The Rotation - The First Quarter

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ER T R A U Q FIRST

THE

Ten photographers, rotating shutters.

The Rotation is a group of independent photographers and designers tasked with taking a photograph every day. Here is their photographic journal.

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Which of my photographs is my favorite? The one I’m Imogen Cunningham

going to take tomorrow.

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CONTENTS

4-5

The Rotators

6-11 13-18 20-110

Photographic Philosophy

A Walk With Artur Vetkas The Rotation

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THE ROTATORS The Rotation is a roster

Benjamin Bacon

of photographers from all over the world, taking turns contributing their own personal twist on the classic daily photograph project.

Stijn Benoot

Arranged by date it documents the passage of time through frozen moments of each day across the globe.

Adam Kolff

Not only are they making endless art for everyone to enjoy, they're continuously supporting, competing with, and inspiring one another with

Kevin Laughlin

each and every day's worth of new pixels.

It's a project similar to, and unlike what you've seen before,.

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Dustin Montgomery

Alec Thomson

Luke Patton

Artur Vetkas

Robert Payton

Nick Pomeroy

“Twelve significant photographs in any one year is a good crop.”

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Ansel Adams

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PHOTOGRAPHIC PHILOSOPHY

By Nick Pomeroy

Every photographer has a philosophy of their own which can be followed through their photographs.

This can adapt and change as the years go by but there is always a common idea behind what makes their photographs their own. Here is my philosophy and how it has evolved.

The First Months Due to improvements in my skill levels and knowledge of photographic and design theory over the last two and a half years, my philosophy has changed several times and my idea behind what makes my shots my own has been adapted, altered and down right discarded.

When I first picked up my camera and attempted to create some order from the chaos that I saw in the world, the photographs which came as a result were heavily based on what I saw other photographers doing, particularly Angie Fouquette who was always an influence on me and has taken some of the most beautifully natural shots I have seen.

My early philosophy was basic, simply to try and transform what I saw with my eyes into digital form without losing it’s charm. This I quickly realised was harder than first thought. Eventually I had to put that on hold and learn the basics about composition and colour.

Although I was taking what I deemed attractive photos, they were not structured and I was simply pointing and clicking rather than framing, re framing, moving around and finding the successful positions for the content.

The images on this page are from the days where I was finding my feet and still experimenting with everything I could.

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The Epiphany I can’t remember exactly how I stumbled upon my epiphany moment, however it occurred is not important. The important fact is that after almost a year of endless photographs it happened. Sitting here writing this I now know that without a story behind a photograph, it will inevitably invoke the same reaction no matter how well composed and edited the shot in question is. This reaction (the “mother” reaction as I like to call it) will invariably be “that’s nice”. As a photographer that can be pleasant to hear but the viewer will switch off and move on in less than a second.

To avoid this and attract a prolonged look at one of your photos there needs to be a depth behind it, a story if you will. In my experience it is impossible to teach someone to see a story in a possible photograph, learning to take stories is only possible through thousands of failed photographs and hours upon hours of critically observing the world.

I often advise people to build stories into photographs without expanding upon what I mean. A story is not necessarily an exciting occurrence, it is a shot that tells something more than the immediately evident and shows a level of emotion. This can be the photographer’s emotion, the subject’s emotion or the viewer’s emotion.

The two photographs to the right are my own, one of which was in the early days and in my opinion has no story behind it, I thought it looked nice so pressed the shutter. The second photograph has a deeper context, it invokes a feeling of fun, excitement, Christmas spirit and the slow shutter displays motion. These are all part of the overall story that the image expresses.

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Forget About That The next major moment in my development came from realising that what I thought I knew was actually a false truth. While stories are vital for a good photograph, actively seeking them creates dishonest narratives that the viewer instantly feels uneasy about. An obviously man made composition will never beat a completely natural occurrence where a photographer happened to be positioned.

