SUNDERLAND POINT UNI TRIP
As a kind of prelude to our places brief, we went to visit Sunderland Point with uni. The purpose of this trip was to go and check out a couple of places with the possibility of coming back further into this brief. For me Sunderland Point was a great opportunity to go and look at an area that is steeped in history and a wonderful photographic playground. If we get to come back with uni or not, i now have this place marked down for a couple of personal visits at a later date.
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| Old Sunderland Point map |
http://www.francisfrith.com/sunderland-point/maps/#utmcsr=google.co.uk&utmcmd=referral&utmccn=google.co.uk
I took various images from the day out but i really would need to go back there and take more. We didn't get long enough to fully explore on our own and i would have very much like to have spent the whole day there. It will be great when we get to go back there and spend more time but as a taster of the place its got me excited.
Below is a selection of the images i took on the day.
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| 9 |
THE PLACES BRIEF
There are four study areas within this unit. Each of these will represent an assignment in itself and is intended to provide the breadth of study discussed in the unit background. These are :-
1. A familiar place that is significant or important to you.
2. The City or the Urban Sprawl.
3. Wilderness or Countryside.
4. The "alien" or "foreign" environment.
A broad range of location environments are to be explored. For assessment, you are required to submit a portfolio of 8 images that represent a range of all four study areas plus capture and environment experimentation.
You must include evidence of DSLR use; create and print a range of digital index sheets (that reflect the photographs you have made throughout the assignment). Also provide evidence of image editing processes such as choice selection, refinement of the final edit and tutor involvement. Apply basic image adjustments to the final photographs presented in your portfolio to improve their final quality - Adjustments such as contrast, tonality and colour are acceptable at this stage in the course.
Capture information must be given for all portfolio images, please provide the following; exposure settings, focal length, ISO/film speed, location, Date and Time of capture. Place this information within the assignment portfolio, making sure the assessor can easily recognize which information belongs to each photograph in the portfolio.
RESEARCH ADVICE
It is necessary for students to recognize the importance of research skills and research evaluation for each and every practical assignment in the FD program - it should form the foundation of the entire project work produced. Consult your reading list for as a starting point but also listen carefully during lectures and tutorials for other areas of research that will increase your knowledge of the subject area. Research for this assignment can be broken down roughly into three sections.
1. Technical - such as camera, lens and media types.
2. Contextual - photographers, artists, contemporary/historical themes.
3. Assignment - Accessible locations, genre studies, unit requirements etc.
Added to this are the notes you will make as a natural response to project work (lists, plans, intentions, evaluations etc ) - these can often play an invaluable role in describing your efforts to the assessor of the unit.
There was then a list of photographers that could be interesting to this brief that we could go away and research. I have listed some of them from the brief notes below.
Ansel Adams, John Blakemore, Edward Weston, Walker Evans, Dorothea Lange, Rene Burri, Fay Godwin, John Davies, Kevin Cummins, Sebastiao SSalgado, Charlie Waite, Ian Beesley, Mark Power, Simon Norfolk, Robert Frank, Susan Lipper, Lewis Baltz, Robert Adams, William Eggleston, Lee Friedlander, Ian MacDonald, Willie Doherty, Martin Parr, Paul Graham, and Dan Holdsworth.
I will probably use my name dropping page on this Blog also to tie in with this brief, as this is the place i usually jot down any photographer i come across that i haven't heard of before, or that i find interesting.
So that was the brief in a nutshell but it can be broken down in simpler terms to
1. YOUR PLACE.
2. CITY.
3. RURAL
4. ALIEN
Take 8 images in any variation from the above.
Places can involve:-
Landscape
Documentary
Photojournalism
Fine Art
Macro/Abstract
Architectural
Interiors
Richard gave us two important tips for this brief and they were:-
1. Details are an important part of the landscape (keep this in mind).
2. Try out different variations on the same theme or image, don't just take one shot from one angle.
There will also be four trips/days out with uni to tie in with this brief. Photographs taken on these trips could be used in our final presentations though this is not compulsory.
