Greg Molyneux Photography

Tag: sepia

  • Fractured

    Fractured

    Two inch thick ice sheets fold, collide, and crack creating fractal patterns floating atop Great Bay. Photographed at 35mm and processed in monochrome sepia.
    Fractured — 35mm | f/5.6 | ISO 100 | EXP 1/20

    Like the good keyboard warrior I have tried not to be, I came to the came to the computer tonight ready to pop off on our accelerating societal decline. Then I remembered I am a photographer, not a writer, and this photograph reflects the sad state of affairs far better than my forced words. 

    All day disqueit asking what can I do? I have little clue, but I am grown disgusted the cowards stance I’ve limply taken that’s long been thinly covered in silence. A passivity that can be seen as at best, aloof and neutral, but at worst complicit. What I will do is pledge further introspection into my own blindspots, weaknesses, limitations, and fear to speak out on the things I find righteously wrong. This self-improvement is solely in my control. I can also lend my photographs and my words to advocate for love, respect, and the personal dignity of all people and do my best to model that behavior. Lead from the front otherwise get out of the way.

    And now if you’ll excuse me I will be busy regrowing my spine. Thanks for reading, and go give somebody a hug and ask yourself, what can I do? Let’s lift each other up. Let’s be better together.

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  • Walled Off

    Walled Off

    35mm sepia photograph of an old wooden structure marked by leading lines, knotted wood, and a rusted iron locking loop.
    Walled Off — 35mm | f/1.4 | ISO 100 | EXP 1/160

    And now for something completely different. I made my way to Batsto Village on Sunday. Autumn peak is still a ways out, but the short jaunt made for a solid photowalk regardless. Temperatures were warm with mostly masked park goers aplenty. It was one of those dress for all seasons kind of days. Toasty in the sun, cool in the shade. As my friends played about with their tiny humans, I meandered listlessly about the old iron works village. Some noticeable changes since my photowalk in 2014, including the loss of some large maple trees. Such is the passage of time.

    I spent ten minutes with my camera making photos of a building I once described as a weird barn-esque pseudo covered bridge type building sided in evenly spaced, repetitive wood slats. The leading lines speak to me. There is an old, weathered door with a rusted iron loop which once made part of a locking mechanism. Above is the photograph, treated in sepia to lend visual to the structure’s age. I’m not certain what to call this kind of photography? Street? Architectural? Nonsense? I suspect this is one of those photos I enjoy but doesn’t land well with the masses. But that’s OK!

    Music and the world lost an icon and virtuoso today. Rest easy, Edward Lodewijk Van Halen. The stardust of the riff master has returned to the universe.

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  • Roll It Over

    Roll It Over

    Sepia landscape photo of storm clouds over the bay.
    Roll It Over — 14mm | f/8 | ISO 100 | EXP 1/1250

    Monday, June 19, 2017, saw an outbreak of severe thunderstorms fire up across the Mid-Atlantic. Eager as ever to make some photographs, Weather NJ’s, Jonathan Carr and I made way for Surf City Sunset Park. While things looked good at the outset the storms lost steam as they charged their way across New Jersey toward the coast. Sinking air spoiled the party as a once potent line of storms was waylaid right before our eyes. Disappointed but not shocked, this is standard fare for us along the coast. Storm lines have a way of falling apart more often than not.

    What was more surprising, especially in the face of such ominous skies, were the bay beach goers keen to keep swimming. Oblivious, one family hopped in the water a mere 20 minutes before would be impact. Another woman arrived about 10 minutes later looking to get in some laps. She at least had the good sense to ask me to holler once the weather took a turn. I don’t exactly scare easy in the face of thunderstorms, but even I would have stayed out of the water with electrified air so close. Alas all is well that ends well, no calamity befell our implacable beach goers. Considering the storms were abating it seemed acceptable, otherwise I would have pressed the issue on account of their safety.

    Of course storms fired back up after Jon and I bailed on our shooting attempt. For the next 90 minutes or so our region saw some decent storm action as a line of storms backed in from the ocean. Too bad we were too busy eating chicken at that time. And that’s the way it goes sometimes.

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  • First Off

    First Off

    Sepia landscape photo of Cedar Run Dock Road salt marsh.
    First Off — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    First off I hope everyone enjoyed a relaxing, joyful holiday season, and that you’re primed and pumped for a memorable 2017. Say it with me now two thousand seventeen! Seriously, where does the time go? My brain is still somewhere in April 2007. But such is the way of things. Before we kick things off in this new year please take a look at my 2016 year in review—featuring my 12 personal favorite photographs from 2016—it’s always my favorite post of the year.