I never question what to do, it tells me what to do. The photographs make themselves with my help. ~Ruth Bernhard Ruth Bernhard says it far better than I can. My realisation was that if I take my camera everywhere I am bound to stumble upon moments of genius, but if I go out with the intention to capture a genuine occurrence it will likely fail to materialise. I believe this is the reason why Ansel Adams’ is quoted as saying “Twelve significant photographs in any one year is a good crop.” Do not be disheartened if you fail to capture what you want every time, each outing will teach you something to improve your craft.

Be content with observing the world, a great photograph is just a by product of enjoying yourself in wonderful situations. That has developed into my present day philosophy (which will no doubt change in the future). Humans are a bizarre breed, they have no idea people can see them, photographers have taken advantage of this for years and will continue to blend into the shadows. I have stopped going to places with my camera in the vague hope I get a photograph, of course sometimes I predict where a photograph might occur and try and be in situ at the right time to capture the image in mind. When I started out I sought recognition and praise, now I have matured and take photographs for myself because I love the process and I love observing the world. That isn’t to say I don’t cherish critique and advice.

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Photographic Themes In the years I have been taking photographs, I regularly take two types of photograph. These are street photographs and scenes in nature. I think it was inevitable that I would end up taking nature shots as my family have always been insistent that I get out in the wild exploring, so when I picked up a camera I took it along and took photos of scenes that made my jaw drop. I also include plant photography in this category as there is something indescribably beautiful about flora.

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Street photography has been a major love of mine, although frustrates me more than any other type of photography. Watching people go about their lives oblivious to the world is strangely fascinating, the intricacies of human nature and the hilarious moments that appear from no where are a joy to watch. Trying to get these in a photograph is difficult but incredibly rewarding. The problem inherent in street photography is the level of patience required. Predicting where something might happen and waiting for it is a necessary evil accompanying street photography.

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Editing is a Tainted Word Where would we be without editing, be it in a digital program or in a darkroom editing has been a necessary step in photography for generations. The style and type of editing that is done can destroy an interesting photograph, but can also add an extra dimension if handled with care.

As most amateur photographers at the beginning of their journey, I was guilty of over editing. I think this is due to the lack of confidence in my ability and lack of knowledge of the theory behind photography. One of the main errors I regularly made was to sharpen an image to the point of destruction, until one photographer remarked on the matter and I was able to alter my process. An example of an over sharpened photograph can be seen to the left... isn’t it a travesty.

Looking back while writing this, it is clear my editing goes through phases. These phases tend to depend on the season at which I am taking photographs, in Winter I favour slightly washed out bleak edits whereas in the Summer months I focus on bright vibrant colours and striking contrast. On analysis I am sure this is to do with my moods at these times and the natural hues and tones in the situations.

Over the years the severity of editing applied to my photographs has decreased due to my knowledge of camera settings and being able to achieve the photograph I want in camera rather than afterwards in a computer program.

The two photographs to the left show my changes in editing styles between summer and winter, the left image is a Summer shot and the right is from December.

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Personal Exploration/Public Praise As with all my philosophical thoughts around photography this has definitely changed over the years as I have matured, gained confidence and altered my outlook.

It is human nature to search for public gratification, recognition and approval of ones’ actions.

Photography, however, is a personal process (for me anyway) and in some ways is cheapened by approval.

I will attempt to explain this as best I can. Seeking out recognition and approval of the photographs you take is a necessary process if you intend on improving, you won’t see the minor flaws in your images, whereas a fresh pair of eyes will gravitate to them instantly. This provides essential feedback in order for you to improve your core knowledge.

During this feedback however, you can end up losing your personality in the photographs and become another forgettable photographer with images that have no soul. If you take everyone’s advice and stop shooting the images how you want to take them then change hobbies, get out while you can. Photography should primarily be about your own feelings, emotions and desires. I have definitely gone through this phase, hopefully I am out of it. I guess what I am trying to say; is take photographs for yourself, if they speak from your mind’s eye and you execute the shot confidently people will appreciate them.

On that note, I will leave you with a quote by Elliott Erwitt:

“To me, photography is an art of observation. It’s about finding something interesting in an ordinary place... I’ve found it has little to do with the things you see and everything to do with the way you see them.”

