UNDERNEATH THE PIER

The Pier in question is "Cromer Pier." With the summer evening tide coming in.

Cromer, Norfolk, England.

From my Traces from along the Edge Project, 2003-.

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

WRITING ON THE WALL

I guess you could call this "Seaside Vandalism." Writing on the wall of a shelter close to the sea front in this monochrome darkroom produced photographic print.

Near the Spa, Scarborough, North Yorkshire, England.

From my Traces from along the Edge Project, 2003-.

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

REMEMBRANCE SERIES TRIPTYCH II

Three monochrome sepia toned photographic prints from my The Remembrance Series Project. The first (top) one features an original letter of commendation to a British Soldier serving in the Second World war, from none other than Field Marshall Montgomery. The second (middle) print features an original rear wheel from a Spitfire. The bottom and final print features an original 1939 issue Gas Rattle.

For more information on this project then please look elsewhere on this blog spot. Just type in "The Remembrance Series," in the search box, just scroll down the page until you come across it.

Hull Community Artworks Studio, Kingston upon Hull, East Yorkshire, England.

From my The Remembrance Series Project, 1999-2001.

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

MONOCHROME THEN BLUE ...

The top photographic print is a straight-forward darkroom produced monochrome print. The second and bottom print is a monochrome photographic print that has been blue toned. Blue toning is a fairly simple process involving just a two bath (tray) process. The first tray (bath) is the blue toning chemical solution and the second bath (tray) is a plain water with salt added to the wash. After this process the print is then properly washed and dried as per a normal print.

You can see the difference to the overall tonal quality and depth that toning brings to a print.

Cleethorpes, South Humberside, England.

From my The Next Wave Project, circa 1996.

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

JOINER

My rather poor attempt at a photographic joiner. Apparently made famous by David Hockney, with his 1970s Polaroid colour snaps of swimming pools and desert highways etc.

This is of a well-known Hull landmark, The Hull Tidal Barrier on the River Hull close to where it joins up with the River Humber at Sammy's Point/Victoria Pier.

The Hull Tidal Barrier, Kingston upon Hull, East Yorkshire, England.

From some experimental photography for a City & Guilds 9231 Photography module (Constructed Images) circa 1993.

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

RIPPLES

"Ripples," after the effect that the sea water has upon the sand of the beach. In the near distance featured here are heavy concrete blocks that were put in position in an effort to limit the damage that high spring tides do to this narrow spit of sand and shingle that reaches out into the Humber Estuary and North Sea for nearly 3 miles from the Holderness countryside.

This particular monochrome print was printed up on Kentmere Velvet Stipple photographic paper.

Spurn point, East Yorkshire, England.

From my Coming at me in Waves Project, 1993-94.

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

STORM DAMAGE

Part of the sea defences, which have taken a battering over time on this isolated part of the East Coast.

Spurn Point, East Yorkshire, England.

From my Coming at me in Waves Project, 1994.

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