1. Trip one would be to Liverpool and Thornby.
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| Liverpool 1 |
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| Liverpool 2 |
2. Trip two would take us to the Forrest Of Bowland.
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| Map Of Bowland Area |
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| Bowland |
http://www.forestofbowland.com/discover
3. On trip three we will be going to Blackpool and Fleetwood.
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| Blackpool 1 |
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| Blackpool 2 |
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| Blackpool 3 |
4. The last trip will take us to the Lakes and for this we would need to set off very early in the morning.
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| The Lakes |
http://www.thesun.co.uk/sol/homepage/travel/2919006/Holiday-News-Visit-Lake-District-for-Lakes-Alive-illumination-of-Hadrians-Wall.html
FILM FORMATS AND CAMERA TYPES.
In today's lesson we looked at:-
1. Types of camera's
2. The benifits of different Film Formats (Aspect Ratio's Etc)
The we were told that we would be going through Light meters and how to use them in the next session.
Hands on session.
1. Types of camera.
Pinhole Camera
First of all we looked at pinhole camera's and how they work and what they could bring to a landscape type image. We made some of these in the first semester at uni and it was fun going back to basics to make these. Richard told us of how he used a black bin to make one when he was studying, when he was younger. I will put the image below, of my first pinhole camera from uni.
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| My Pinhole Camera Image. |
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| How To Book On Pinhole Camera's |
http://www.tower.com/details/review.cfm?wapi=115342956
http://www.thepinholecamera.com/blog.cfm
You can make a pinhole camera out of almost any object and if you trawl the internet you come across stories of people that have made them from cars, hotel rooms, books and even Lego.
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| Lego Pinhole Camera |
http://www.monster-munch.com/category/how-to/page/2/
Bartosz Koszowski
Bartosz is a photographer that has used pinhole cameras in some of his landscape images. The images he has managed to produce are stunning and it goes to show just how much this camera could bring to our places brief if we decide to go down this route with a couple of our images.
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| Bartosz Koszowski Pinhole Landscape. |
http://www.bartoszkoszowski.com/
Also of note on the subject of pinhole camera's is the new Ilford pinhole camera kit.
http://www.ilfordphoto.com/home.asp
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| Pinhole Kit Image 1 |
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| Pinhole Kit Image 2 |
"Cameras are just boxes that control amounts of light" Richard Peregrine.
Mamiya RZ67
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| Mamiya RZ67 |
This is known as a medium format camera and is very good at getting in close and sharp. It has the downside though of being very cumbersome and heavy. Its a "professional" camera and has been used by people like Annie Leibovitz for portrait photography.
Michael Kenna
We had a quick look at Michael Kenna's work via his website, which i have linked below.
http://www.michaelkenna.net/index2.php
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| Michael Kenna 1 |
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| Michael Kenna 2 |
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| Micheal Kenna 3 |
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| Michael Kenna 4 |
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| Michael Kenna 5 |
You can gain different film sizes from the same roll of 120 film and these can include :-
6x41/4
6x6
6x7
6x8
6x9
6x17
And so on.
Different size images can be used for different types of photography and by different cameras.
Holga
The Holga is also known as a toy camera. It is a cheaply made plastic medium format camera that uses 120 film roll and can be bought now for next to nothing. The images that this camera produces tends to have distortions and vignetting. There are many models of this camera still in use today and it has gained something of a cult following.
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| The Type of Image The Holga Produces. |
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| Holga Image 1 |
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| Holga Image 2 |
https://www.proudonline.co.uk/photographer-Steve-Double_644.aspx
http://www.bbc.co.uk/blast/editorial/what_is_portraiture_with_steve_double/153506
http://www.double-whammy.com/
Seagull Camera.
This kind of camera is a very good camera to use for candid and street photography. You can turn the camera upside down or use it round corners, a little bit like a periscope. As the photographer is looking down, images can be taken without the knowledge of the subject, it is very discreet.
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| Seagull Camera. |
I also found the Seagull website and you can still buy lots of old style cameras from there.
http://www.camerachina.com/productxx.asp?id=1604
This kind of camera can sometimes produce something called a Parallax Error and i have found an image below that best visually describes this and a link to the website i found it on.
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| Parallax Error |
Cambo Explorer
This kind of camera is known as a large format camera and uses film plates. The image quality from this camera is exceptional. This camera is very good at correcting perspective due to its tilt/shift front end and is the basis for the tilt and shift lenses that are around today particularly the lens baby series. Though nowadays we can do this kind of thing in Photoshop.
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| Cambo Explorer. |
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| Converging Verticals. |
http://www.photographycourses.biz/converging_verticals.html
The last couple of image below were taken from Google images and just really are on here to show off the tilt and shift look that you can achieve with certain lenses.
