That meant work, to say it just the way it is. Work for all of us, and especially the guys involved in the cleaning-up-the-mess part of the thing. I mean 600 litres of hydraulic oil spilled out over the flooring down in a half-wide crane winch room is actually something.
It's actually something to be down there sliding around working with fault finding as well, as a bunch of other guys trying to clean up the goo...
So that made it one of those days, as you might understand.
Everything is fine now, by the way. Crane working again and all that.
Nah... don't look for sharpness or anything in here! It's a handheld snap from in the middle of a dark and cold night in Nigg, Scotland a while ago. Don't remember the exposure time here and now, but it was rather long. Half or a quarter of a sec, maybe?! It's kind of cool though. Graphic and B&W and all lines. A work of art, sort of... the scaffolding, I mean.
It was done on the M3 with the Cron 35 lens more or less wide open I would guess. Could be Kentmere 400 film for all I know.
I've been looking a lot at images recently. Not my own, mind you, but a lot of other peoples snaps from all over the world. From all the way up as far north as you possibly can get in northern Norway via Northern Ireland, and then from the Portraits of the Fanks of the Outer Hebrides over to the old Soviet era shadowy stuff of Alexey Titarenko. Add to all this the most fantastic series of grainy snaps made by the talented norwegian recident italian Andrea, from his trip on the Trans Siberian Railroad (part I, II, III and IV and please take your time and have a good look...) and further over to more modern street style done over in Korea by a mixed media and very talented dude over there, before heading back home to me and myself again.
Makes you overwhelmed and start wondering why on earth I even bother to produce something of my own. That's what they do, all these great photographers scattered around in almost every corner of the world. They simply makes you wonder if it's even worth the effort.
Well. One just have to think that maybe there's a tiny little possibility that one or two of them might get something out of my snaps from my locations as well at some point. You never know, actually.
Like the two in this post, for a start...
This might be sharp if you start to really look into the matters. Sharpness is not the important thing here either, as this one's all windows and roof and contrast, and some negative space. I sort of like it, just so you know. And it was done on the Mamiya RZ67 kind of thing with the 50mm lens attached. A bit wide, but not seriously wild wide, kind of. HP5 I think.