    Getting back to the present I realized it was the twelfth of January and I’d yet to make a photograph in the new year. In fact, I had yet to make a new photograph since December 21, 2016. A three week drought? Yikes. Anyway, I made it to Dock Road today just in time for sunset. Instead of going for the usual color approach, I opted for a sepia treatment similar to a photograph I produced back in November. I’m a fan of this monochrome hue and found it appropriate to leverage here. Nothing too crazy, nothing too fancy—just a means to get 2017’s photostream off to a sound start. Now onto number two. Cheers.

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  • Antoinette Only

    Antoinette Only

    Sepia landscape photo of phragmites and clouds at Antoinetta's Waterfront Restaurant.
    Antoinette Only — 14mm | f/8 | ISO 100 | EXP 1/4

    Mayhaps, Marie, had the guillotine not intervened and the mechanics of time proved malleable, you may have found sanctuary here. Alas revolutions come and turbulent throngs shall be paid their pound of flesh just as Charon, too, must be paid. Never forget the will of the people, Marie, for they will not forget you.

    I’m mixing up a familiar motif going with sepia post processing treatment on this photograph. I could have went with my usual color approach but there’s something about the aged yellow monochromatic hue that tells a different kind of story here. I have photographed Antoinetta’s Waterfront Restaurant numerous times over the years, and I’ve always given it the full color treatment. Having gone down that road before I’m glad my gut wrenched me to sepia. Perhaps it was the eponymous Antoinette Only sign that turned my mind down a historical path? Scratching my subconscious to make this photograph look weathered and worn. Perhaps it’s a reflection of the cold unwelcome I felt shooting mere feet from a sign imploring me to keep out? You are not welcome here, sir. They’re an alienating thing, signs. A declaration of boundaries that while oftimes explicit ironically leave much open for interpretation—especially for the less secure among us. Who stakes claim to place? Who will come to usurp it?

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  • The Child King’s Throne of Wonder

    Wide angle sepia photograph of two swings over the sand at Surf City Sunset Park
    The Child King’s Throne of Wonder — 14mm | f/2.8 | ISO 100 | EXP 1/100

    Swing, child

    Go.

    Pump.

    Fly.

    Picture taking has been sparse lately, and while I was hoping to catch a sunset last night it was obvious upon arrival at Surf City Sunset Park the sky was a bust. Jonesing to shoot for the first time in weeks, I first fixed my 50mm and made a few exposures of objects about the park, playing with shallow depth of field. I soon switched over to my 14mm and used the lens in a way I rarely have. I switched it to auto focus for the first time in at least a year, set my aperture to a wide open f/2.8 and got as close to the front swing as I could—in the handheld shot above my lens glass was no more than three inches from the front right corner of the swing itself.

    At the end of the day the question is simple: who doesn’t remember the swings of their youth and smile?

  • Still remains

    A brooding noir macro photograph of a wilting Black-eyed Susan yellow daisy. Finished with a low key sepia treatment and grain (added noise), the picture takes on ominous tones.
    Still remains — 100mm | f/4 | ISO 100 | EXP 1/400

    Stylistically I am drawn to deep brooding imagery crying out to the darker corners of the human condition. For me there is almost always an immediate emotional connection to the pain, an empathy of sorts. You see it is not lost on me that our deepest struggles, our rawest emotions, can fuel the creative process and become something more. Something beautiful. Perhaps even more important than the art we create is the catharsis that it brings to ourselves and to others.

  • Out where we cannot be

    Out where we cannot be

    A dark sepia HDR photograph of a frozen wetland of the Stafford Forge Wildlife Management Area taken just before sunset
    Out where we cannot be — 14mm | f/8 | ISO 100 | 7 Bracketed Exposures

    I got wet today folks. That’s right, I did what we shan’t do and fell through the ice. Levy any and all criticisms here, and yes I was immediately reminded of what we all learned from our parents as children. Now, while I was very near to shore and hardly in peril, the ordeal was still a bit of a stunner. Between the freezing temperatures as my right leg plunge down to the knee or my discarded camera and tripod, my immediate attention was to my camera, lens, and their collective well being. Frost bite be damned, I’ve dropped this pair once before and was having not so great flashbacks—I didn’t have time to be fretting over a wet foot. As it turns out, the camera and lens seem fine despite the fixed lens hood acting as something of a snow plow. But I digress.

    Fractured ice aside, I had a blast shooting with Ben Wurst of Reclaimed today. We took advantage (mostly) of the unusually cold temperatures and ventured out on foot over wetlands we’d otherwise never have access to. While we were clouded out at the key moment rendering the idyllic sunset palette a bit stale, the array of clouds made for an interesting composition; made all the more dramatic with the dark sepia treatment. This is a composite of seven exposures to extract the great dynamic range from the scene.

    With any luck if the cold stays, I can avoid falling in and successfully return to this spot for a more winter stunning sky.