Defection: Apologies to SY and GR

I'm not one to do something without any reason. I may have, in the past, asked many of you to edit your photos before showing them to me [my time is precious, but I really do want to see your photos!], but this time, I am about to step into hypocrisy, or so it seems.

These are all thirty-six exposures from one roll of film, shot entirely in China during my recent travels. They are presented from the first exposure to the last exposure taken in chronological order.

I will now complain of my lack of skills in formatting images for websites, so I will say, this is very basic, and I am working on a way to make this look good. Otherwise, it will just look like a bunch of thumbnails for my images [as it does now], rather than a coherent whole [as it should].

Patience. I'll try not to play around with this set too much - I want to have a record of its progression, hopefully, to better aesthetics.

Does this sound familiar?

Tell me what you see. Pretty please.

I won't ask you to edit your photos ever again.

Why is red such a pretty colour?

This is the 50mm lens.

I'd complained about the quality of the scans before. Now, though, after having not seen the transparencies with a lightbox in a while, this image isn't so bad. I was all set to sharpen, reduce noise, and all that crap in Photoshop. No, I said to my self, correct the levels, and walk away.

No, it could be a better image. I don't have the time to make it beautiful.

Do we really care what it's about, where it's from? It's pretty. The colours work with this site. I like this photo. Reason enough.

What are the hands doing in this photograph?

I'm going to have to rewrite this, when I work out what I want to say. Lin, you're right. It's about colour. Nothing more needs to be said. No drafts need to be rewritten.

Don't tell me it's blurry

I remember thinking to myself, in my head, why am I being so frugal with film? That last one I took wasn't timed right. She'd just turned the other direction as I pressed the shutter. I'll take another.

And after that, I thought I got the shot. [Or I was still being frugal.]

Two exposures. One's super blurry, with the old woman looking away. This one is better, but still blurry. And, she's looking this way. I remember thinking, I don't like taking photos of strangers, especially when it's obvious they're the subject. I was trying to hide the fact that I was taking a photo of her. Camera down. Then, quickly, camera up to my eye, snap, turn, walk away. That's probably the blur right there. Camera shake.

This is to illustrate the canal village I was talking about earlier. Best photo, out of about fifteen, showing actual buildings. [Yeah, I'll probably post more – like I said, I liked this place.]

I know, it's a bit, 'so you wannabe Cartier-Bresson'. Ignore the person, and it's a crappy architectural photograph from my travels. [I've been teaching myself to not look at buildings in elevation any more.]

I so want to be Henri Cartier-Bresson. Charmaine, I'm going to steal your Leica.

Oh well, until next time.

And: Nikon F4; I'm feeling inadequate because I can't tell if it's a 50mm or 35mm lens. Parts of me are saying 50mm, because I would have to be quite close to her to get that framing with a 35mm lens [and I didn't want to alert her to my presence any more than necessary – the 50mm would have given me a bit more distance]. On the other hand, it feels like a 35mm image, as I study it more. I should write these things down. No, it was the 35mm f/2. It must be. Fuji Sensia 100 pushed to 400. I must have been fairly close to her, then. About ten metres away, or less.