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Mark Gruenwald the editor of Marvel Comics famously had his ashes blended into the ink for a special edition...

...this hasn’t happened here.

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A WALK WITH ARTUR VETKAS

By Artur Vetkas

I always make photos. Even when I have no camera on me... usually I do though. A Canon Powershot A400. A small and nifty tool. The mind is the main tool though.

Retinal rods and cones, the neural pathways and the visual cortex.

The rest of the brain with our emotions and experiences. All of it has an influence on the process of seeing.

As Chris Weeks wrote ‘... the art of seeing is the art of observing.

And taking away a moment from that period of observation... and making it a photo. This is a beautiful thing.’

I don’t do professional photography. Hence my photos are personal. I’m not trying to sell you anything. Mostly sharing the way I see.

It was a blizzard. I was walking home after a night at work. It was around 12am - a lot of people rushing to their destinations with their eyes pointed down for protection from the snow. Too bad... the sight was something special.

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Different day, similar occasion. A free moment for the mind after a sleepless night. Adjusted the outcome with Exposure/Curves. Sharpened.

Sometimes lines and angles get my attention. Or colours.

I emphasised the blue and yellow in Photoshop. Selective colour adjustment.

Night lights have always fascinated me. I used the wall instead of a tripod. Works well. Any steady structure is good enough for night shooting. Even the ground. Played around with exposure/offset/gamma correction.

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This image was converted to black and white and edited with Image>Adjustments>Shadow/ Highlight. I wanted the highlights on the leaves created by the sun to stand out even more.

First really cold days of winter.

The people on the bus station were freezing. So were the birds.

He walked to me when I took the bread out. The different one. Used the lens blur effect here. Would have been easier with a manual focus.

Sometimes when I need to shoot I set up a quick lightbox and play around with all the lights I can find.

The result:

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It’s Christmas and I’m at home with my family. We are happy to see each other. Don (our dog) is happy too. We went for a walk today. I thought you would be interested in it.

I took some photos for this article and recreated an old one. Original images next to adjusted ones. Same techniques I mentioned above.

Added a curves layer. Brought forward the pink in the sky with selective colour.

Sharpened.

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It was a beautiful morning. Subtle lighting and mountains of snow. *A good time for taking photos is sunrise/sunset - dimmed light, shadows and silhouettes. Spectacular nature shows.

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I have a thing for paths. Curves. Lens blur.

An example of what curves/selective colour can do with colours. Lens correction for the vignette. Smart sharpen.

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ORIGINS OF THE ROTATORS

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R O TI AT ON

THE

The following ninety pages show the results of The Rotation.

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KALEIDOSCOPIC Kevin Laughlin

September 20, 2010 Camera: Canon EOS 7D

ISO: 500 Exposure: 1/400 Aperture: f/1.4 Focal Length: 50mm

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AT EDEN Nick Pomeroy

September 21, 2010 Camera: Nikon D40

ISO: 200 Exposure: 1/160 Aperture: f/5 Focal Length: 195mm

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DOWN THE AISLE Adam Kolff

September 22, 2010 Camera: Canon EOS Digital Rebel XS

ISO: 100 Exposure: 1/80 Aperture: f/22 Focal Length: 18mm

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HAPPY SHOE Stijn Benoot

September 23, 2010 Camera: Sony Alpha 450

ISO: 200 Exposure: 1/2000 Aperture: f/3.5 Focal Length: 18mm

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THE OFT GOLDEN MORNING

Luke Patton

September 24, 2010 Camera: Canon EOS Digital Rebel XT

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ISO: 800 Exposure: 1/25 Aperture: f/25 Focal Length: 41mm

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ALICE?