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| Tilt And Shift 1 |
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| Tilt And Shift 2 |
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| Tilt And Shift 3 |
LIGHT METERING
Today we looked at and discussed classic light metering. As technology has improved so has the metering within our DSLRs. This makes image making a relatively easy process for the modern photographer.
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| Modern DSLr Nikon D700. |
Within the camera settings there are various ways of metering light. I have found an excellent video on Youtube explaining this on a Nikon camera but the music needs to be turned off as it is awful and distracting.
http://www.youtube.com/watch?v=YRIvxSIQZLs
I use a Nikon D7000 and it has three different types of ways to meter light.
1. Matrix metering.
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| Matrix Metering Symbol |
There are characteristics for many thousands of images stored in the camera. These characteristics are used—along with proprietary Nikon software and complex evaluative computations—to analyze the image that appears in your Viewfinder. The meter is then set to provide very accurate exposures for the majority of your images.
A simple example of this might be a picture where the horizon runs through the middle of the image. The sky above is bright and the earth below is much dimmer. By evaluating this image and comparing it to hundreds of similar images in the camera's database, an exposure setting is automatically input for you.
The Matrix meter examines four critical areas of each picture. It compares the levels of brightness in various parts of the scene to determine the total range of exposure values. It then notices the color of the subject and its surroundings. If you are using a G or D CPU lens, it also determines how far away your lens is focused so that it can figure the distance to your subject. Finally, it looks at the compositional elements of the subject.
Once it has all that information, it compares your image to tens of thousands of image characteristics in its image database, makes complex evaluations, and comes up with a meter value that is usually right on the money, even in complex lighting situations.
A simple example of this might be a picture where the horizon runs through the middle of the image. The sky above is bright and the earth below is much dimmer. By evaluating this image and comparing it to hundreds of similar images in the camera's database, an exposure setting is automatically input for you.
The Matrix meter examines four critical areas of each picture. It compares the levels of brightness in various parts of the scene to determine the total range of exposure values. It then notices the color of the subject and its surroundings. If you are using a G or D CPU lens, it also determines how far away your lens is focused so that it can figure the distance to your subject. Finally, it looks at the compositional elements of the subject.
Once it has all that information, it compares your image to tens of thousands of image characteristics in its image database, makes complex evaluations, and comes up with a meter value that is usually right on the money, even in complex lighting situations.
2. Center weighted metering
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| Center-Weighted Symbol. |
The Center-weighted meter examines the entire frame, but concentrates most of the metering in an small circle in the middle of the frame. If you'd like, you can make the circle as small as 6mm or as large as 13mm (may vary with some Nikons). Let’s examine the Center-weighted meter more closely.
Using the Custom setting b Metering/exposure called something similar to Center-weighted area, you can change the size of the circle where the camera concentrates the meter reading. If you'd like, you can even completely eliminate the circle and use the entire Viewfinder frame as a basic averaging meter.
As mentioned previously, the circle in your Viewfinder is normally 8mm. However, by using the Custom setting b - Center-weighted area, you can adjust this size to one of the following (may vary with different Nikons):
Using the Custom setting b Metering/exposure called something similar to Center-weighted area, you can change the size of the circle where the camera concentrates the meter reading. If you'd like, you can even completely eliminate the circle and use the entire Viewfinder frame as a basic averaging meter.
As mentioned previously, the circle in your Viewfinder is normally 8mm. However, by using the Custom setting b - Center-weighted area, you can adjust this size to one of the following (may vary with different Nikons):
- 6mm (.24 inch)
- 8mm (.32 inch)
- 10mm (.39 inch)
- 13mm (.51 inch)
- Avg – Entire Frame
The Center-weighted meter is a pretty simple concept. The part of your subject that's in the center of your camera's Viewfinder influences the meter more than the parts closer to the edges of the frame.
Where's the Circle?
You can't see any indication of a circle in the Viewfinder, so you'll have to imagine one.
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| Figure 3 – Series of imaginary red circles in the viewfinder and averaging full frame |
Here's how (see figure 3): Locate your current AF point in the middle of your Viewfinder. The length of the little rectangle you see is about 2 or 3mm (.10–.12 inch) in size. If you imagine about three of these little rectangles side-by-side, that's about the same size as the default 8mm circle, which at .32 inches is about 1/3 of an inch. The 13mm maximum size circle, at .51 inches, is about 1/2 inch wide.
