Cheery little subject, this.
In case you have trouble reading it (this one more than most lives and dies by the viewer’s monitor settings, so I imagine a few of you will have trouble (it turns out I certainly did)) the text reads “Nothing lives forever, neither the body nor solid rock. RIP Restless in Perpetuity”
And this is, once again, from the Natural History Museum. In fact just assume that my photos will continue to be from there, until I say otherwise. :)
These are Ammonite clocks. The time they are showing is 65 million years past extinction.
I wish the detail on the top layer there was a little sharper, but I was shooting at highish ISO in low light, and every attempt I’ve made to sharpen it a bit has resulted in the noise level getting correspondingly cranked up.
A dress made out of recycled cans in the V&A (Edit: or as Ade rather more correctly points out, the Science Museum).
The lighting effect (as is probably obvious) is a fake – it’s not spotlit from beneath, that’s my camera’s flash at work, with my fingers across it to produce the big blocks of darkness. Sadly, the little screen on my camera made it quiet hard to make out the fact that I’d still lit a bit on the left of the dress. Serves me right for not using a bit of cardboard. (Not that I had any on me, or I would have.)
The first of a few photos from a Scavenger hunt round The Natural History Museum the other week. I’m posting this one, because a) Doug looks funny in the mirror, and b) I’m really happy with the composition on a techincal level – I think I got quite a nice balance of elements, and they’re all laid out in a manner that feels pleasing and natural.
Sorry, I think I wrenched my arm patting myself on the back there.
The first appearance of cross-processing on this blog. This is a technique where normal colour film is processed with the chemicals that are supposed to be used on slide film, or vice versa. Obviously, I do it with a photoshop filter, but the effect is the same – slightly unreal colours, and a sort of dirty sharpness that plays into the effect I’m after here.
That’s probably all I’ve got from Exit – there are a couple more shots I’m still playing with, but I’m not sure I’m going to be able to make anything of them.
This is a detail from one of Sheone’s larger works, and honestly, I don’t remember how reflective of the larger piece it is – possibly not very, as I was conscious of being very selective with the viewfinder. I honestly have nothing else I can possibly say about this that isn’t going to sound like utter pretension, so I’ll leave it at noting that I’m quite happy with how this turned out.
