digartal

Yes I understand that IR is not everybody's favourite photography and appreciate that. Initially I used false colour IR but now most images are at a higher spectrum so mainly monochromatic. For me sometimes colour can be a distraction. I think in busy scenes like this it can help to focus more on the individual elements in the scene. Thanks for commenting. Mark

A friend did a workshop with Anne Zahalka a few years ago. Anne current has an exhibition at a local regional gallery. She is a highly successful Australian photographer and this month will have one of her images released as a postage stamp. If you are interested Google search her name. He asked if she wanted to come on one of our regular photographic wanders, and here is a short AV about the day last Wednesday.

A farm owned by the wife of a former Australian deputy prime minister, which I had the pleasure of photographing in infrared. AI was used for the voice-over then edited in PTE.

This is a 7-image stitched panorama at the Amsterdam Canal Cruise Terminal, waiting for the next Hop On Hop Off Cruise boat to arrive. Mark

Yes I think that is a carryover from "DOS" legacy foundation. It used to be limted to 31 characters also from memory but that has now changed. A bit like "space bar" in HTML which is 4 characters in programming from memory. Long time since I re-engineered any programming.

Thanks Alex, lucky to have it on my doorstep not far from home.

There is no doubt the straight dissolve would work well on this very linear/geometric landscape, especially when an O & A zoom/move is used also. Thanks for commenting.

At dawn, the horizon at Sharpes Beach begins to breathe. A thin blade of gold lifts from the Pacific, softening the dark edges of sea and sky. The tide whispers along the sand, and the first surfers drift like silhouettes against a molten path of light. A lone fisherman wanders in quiet witness as morning gathers strength. Mobile phone in hand, I follow the coast's curve toward Flat Rock. The air smells of salt and moss. Waves comb the rocks in rhythmic bursts, perfect for camera and time-lapse footage. Gulls wheel overhead. By the time the sun clears the headland, the day feels newly written. All images and video captured on the mobile phone. I used the recently shared transition by Dirk1503 on some of the images.

Thank you. Great effect, just used it in a show that I was working on from last Friday. Appreciate you sharing Mark

Thank you - glad you liked it. Doing a portrait photo shoot with her on the 23rd.

This is a local waterfall I visited this week with my infrared camera.

An AV I made for Emily Wailes who plays Rachel Lynde in the local theatre company production - Anne Of Green Gables.

Yes, there is a clear distinction between photography and video, but in my view the gap has narrowed considerably in the digital era. This is particularly evident in 360-degree photography, where a single captured image can be reframed in post-production and transformed into a video that reveals multiple angles and perspectives. The boundary between still and moving images is no longer as rigid as it once was. I’m not a recent convert to slideshow photography. I cut my teeth on slide film and analogue AV productions in the late 1980s. Soon after taking up photography, I began creating AVs using dual Kodak Carousel projectors synced to a tape recorder, projecting Fuji Velvia slides. I vividly remember spending long nights marking the tape by hand to cue the advance of the image in a second projector. While I never reached the heights of national or international exhibitions, I regularly entered local city competitions and remained deeply engaged in the craft of audiovisuals. Working in IT sales and service with Compaq during the rise of digital technology, I readily embraced the shift to digital photography. I even spoke at local camera clubs about what I called the “gorilla in the room” or "the snowball rolling down the mountain" - the inevitable transition to digital and what it meant for photographers. A few years ago, I developed an interest in videography through commercial drone projects, and this gradually became part of my personal artistic practice. I’m not especially motivated by narrative or scripted storytelling. Instead, digital AV gives me the flexibility to present my imagery - primarily photography, and at times video - in a moving format that can often more effectively hold a viewer’s attention. I also regularly use a mobile camera and editing apps to create AV presentations. Ultimately, however, what I produce reflects my own subjective perspective. I understand that it may not resonate with everyone. Ciao Mark

Thank you for taking the time to provide such detailed feedback. I appreciate the thought you’ve given to your observations on visual grammar and narrative structure. Your distinction between photographic composition and cinematic flow is an interesting one. I intended to experiment with the tension between dual fisheye 360° travel equirectangular imagery and post-capture motion video, particularly through post-capture proprietary editing techniques and the use of more abrupt zoom transitions within a short, visually arresting piece. I understand that these choices may feel disruptive when viewed through a more traditional cinematic framework. The zoom sequences you referenced was designed to create a moment of spatial disorientation as a transition between scenes before re-establishing context. I acknowledge that a cross-dissolve between each video clip or more gradual transition would have produced a different emotional cadence. While I did incorporate PTE dissolves between the three separate images/video segments, I appreciate your perspective and would consider alternative approaches in a longer, more conventionally cinematic production. More broadly, your critique touches on an enduring artistic tension — the balance between tradition and experimentation. This project was an exploration of how emerging 360° dual-fisheye technology might interact with established visual grammar, rather than strictly adhering to single-lens or classical cinematic conventions. I value constructive dialogue around visual language and would be pleased to share the three source images if you’d like to interpret them in your own style. I’m always open to learning from different approaches and styles. Ciao, Mark

Some mobile images and video from my visit to the The Art of Banksy Brisbane Exhibition: Chapter 2 this week. Amazing mind and artwork.