Primarily, just remember that the center area of the Viewfinder provides the most important metering area and you'll do fine. For information on fine-tuning Center-weighted metering, refer to the section titled “Fine Tune Optimal Exposure – Custom Setting b6” in chapter 4, Custom Setting Menu.
What about the Averaging Meter?
If you set your meter to Avg in Custom setting b Metering/exposure > Center-weighted area (full averaging), the light values of the entire Viewfinder are averaged to arrive at an exposure value. No particular area of the frame is assigned any greater importance (figure 3, image 5).
This is a little bit like Matrix metering, but without the extra smarts. In fact, on several test subjects, I got remarkably similar meter readings from Avg and Matrix. Matrix should do better in difficult lighting situations, since it has a database of image characteristics to compare with your current image, and it looks at color, distance, and where your subject is located in the frame.
3. Spot Metering.
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| Spot Metering Symbol. |
The Spot meter consists of a 3mm circle surrounding the currently active AF point (figure 4B). The Spot meter evaluates only 2 or 3 percent of the frame, so it is indeed a "spot" meter. Since the spot surrounds the currently active AF point, you can move the Spot meter around the Viewfinder within the AF points in your camera’s viewfinder.
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| FIG 4B – Viewfinder view of the 3mm spot in a Nikon D300S |
In fact, you can use your Spot meter to determine an approximate range of light values in the entire image. You can do this by metering the lightest spot in the frame and the darkest spot. If this value exceeds 5 or 6 stops difference in light level, you've got to decide which part of your subject is most important to you and meter only for that part. Something is going to blow out.
On an overcast day, you can usually get by with no compensation since the range of light values is often within the recording capability of the sensor. On a bright sunny day, the range of light exceeds what your sensor can record by as much as two times. This range can often be as large as 12 stops total, while your sensor can only record a maximum of 6 or 7 stops!
Don't let the numbers make you nervous. Just remember that spot metering is often a trade-off. You trade the ability of the camera's multiple "averaging" skills to generally get the correct exposure throughout the frame, for the highly specific ability to ensure a certain portion of an image is "spot-on". The choice is yours, depending on the shooting situation.
If you spot-meter the face of a person standing in the sun, the shadows around that person will contain little or no data. The shadows will often come out as solid black in the final image. If you spot-meter for the shadows instead, the person's face is likely to blow out to solid white. We'll discuss this in more detail in a later section of this chapter when we explore the Histogram.
Use your Spot meter to get specific meter readings of small areas on and around your subject, make some exposure decisions yourself, and your subject should be well exposed. Just remember that the Spot meter evaluates only for the small area that it sees, so it cannot adjust the camera for anything except that one tiny area. Spot metering requires some practice to learn how to use it well, but it is a very powerful tool to balance exposure values in your images.
All of the above images and text were taken from the excellent website below which i find a great resource for Nikon camera users.
In its most basic form regulating light is or was done when entering the film into the camera. This became known as the sunny 16 rule. Also known as the sunny f16 rule.
There are various images regarding this that i have shown below along with a brief description of this rule.
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| Sunny 16 Image 1 |
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| Sunny 16 Image 2 |
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| Sunny 16 Chart. |
So as an explanation for these images we need to break it down into two very simple steps.
1. If using film then load it into the camera and set the shutter speed based upon the film speed. Or if using digital set the ISO and then set the appropriate shutter speed.
2. Set the Aperture. F16 is for sunny days and below is a quick reference of what to use when varying conditions apply.
F/16 Sunny
F/11 Slightly Overcast
F/8 Overcast
F/5.6 Heavily Overcast
F/4 Sunset
It must be noted that this is just a general rule of thumb and is not always perfect, but it is still a very good way of accessing light and camera settings.
Correct exposure requires measuring the light level at a set level (film speed, brightness or ISO).
. Aperture.
. Shutter.
Both of the above are set to let the optimum amount of light into the camera.
eg. F16 @ 1/125 second.
The above will let the same amount of light into the camera as:-
F8 @ 1/500 second.
F11 @ 1/250 second.
F22 @ 1/60 second.
F32 @ 1/30 second.
Lightmeters.
There are various brands in light meter manufacturers. Though the most well known are possibly those made by:-
I have an old Western Euro MASTER II which i have taken a photograph below.
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| My Light Meter. |
When metering light first of all we must first set up a benchmark by entering or setting the ISO. Decide which method of light metering you will use and then press to take the reading. And finally change the aperture and shutter speed.
