Another picture of T.E. in ”clothes that are clearly not his own”.
This is one of only a couple pictures of T.E. in civilian clothes. Perhaps he just didn’t know how to shop/dress himself, having been in uniforms all his life. In The Golden Reign by Clare Sydney Smith, she talks about how Ned planned out his civilian wardrobe ahead of his retirement. It was basically going to be a civilian uniform.
All through autumn we hear a double voice: one says everything is ripe; the other says everything is dying. The paradox is exquisite. We feel what the Japanese call “aware” — an almost untranslatable word meaning something like “beauty tinged with sadness.”
We Grow Accustomed To the Dark.
The Bravest — grope a little –
And sometimes hit a Tree
Directly in the Forehead –
But as they learn to see –
Either the Darkness alters –
Or something in the sight
Adjusts itself to Midnight –
And Life steps almost straight.
A new philosophy, a new way of life is not given for nothing. It has to be paid dearly for and acquired with much patience and great effort.
Hey! So I’ve received a bunch of questions asking how I take my star photos, so I’ve decided to make a post about it.
Basically to get the stars to be vibrant and not washed out, as well as the Milky Way to stand out brightly, you need several factors. Firstly, gear is actually very important in night photography.
As for gear, a good DSLR body, one which is capable of a high ISO without noise is vital. I shoot on 2500-3200 ISO. As for a lens, one which can go super wide, both in focal and in f/stop is just as important. I use a Canon L 20-35mm f/2.8, shot at 25 seconds on f/2.8 at 20mm focal.
When setting up your shot, you want to use the rule of 500. This is basically a simple rule to stop your stars being blurry due to the Earths rotation. Simply divide 500/your focal length. For example, since I shoot at 20mm, I do 500/20 = 25 seconds.
To get your shot in focus, you have two options. One, use your liveview and zoom in 10X on the brightest star you can find. Turn your focus to manual, and fiddle with it till the star is sharp. You’d think it’d be full back, but its not on most lens. Generally infinity is slightly back from full turn. Your other option is to crank the ISO to its highest settings, and take a photo, readjust the focus, and repeat till it’s right.
When planning a photo, location is crucial. I use cleardarksky.com to check weather, cloud clover and astronomical viewing for that night at that specific location. As well, I use the Dark Sky app on my iPhone to see the extent of light pollution surrounding the area I am. Pointing your lens in a direction of a big town, even if its 50+km away will affect your shot.
Finally, know which part of the night sky you’re shooting. For British Columbia during most of the summer, the Milkyway rises due south at approx. 11pm for an average estimate. It varies, but for most purposes that’s all I plan my shot on.
Hope this helps!
I can’t imagine how long this would take with an ISO of 400. Might need some more sensitive film for this one.
The first time I saw Lawrence of Arabia was on VHS with my father in 1995. I was 14 or 15 years old. My parents were divorced so watching films became a father-son bonding experience and we had to watch this because ‘it was one of the greats’. The first thing that struck me was the score by Maurice Jarre. It is the very definition of epic.
I have since come to realise that Lawrence informed the tastes of all the directors who have inspired me. A film like The English Patient, which I deeply love, couldn’t have existed without Lawrence of Arabia and its romantic view of the desert wilderness; how the sun and sand can addle your brain and make you dream in wilder ways.
Peter O’Toole is magnificent in this film and at his most handsome. Though he has an otherworldly grace on screen, what is most interesting for me is what’s going on behind his blue eyes – that piercing intelligence and almost messianic wildness. Here is a man living on the edge. In the scene where Lawrence rides over the Sun’s Anvil in the Nefud desert to rescue his servant Gasim, risking death in the midday sun, there is a close-up of O’Toole’s face and you see this man is crazy, but is being pulled by some superhuman spirit.
The more work I’ve done, the more admiration I have for Lawrence because each set-up takes military precision. War Horse is probably the closest I’ve ever come to making a film like Lawrence. When I rode in the cavalry charge with Benedict Cumberbatch and Patrick Kennedy, there were no visual effects except for the machine gun fire. The Lawrence of Arabia director David Lean was working at a time when there were no computer-generated images. If you watch the camel charge in Lawrence’s Battle of Aqaba (O’Toole actually braved the ride by drinking brandy) there is something so honest about it; the magic depends upon so many different people succeeding at the same time. I still marvel at that scene.