Artur Vetkas

September 25, 2010 Camera: Canon Powershot A400

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SEASONAL OFFICE

Benjamin Bacon

September 26, 2010 Camera: Canon Rebel XT

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GIVE IT A MOMENT

Alec Thomson

September 27, 2010

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KEEP YOUR HEAD ON

Robert Payton September 28, 2010 Camera: Canon EOS 1000D ISO: 100 Exposure: 0.6s Aperture: f/16 Focal Length: 51mm

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SPIRE

Dustin Montgomery September 29, 2010 Camera: Canon EOS Digital Rebel XSi

ISO: 100 Exposure: 1/200 Aperture: f/11 Focal Length: 29mm

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BRAND NEW EYES Kevin Laughlin

September 30, 2010 Camera: Canon EOS 7D

ISO: 250 Exposure: 1/400 Aperture: f/5.6 Focal Length: 100mm

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OTLEY CHEVIN Nick Pomeroy

October 1, 2010 Camera: Nikon D40

ISO: 200 Exposure: 1/8 Aperture: f/29 Focal Length: 15mm

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SEEMINGLY MINISCULE WHEN ISOLATED IN THE VASTNESS (Twenty Miles Outside of Waco) Adam Kolff

ISO: 100 Exposure: 1/800 Aperture: f/4 Focal Length: 22mm

October 2, 2010 Camera: Canon EOS Digital Rebel XS

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THIS ONE Stijn Benoot

October 3, 2010 Camera: Sony Alpha 450

ISO: 1600 Exposure: 1/125 Aperture: f/3.5 Focal Length: 18mm

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BEGINNING OF COLD

Luke Patton

October 4, 2010 Camera: Canon EOS Digital Rebel XT

ISO: 200 Exposure: 1/800 Aperture: f/2.2 Focal Length: 50mm

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HEAVEN’S GATE.

Robert Payton

October 5, 2010 Camera: Canon EOS 1000D

ISO: 200 Exposure: 1/60 Aperture: f/5 Focal Length: 18mm

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HYSTERIA Kevin Laughlin

October 6, 2010 Camera: Canon EOS 7D

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ISO: 100 Exposure: 1/125 Aperture: f/4 Focal Length: 16mm

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YOUR FAVOURITE COLOUR

Alec Thomson

October 7, 2010

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UNDER

Artur Vetkas

October 8, 2010 Camera: Canon PowerShot A400

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A DESOLATE SETTING AT SUNSET

Benjamin Bacon

October 9, 2010 Camera: Canon Rebel XT

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ANGLES

Dustin Montgomery

October 10, 2010 Camera: Canon EOS Digital Rebel XSi

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ISO: 100 Exposure: 1/200 Aperture: f/9 Focal Length: 18mm

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NOT MUCH TO LOOK AT

Adam Kolff

ISO: 200 Exposure: 1/320 Aperture: f/20 Focal Length: 50mm

October 11, 2010 Camera: Canon EOS Digital Rebel XS

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WATCH

Dustin Montgomery October 12, 2010 Camera: Canon EOS Digital Rebel XSi

ISO: 200 Exposure: 1/50 Aperture: f/5.6 Focal Length: 45mm

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THE LIGHT Stijn Benoot

October 13, 2010 Camera: Sony Alpha 450 ISO: 500 Exposure: 3.2s Aperture: f/5.6 Focal Length: 55mm

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IMAGE

Luke Patton

October 14, 2010 Camera: Canon EOS Digital Rebel XT

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ISO: 200 Exposure: 1/1000 Aperture: f/5 Focal Length: 38mm

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COMPLEMENTARY

Artur Vetkas

Exposure: 1/60 Aperture: f/3.8 Focal Length: 5.9mm

October 16, 2010 Camera: Canon PowerShot A400

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AN ISOLATED OPERATION

Adam Kolff

October 17, 2010 Camera: Canon EOS Digital Rebel XS

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ISO: 200 Exposure: 1/200 Aperture: f/14 Focal Length: 50mm

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VARIETY

Alec Thomson

October 18, 2010

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SIMPLE, VERTICAL, DIAGONAL. YOU REALLY CAN HAVE IT ALL.