There are two main types of light meter reading and these are REFLECTED or INCIDENT.
Reflected reading measures the light given off the subject and is taken by pointing the meter at the subject with no invercone fitted.
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| Reflected Light Metering. |
This kind of light metering is good for:-
1.Black and white or colour on overcast days.
2. Average tone subjects.
3. Landscape (point away from the sky).
Incident light meter reading is used to measure light falling onto the subject and is taken with the invercone fitted.
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| Incident Light Metering |
This kind of light metering is good for:-
1. Transparency film used for accurate readings.
2. High contrast subject and conditions.
3. Portraits.
Grey card.
This method can produce really high and accurate readings.
- Use an 18% grey or mid tone grey card.
- Place this in the subject area with light reflected from it (not in shadow).
- Don't use an invercone or better still use the spot meter within your camera or a spot meter attachment.
This is good for high accuracy readings especially when using medium format or large format cameras or film where accuracy is important to form a correct negative or transparency.
Flash metering.
Then we looked at flash meter reading using a Sekonic 308.
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| Sekonic 308 |
These are what we use at uni so we then had a hands on session in the studio with Richard. He went through how to use them and how there are two main methods of using flash metering. We all had to be able to use then and he went through all the menus and what all the symbols meant in the Sekonic interface.
The two methods were as follows:-
1.Open flash with no cable. The symbol is the flash sign. Take an incident reading after switching meter to ‘read’, then trigger the flash unit.
2.Cable flash. The symbol for this is flash sign + C. Connect the flash unit by cable to the meter, take an incident reading.
LIVERPOOL UNI TRIP
Stanley Dock.
Today was a great day out with uni. There was about fourteen of us that went on the trip to Liverpool, in the uni mini bus. We made three stops during the day and the first drop off was to the old docks. The dock now has a grade 2 listed status and is known as Stanley Dock Conservation Area, though much of the site is very much derelict. There is the old Stanley dock Tobacco warehouse where they used to store around 70,000 hogshead of tobacco in its peak.
"On the south side there are a number of later bridges linking to the south Warehouse. The area between The Tobacco Warehouse and South Stanley Warehouse is known locally as "Pneumonia Alley" because it is almost always in shade and often acts as a wind tunnel."The above text was taken from the website listed below and is just a bit of interesting information about the area.
http://www.liverpoolworldheritage.com/visitingthewhs/areas/stanleydock/tobaccowarehouse.asp
I took a few images from this area and really enjoyed walking around and having a look at the old buildings and dock.
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| Stanley Dock 1. |
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| Stanley Dock 2. |
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| Stanley Dock 3. |
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| Stanley Dock 4. |
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| Stanley Dock 5. |
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| Stanley Dock 6. |
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| Stanley Dock 7. |
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| Stanley Dock 8. |
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| Stanley Dock 9. |
These were all taken from within the area of the old Tobacco buildings and show just how run down that the area has become. We then walked around the area and looked at other parts of the dock and its surrounding area.
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| Victoria Tower Dockers Clock. |
This clock is known as Victoria Tower and was constructed between 1847-1848. It is unusual in that it is a six sided clock. It is often referred to as the "Dockers Clock" and was built so that it could be seen from almost any angle and to aid sea workers and the ships using the docks.
http://www.360cities.net/image/victoria-tower-dockers-clock-liverpool-england#277.40,0.00,60.0
Below are a couple more images i took from within this area.
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| Victoria Tower View 2. |
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| Old Dock Building. |
Crosby Beach.
This three mile stretch of beach is now most probably famous for Antony Gormley's art piece called "Another Place". The work spans three kilometers along the beach front and around one kilometer out to sea. It consists of 100 cast figures spaced out along the sea front and of interesting not is the fact that the figures were cast off the artists body.
"The work is seen as a poetic response to the individual and universal sentiments associated with emigration - sadness at leaving, but the hope of a new future in another place."Quote taken from the website below.
http://www.sefton.gov.uk/default.aspx?page=6216
Along with everybody else i ended up taking lots of photographs of theses figures, most likely as it was the first time that i had seen them. It was a fantastic experience and as a work of art it really works by firing up your emotions.They made me pensive, sad and gave me a feeling of loss like i was watching someone say goodbye.
