Well, this is probably not that much of an image, but in a way I like it. It’s a fly screen soaked by rain. Yes, this lens has shallow depth of field and, yes, this lens is sharp. There was the inevitable trace of purple fringing, but of course Lightroom got completely rid of it. I probably should point you to the full size on Flickr, but I don’t have it up yet. It will be on Flickr by the time you read it though. If you want to see the full size without moiré, check out my photostream.
A few days ago I wanted to go swimming in Vienna, but when I arrived in my favorite bath, Gänsehäufel, an island in a backwater of river Danube, rain was imminent.
And so it fell. The island Gänsehäufel is basically a big park full of cottonwood trees and I can remember at least one incident during the last years, when smeone came to death during a thunderstorm, slain by a falling branch.
The Song of the day, “A Little Rain” from Tom Waits’ album “Bone Machine” has already been used in “1098 – A Little Rain“, but that’s been almost five years ago. I guess it is OK to re-use it today
Hear it on YouTube.
This image has been taken more than an hour before sunset. EXIF data says two hours, but that’s only because like every year I forgot to change the camera to daylight saving time. I wonder how long it will take the camera industry to figure out that a camera today is actually a computer and that computers adapt to time switches automatically. Oh well!
I took the image while waiting for the train to Vienna. It had been pouring like mad an hour before and it was still raining. Lights were low and this is a situation where I immediately feel the drawback of the light weight of my latest acquisition, the Panasonic Lumix G Vario 12-32mm 3.5-5.6 ASPH. At 12 mm the maximum aperture is f3.5, but that quickly rises to beyond f5, and using such a slow lens at dusk or even at night feels odd for someone accustomed to using fast primes. But again, lenses always come with trade-offs. Sensor stabilization takes care of the problem for me, allowing me to hold effective 64 mm at 1/4 s. This is not an action shooter’s lens, but for my purposes it is fine.
In general, Saturday was a sunny day, except for the two hours while I was out with the intention of taking photographs. In the end I spent the time shopping and mourning the sun through rain-splashed windows. Naturally, as soon as I was back home, the sun was again up in a clear blue sky. I didn’t let it fool me once more though
This image was taken on Easter Sunday. It is dedicated to a friend as a symbol of life amidst tears.
The Song of the Day is “Spring Came, Rain Fell” by Club 8. Hear it on YouTube.
Last week we had some impressive rain in Vienna. It didn’t last long, but when it lashed against the window of my workplace on the seventh floor, it could get positively scary. Here’s an impression of the window sill, taken through raindrops on the glass, from near, with the aperture wide open and at slow speed. I like the pattern
The Song of the Day is “Every Drop Of Rain” from the David Byrne and Fatboy Slim concept album “Here Lies Love”. Hear it on YouTube.
We had a few cold and very rainy days and what are you supposed to take images of on such a day? Well, one option is to wait until night falls, drive to the next supermarket, stay in the car, let the rain splash on your windshield and take abstract images.
Here I’ve used manual focus and the 45/1.8. Longer lenses give you more options to get abstract, more rain also helps
Today’s three images were taken with my single least-used lens, the Olympus 60/2.8 macro.
It’s not a bad lens, not at all, it’s only that macro photography is not my forté. By all means, I really should sell this lens, pass it on to someone with a passion for macro photography, but then, I always had at least one macro lens, and sometimes they come handy.
Why do I make such an image, you ask? This image is not beautiful, you say?
Yes, yes, you’re right, it ain’t, still I do. It’s not that I don’t have enough “beautiful” material to draw from, it’s more that I sometimes feel an urge to show things “as they are”, another fallacy, but one that’s widely accepted among photographers.
Of course it did look like that and it didn’t at all. This image is restriction of an unbounded reality to the narrow bounds of a square, and it reduces a complex reality to a “yin-and-yang-ness” that the whole situation clearly didn’t have. And then, what is a “whole situation” anyway?