Remembering / Portrait  photography by Photographer John Harrop ★1 | STRKNG

Remembering - © John Harrop
Ginta Greenberg

Emma / Portrait  photography by Photographer John Harrop ★1 | STRKNG

Emma - © John Harrop
Emma Hamelin

Awareness / Black and White  photography by Photographer John Harrop ★1 | STRKNG

Awareness - © John Harrop
Isabel Klapwyk

Mariya Window Series / Black and White  photography by Photographer John Harrop ★1 | STRKNG

Mariya Window Series - © John Harrop
Mariya Mavka

Hook Head Lighthouse / Landscapes  photography by Photographer John Harrop ★1 | STRKNG

Hook Head Lighthouse - © John Harrop

Karen at the Window / Portrait  photography by Photographer John Harrop ★1 | STRKNG

Karen at the Window - © John Harrop

Morning mist on Takysie Lake / Landscapes  photography by Photographer John Harrop ★1 | STRKNG

Morning mist on Takysie Lake - © John Harrop

Mixed light portrait of Isabel / Portrait  photography by Photographer John Harrop ★1 | STRKNG

Mixed light portrait of Isabel - © John Harrop
Isabel Klapwyk

Two Together / Landscapes  photography by Photographer John Harrop ★1 | STRKNG

Two Together - © John Harrop

Evening Transition / Portrait  photography by Photographer John Harrop ★1 | STRKNG

Evening Transition - © John Harrop
Ginta Greenberg

Old Irish Shop / Abandoned places  photography by Photographer John Harrop ★1 | STRKNG

Old Irish Shop - © John Harrop

2024-01-01 01:29 
Impressionist bench / Fine Art / ICM,wood,impressionist,multi exposure
Impressionist bench
Wooden Bench ! / Abstrakt / ICM,abstract,multi exposure,wood,longexposure
Wooden Bench !
Wooden Bench 2 / Abstrakt / wood,texture,ICM,long exposure,abstract,multi exposure
Wooden Bench 2
Bench ICM / Fine Art / ICM,bench,wood
Bench ICM
Wooden Bench 3 / Abstrakt / ICM,wood,bench,abstract,multi exposure
Wooden Bench 3
Wooden Bench 4 / Abstrakt / ICM,long exposure,abstract,multi exposure,wood,pink,shape
Wooden Bench 4
Window Trim 1 / Abstrakt / ICM,long exposure,multi exposure,abstract
Window Trim 1

Working with wood – a multi-exposure ICM experiment

Recently, one of the ICM methods I’ve been working on is long exposure ICM. Long exposure in the context of hand-held ICM needs a little clarification. Most of what I was working on used 4 to 8 second exposures which enabled something like multiple exposure if you moved between subjects quickly during the exposure. One of the things I was finding I could do was generate some interesting images that could be used as a layer for blending with a portrait or still life. There is an old railway station near where I live that I had been wanting to work on using ICM. The platforms, benches and building are all wood with a nice mix of paint, light and dark coloured wood. But I didn’t want to lose all the texture of the wood in the movement and preserve that as part of the character of the subject. Long exposure with two or three vertical or horizontal pans across the scene with the camera rotated for each pass could do that and preserve textures in each pass. To make this more precise I decided to use in-camera multi-exposure which I had not used for some time and never with my newer camera. This, I though could also improve the control of each pass rather than having to rush in the camera body rotation before each pass. Each individual exposure was 2s, so still working with the same total exposure range as before. This worked better than I expected – always an encouraging experience, and also allowed me to try out the four blend modes on my camera. Keeping the darker pixel mode was often the most interesting result and tended to create more “shadow” that gives some depth illusion. Previewing the previous image while framing up the start of the next pass was hugely effective in helping compose the image. With the success of the experiment, I’m eager to go back to the station or other locations that would provide similar subjects and use the resources to paint some emotive images!

There are three resources/subjects in these images. Two are light coloured wooden benches with bare wood. One is on a wooden platform in front of a painted wooden wall while the other is in front of an old train carriage. The last image is using a using a window with dark trim and light-coloured painted walls – also wooden.

These are works in progress. No cropping, as shot at the 3/4 camera ratio. If these were normal, representational images then I would do perspective or rotation correction by default in my workflow, but I’m not sure it makes as much sense with abstract work like this which tolerates or even benefits from some imperfections.

2021-02-26 06:39 
Old Shop / Lost places / streetphotography,abandoned,textures,brick,architecture,travel,moody
Old Shop

Lockdown photography - working within 5km

Lockdown in Ireland has included the restriction of not travel >5 kilometres unless you have some essential reason for travel.My time in working Ireland presents no shortage of photographic opportunities but behaving with the lockdown and working in that 5km is a challenge. Towns in Ireland have a good supply of old buildings, door and windows, wall that show the textures of time and stories. Showed it to my neighbour - a retired professional photographer for his comments and he immediate recognized the shop and told me what it used to be and that his cousin used to work there. Back in the 50s!

Its also a pace to go back to. Even though its a narrow street with hardly any sidewalk across the other side, it would good to set up and wait for the person(s) to walk into the scene. Or maybe a self portrait.

This is one of a series looking for and working these kind of ideas while I'm waiting for landscapes to be accessible again.

John Harrop


Working mostly in North America and Europe. Geoscientist, instructor and photographer. I have moved through various genres in photography and I bring experience from one into the next one I focus on. Currently, much of my work is in abstract (ICM for example) and portraiture. I tend toward more dramatic portrait style, and I am most interested in developing into environmental portraiture. Building a series of images that will still tell a story in 20 or 50 years.

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