. It's the 29th of April 2009 posting on this blog.

Robin Hood's Bay, North Yorkshire, England.

From my The Next Wave Project, 1996-97

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Saturday, 13 August 2011

SHADOWS

A metal support of this structure casts shadows upon the water.

Cleethorpes Pier, North East Lincolnshire, England.

From my The Next Wave Project, 1996-97.

Copyright of all images displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.
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Thursday, 11 August 2011

BRIDGE IN CAR MIRROR

This is a reflection of the Humber Bridge in a car wing mirror. A straight forward monochrome print which was then given a very weak sepia toning.

Hessle Foreshore, North Humberside, England.

From no specific project as such, circa 1989-90.

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Wednesday, 10 August 2011

MODERN TREES

Spotlights illuminate a plot of Silver Birch Trees, one fine evening. It's certainly a different perspective on this project (of mine).

Outside Tate Modern, London, England.

From my Tree Stories Project, 2002-.

Copyright of all images displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.
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Tuesday, 9 August 2011

MAJOR RUST

A slightly under developed print (under the enlarger and then in the dev tray). Which was then given the two-bath sepia toning treatment.

The old rusty metal gate of an oil company installation.

Wincolmlee, Kingston-upon-Hull, East Yorkshire, England.

From my Barriers Project, 1997-98.

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Monday, 8 August 2011

SILOS

A series of white painted metal silos, with overhead floating fluffy white clouds complete the scene. See the post of Saturday 5th September 2009, which features a more close-up detail of one of these structures.

The Bankside area, Kingston-upon-Hull, East Yorkshire, England.

From no specific project as such, 1992.

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Sunday, 7 August 2011

SEA GRASS

Marriam grasses, blow in the wind creating patterns in the sand.

Theddlethorpe, Lincolnshire, England.

From my The Next Wave Project, 1996-97

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Saturday, 6 August 2011

PADLOCKS - A DIFFERENT PERSPECTIVE

Here is another example of how toning can influence the mood and nature of a monochrome photographic print. The top image is a straight-forward photographic print (done in the darkroom). The second is the same print but this time it has been toned with a two bath sepia solution (again in the darkroom).

The sepia toned print reveals more detail (especially in the shadow areas) and I think warms up and increases the overall tonal range of the print. In other words it creates mood and depth.

Old Warehouse door, Kingston-upon-Hull, East Yorkshire, England.

From a City & Guilds 9231 module: Photographing Buildings, 1989.

Copyright of all images displayed upon this blog spot are the exclusive property of Trevor David Betts. All rights reserved.
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Friday, 5 August 2011

FALLEN LEAFS

In a swirling blur of motion, fallen autumnal leafs float past in a canal.

Ripon, North Yorkshire, England.

From my Tree Stories Project, 2002-.

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DIFFERENT CONTRAST

This is basically a negative made from a positive using lith chemicals and lith paper in the darkroom. This is something that I have never really explored that much. Using lith paper and chemicals, then sepia, blue, or gold toning the finished prints reveals terrific results.

Ferensway, Kingston-upon-Hull, East Yorkshire, England.

From a City & Guilds 9231 module: Constructed Images, 1993.

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ONE CERTAIN SUNDAY

Local Army Cadets stand guard near to the Cenotaph, whilst various Veterans stand in ranks. On Remembrance Sunday 1998. You will notice the old former office building in the background. All that has changed with the building of the new Paragon Interchange.

The Cenotaph, Kingston-upon-Hull, East Yorkshire, England.

From my The Normandy Veterans - Lest We Forget Project, 1998-2002.

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Thursday, 4 August 2011

VIEW OF TREE THROUGH GLASS

A tree seen through the glass screen of a bus shelter. One cold and wet winter evening. Various shop windows are reflected. Along with a passing bus.

Prospect Street, Kingston-upon-Hull, East Yorkshire, England.

From my Tree Stories Project, 2003-.

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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."