Photography | alan frost photography

Posts from the ‘Photography’ category

The Church Defender

Church Defender

In time to come it might be quite hard to put a date against this photograph.

The Church in the background, which is dedicated to St Margaret, is in Cley Next the Sea on the North Norfolk coast and was built in the early to mid 1300’s. The vehicle parked on the grass verge is of course a Land Rover, built much later but many are still going strong today. I would guess this is a Series 1 model – which first came into production in 1948 and later became the Land Rover Defender. I am no expert and if anyone can confirm whether or not this is the case then do please comment. An iconic vehicle which went out of production after 68 years, the last one rolled off the line on the 29th January 2016.

I like the timeless quality to this shot. Both the subject and the treatment evoke memories of days past even though it was taken less than two years ago in October 2014.

Cley Next the Sea is arguably best known for its windmill, which can be seen for miles around and overlooks the salt marches of this beautiful but wild part of the English coast. There are links to a couple of earlier posts featuring Cley windmill below.

Last light of the day on Cley Windmill

Cley Windmill – Decisions, decisions

Churches Project no.11 – St Nicholas, Moreton in Dorset

The church of St Nicholas, Moreton in Dorset

According to Christopher Winn in his book ‘I never knew that about England’s Country Churches’, St Nicholas in Moreton Dorset is the only church in the whole world to have all its windows in engraved glass. I have no reason to doubt this fact but whether it is true or not, this building is a true gem. It also happens to be the burial place of St Lawrence of Arabia, so has quite a claim to fame.

The west window

Parts of the church and the original stained glass windows were all destroyed by a German bomber in 1940. It took ten years to rebuild the church and the windows were originally replaced with green glass. The parishioners of this tiny village didn’t warm to this new look and the architect overseeing the work suggested consulting Laurence Whistler, a renowned glass engraver as well as a poet and writer. As a result he was commissioned to redesign the windows.

One of the five windows in the curved apse

The first five engraved windows to be installed were in the curved apse and this work was carried out in 1958. These were designed by Whistler but produced by a commercial firm. All the remaining windows were personally engraved by Whistler and fitted over a period of 30 years between 1955 and 1985. The commissioned work must have cost the church and its donors an absolute fortune but the results are truly spectacular. Many of the windows are engraved on both sides which gives a 3D effect.

The south facing window shown below, is a thing of great beauty whether viewed internally or externally.

A south facing window

The same south facing window from the outside

Detail from the bottom left hand corner of the south facing window

The most controversial engraving is that of a man hanging from a tree with coins spilling from his hand. It depicts Judas, the betrayer of Christ and is only visible from the outside. This section of the window is obscured from the inside by a wall monument. This engraving was not well received by the parishioners initially and was only installed in 2014, some fourteen years after Whisler’s death in 2000. This particular window was donated to the church by Whistler himself so he must have felt rather betrayed that it was not accepted by the church at the time of its presentation. I can quite understand why its macabre depiction of Judas would have caused a very mixed reaction.

Judas – donated by Whistler himself

The church is filled with light and each and every window is full of the most remarkable detail, unlike anything else you will see elsewhere, let alone in a small country church in the lovely county of Dorset.

More detail from the south facing window

Again more detail from the south window

One window is dedicated to Noel Findlay and the words in the right hand pane ‘and his gift of happiness’ have so many meanings in this rather wonderful place of worship.

The lower half of a north facing window in memory of Noel Findlay

To fully appreciate the superb glass engravings do click on any image to open a larger version.

Transient light – the best of both worlds perhaps?

Transition (Blending in photoshop)

This is the third and final entry in series which only serves to highlight the array of choices when it comes processing.

The first entry (Transient light – when only colour will do) showed a relatively straight forward colour image. The second entry posted yesterday (Transient light – when mono works as well) was the black and white conversion and today I have posted this image, which is effectively a mix of the colour and black and white versions. I opened both images in Photoshop with the colour image as the background layer. I then created a separate layer using the mono version which had been previously processed in Silver Efex. I then blended the two layers and reduced the opacity to arrive at the image you see here.

Overlaying the more dramatic and contrasty B&W image has given the original colour version a little more punch in my view. The rain shower has been enhanced and there is more detail in the clouds on the horizon which has added depth. The colour which attracted me to take the shot in the first place has not been lost.

So three versions of one image. Which one is best? I don’t think there is a ‘best’ image; photography or any form of art is very subjective so everyone will have their own personal preference. For me it has been an interesting exercise and will make me stop and think a little more about processing options before I even begin.

Transient light – when mono works as well

One of the joys of blogging are the comments that are made and these are of particular benefit to me when they offer constructive suggestions about an image. Yesterday I posted a colour image called ‘Transition’ in a post entitled ‘Transient light – when only colour will do’. One of the comments I received came from John Dominick, a friend and fellow photographer, who said he would like to see a mono interpretation. This came as something of a surprise to me, as it had never crossed my mind to convert the photo into black and white. Given that I have almost exclusively been working in mono for the last few years, you would have thought it would have been my default approach, and not just dismissed without consideration.

I am therefore very grateful to John for planting this idea in my mind as the mono version (converted in Silver Efex) in my opinion works just as well. It’s a very different image now, there is more drama and atmosphere in the shot but this aspect of black and white photography has always appealed to me.

Having made this second image it has made me think about combining or blending in Photoshop both the colour and black and white versions to see what can be created. This is my task for today and I shall aim to post a third version of ‘Transition’ tomorrow.

I always try and reply to comments and in this example respond to any constructive ideas put forward. Thank you as always for your feedback, it’s most welcome.

Transient light – when only colour will do.

Transition

Photography is painting with light – and that light can be very transient in the landscape. The weather and consequently the light can change in an instant, so to capture these fleeting moments there has to be an element of good fortune.

This image was taken a couple of weeks ago in the beautiful county of Dorset. We were experiencing all types of weather that week; in fact it could be said we had all four seasons in just one day. Bright sunshine followed by clouds and then hail showers, turning the ground white if only for a short time. Hopefully the last blast of winter before the summer truly arrives. At this time of year we also see fields turn yellow as the vibrant colour of the oil seed rape crops burst into life. Combining these two key ingredients is potentially a recipe for some good landscape photography which can only be enjoyed in colour.

When I took this shot I was standing in sunshine, looking back across the rolling hills to the north of the county town of Dorchester. As we returned to our cottage I could see dark shower clouds moving in quickly from the west and as the rain fell on parts of the countryside it was lit by the sun. I quickly parked the car, got out, and walked very briskly to find a suitable position to take a handful of shots. Within a few minutes the special light had gone, but I knew I had captured the transient light and colour of the scene before me.