Adam Kolff

October 19, 2010 Camera: Canon EOS Digital Rebel XS

ISO: 200 Exposure: 1/320 Aperture: f/16 Focal Length: 50mm

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CHASING CARS

Kevin Laughlin

October 20, 2010 Camera: Canon EOS 7D

ISO: 1250 Exposure: 1/640 Aperture: f/1.4 Focal Length: 50mm R OT AT I ON

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SOMEWHERE IN THE MIDDLE

Dustin Montgomery

October 21, 2010 Camera: Canon EOS Digital Rebel XSi

ISO: 100 Exposure: 1/160 Aperture: f/10 Focal Length: 34mm

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ET LE GARÇON

Adam Kolff

ISO: 200 Exposure: 1/320 Aperture: f/22 Focal Length: 50mm

October 22, 2010 Camera: Canon EOS Digital Rebel XS

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OUT TO THE LIGHT Nick Pomeroy

October 23, 2010 Camera: Nikon D40

ISO: 200 Exposure: 1/80 Aperture: f/8 Focal Length: 70mm

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OTHERS ARE NOT.

Artur Vetkas

Exposure: 1/40 Aperture: f/3.8 Focal Length: 5.9mm

October 24, 2010 Camera: Canon PowerShot A400

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RECURSIVE.

Adam Kolff

ISO: 200 Exposure: 1/400 Aperture: f/1.8 Focal Length: 50mm

October 26, 2010 Camera: Canon EOS Digital Rebel XS 55

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IN TORMENT I CHANGE

Robert Payton

October 27, 2010 Camera: Canon EOS 1000D

ISO: 800 Exposure: 1/20 Aperture: f/5.6 Focal Length: 55mm R OT AT I ON

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PHANTOM DESIGN

Robert Payton

October 28, 2010 Camera: Canon EOS 1000D

ISO: 1600 Exposure: 1/15 Aperture: f/8 Focal Length: 55mm

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October 30, 2010 Camera: Canon EOS 7D

LIGHT UP THE SKY

Kevin Laughlin

ISO: 400 Exposure: 1/2000 Aperture: f/3.5 Focal Length: 10mm R OT AT I ON

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FACES OF THE DEAD Stijn Benoot

October 31, 2010 Camera: Sony Alpha 450

ISO: 800 Exposure: 1/160 Aperture: f/5.6 Focal Length: 45mm

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IMG_1226

Luke Patton

November 1, 2010 Camera: Canon EOS Digital Rebel XT

ISO: 1600 Exposure: 1/80 Aperture: f/4.5 Focal Length: 33mm R OT AT I ON

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THERE IS A SUN IN THAT BASEMENT.

Artur Vetkas

November 2, 2010 Camera: Canon PowerShot A400

Exposure: 1/6 Aperture: f/3.8 Focal Length: 5.9mm

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A WEEKEND IN HOUSTON

Benjamin Bacon

November 3, 2010 Camera: Canon Rebel XT

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MY LITTLE FINGER

Alec Thomson

November 4, 2010

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“I AM THE PRIZE”

Robert Payton

November 5, 2010 Camera: Canon EOS 1000D

ISO: 400 Exposure: 1/60 Aperture: f/4.5 Focal Length: 35mm

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PUZZLE Nick Pomeroy

November 6, 2010 Camera: Nikon D40

ISO: 200 Exposure: 1/13 Aperture: f/4.5 Focal Length: 70mm

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ASPIRATION Nick Pomeroy

November 7, 2010 Camera: Nikon D40

ISO: 200 Exposure: 1/8 Aperture: f/20 Focal Length: 10mm

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NATURE’S WALL Stijn Benoot

ISO: 800 Exposure: 1/4000 Aperture: f/4 Focal Length: 18mm

November 8, 2010 Camera: Sony Alpha 450

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IMG_3635

Luke Patton

November 9, 2010 Camera: Canon EOS Digital Rebel XT

ISO: 800 Exposure: 1/6 Aperture: f/10 Focal Length: 28mm

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SOMEONE, WHO IS WAITING

Artur Vetkas

November 10, 2010 Camera: Canon PowerShot A400

Exposure: 1/15 Aperture: f/3.8 Focal Length: 5.9mm

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CITY ON FIRE

Alec Thomson

November 12, 2010

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PIG

Robert Payton November 13, 2010 Camera: Canon EOS 1000D

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ISO: 400 Exposure: 1/160 Aperture: f/5 Focal Length: 33mm