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| Antony Gormley's Another Place 1 |
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| Antony Gormley's Another Place 2 |
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| Antony Gormley's Another Place 3 |
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| Antony Gormley's Another Place 4 |
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| Antony Gormley's Another Place 5 |
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| Antony Gormley's Another Place 6 |
The last stop off point was further down the beach to the area of Crosby beach that has lots of sand dunes and the weather held good all day despite the rain when we set off. This area was a little barren compared to the rest of the day though there were lots of interesting little details to take photographs of. Everyone went off at the start and then seemed to meet up on the beach a little later on. I took quite a few images of close up textures and a couple of landscape type images from this stop off. The first set are just close ups or textures that interested me.
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| Close Up/Texture 1 |
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| Close Up/Texture 2 |
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| Close Up/Texture 3 |
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| Close Up/Texture 4 |
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| Close Up/Texture 5 |
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| Close Up/Texture 6 |
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| Close Up/Texture 7 |
The last set of images were more on the traditional landscape theme. Altogether it was a really good experience and a good way to help with pushing our photography skills.
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| The Dunes 1 |
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| The Dunes 2 |
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| The Dunes 3 |
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| The Dunes 4 |
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| The dunes 5 |
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| The Dunes 6 |
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| The Dunes 7 |
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| The Dunes 8 |
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| The Dunes 9 |
BOWLAND DAY TRIP.
Today we went to areas in and around the Trough Of Bowland.
The first drop off point.
The second drop off point.
The third drop off point.
The last drop off point.
Altogether it was a brilliant trip out. Going places that you have not been before is great as you look at things in new surroundings with a keen eye and a genuine interest because of its unfamiliarity. I will definitely be going back to this area as some of the places we visited were a photographers dream, very picturesque and easily accessible. The weather that day also was of note as the mist on the hills made for very interesting backgrounds to our images.
RANDOM LANDSCAPE IMAGES TAKEN WHILST SCOUTING LOCATIONS.
These next set of images are just a few images taken from around my local area. I have been out trying to check different areas and find places i can come back to to take some final images for this brief.
I am still not sure what kind of images i am going to submit for this brief but its been fun going round and looking at different types of landscape.
I have just been out today again looking for more urban landscape photographs and have taken a couple in Todmorden. I have now put these into a set along with some other images from Padiham and in Burnley as all these images could work together in a set.
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| Burnley a |
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| Burnley b |
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| Padiham a |
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| Padiham b |
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| Padiham c |
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| Todmorden a |
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| Todmorden b |
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| Todmorden c |
THE FINAL SET OF IMAGES
A FAMILIAR PLACE
To me this was the easiest of my places images to capture as i had an idea straight away for what i wanted the image to be about and of where it was to be taken. The setting for this image is from a place i used to visit regular when i was a child. The place is the Copice in Accrington, it is a hill with a fantastic view of Accrington town centre and its surrounding neighbourhood. When i went up to take the photograph i was quite lucky as there was not many people about except for a couple sat near the edge of the copice looking out at the fantastic view. I approached them and asked if they minded if i took a photograph of them looking out at the view. They did not mind and the resulting image i think really adds to a sense of wonder with the couple looking into the distance.
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| A Familiar Place. |
THE CITY OR THE URBAN SPRAWL
The next set of images has turned into a project all unto itself now. Whilst visiting different local areas i noticed a lot of wasteland in front of terraced houses where old factories have been pulled down. These have then been used as a dumping ground by various people and now the view from these houses is just an utter eyesore. I really feel the plight of the people having to live with these kinds of views in their lives every day and that is why i have begun to start a separate project just based around this theme, as i think more people need to be aware of these areas.
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| urban 1 |
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| Urban 2 |
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| Urban 3 |
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| Urban 4 |
WILDERNESS OR COUNTRYSIDE
The next two images were taken whilst on one of the trips with uni. They are from the Bowland trip and i just liked the composition of the next two images. They seem really at odds when placed next to the last set of images but i really liked these all the same.
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| Rural 1 |
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| Rural 2 |
THE "ALIEN" OR "FOREIGN" ENVIRONMENT
For my last two images i thought that i would go down a completely different route to what was possibly expected. I remebered something that Richard had told us back on the second trip to Liverpool. He had mentioned that sometimes we should not forget about the small details when we look at the landscape. This struck a cord with me and i picked up on it when taking some of my images when we went to Liverpool. I have never been to this part of Liverpool before so this was a completely alien enviroment to me.
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| Alien 1 |
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| Alien 2 |