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HALF LIGHT II

Kevin Laughlin

November 14, 2010 Camera: Canon EOS 7D R OT AT I ON

ISO: 1250 Exposure: 1/50 Aperture: f/3.5 Focal Length: 10mm

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I’LL GET BACK TO YOU

Adam Kolff

ISO: 200 Exposure: 1/50 Aperture: f/5.6 Focal Length: 250mm

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November 15, 2010 Camera: Canon EOS Digital Rebel XS

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MORNING 11/17/10

Adam Kolff

ISO: 200 Exposure: 1/50 Aperture: f/14 Focal Length: 116mm

November 17, 2010 Camera: Canon EOS Digital Rebel XS

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COMPOSITION WITH NO MEANING

Artur Vetkas

November 17, 2010 Camera: Canon PowerShot A400 Exposure: 1/60 Aperture: f/3.8 Focal Length: 5.9mm

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NEON LIES WITH TOPAZ EYES

Alec Thomson

November 18, 2010

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A LONG WAY DOWN

Robert Payton

November 19, 2010 Camera: Canon EOS 1000D

ISO: 400 Exposure: 1/160 Aperture: f/5.6 Focal Length: 49mm

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RADIOHEAD - FOG Nick Pomeroy

November 20, 2010 Camera: Nikon D40

ISO: 200 Exposure: 13s Aperture: f/13 Focal Length: 16mm R OT AT I ON

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LOUIS CK

Adam Kolff

ISO: 1250 Exposure: 1/20 Aperture: f/2.9 Focal Length: 5.7mm

November 22, 2010 Camera: Kodak EasyShare C180 79

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ROTATION

Adam Kolff

ISO: 200 Exposure: 1/50 Aperture: f/6.3 Focal Length: 50mm

November 23, 2010 Camera: Canon EOS Digital Rebel XS R OT AT I ON

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ANOTHER DAY Stijn Benoot

November 23, 2010 Camera: Sony Alpha 450

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ISO: 1600 Exposure: 1/125 Aperture: f/5.6 Focal Length: 50mm

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IN THE COLD

Artur Vetkas

November 25, 2010 Camera: Canon PowerShot A400

Exposure: 1/400 Aperture: f/3.8 Focal Length: 5.9mm

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A STEREOTYPE

Luke Patton

November 25, 2010 Camera: Canon EOS Digital Rebel XT ISO: 200 Exposure: 1/4 Aperture: f/8 Focal Length: 55mm

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REFLECT MY GAZE

Alec Thomson

November 26, 2010

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IMMORTAL ROT

Robert Payton

November 27, 2010 Camera: Canon EOS 1000D

ISO: 200 Exposure: 1/200 Aperture: f/13 Focal Length: 37mm

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CHRISTMAS CAROUSEL Nick Pomeroy

November 28, 2010 Camera: Nikon D40

ISO: 800 Exposure: 1/6 Aperture: f/11 Focal Length: 10mm R OT AT I ON

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HEYO

November 30, 2010

Alec Thomson

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YOU KNOW, I ONCE HEARD SOMETHING ABOUT TYRANNY BEING A CONCEPT THAT CAN BE FOUND IN NATURE.

Adam Kolff

ISO: 250 Exposure: 1/50 Aperture: f/5.6 Focal Length: 250mm

November 30, 2010 Camera: Canon EOS Digital Rebel XS

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THIS WAY Stijn Benoot

December 1, 2010 Camera: Sony Alpha 450 ISO: 1600 Exposure: 1/50 Aperture: f/5.6 Focal Length: 55mm

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QUILLS

Luke Patton

December 2, 2010 Camera: Canon EOS Digital Rebel XT

ISO: 800 Exposure: 1/40

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FORMATION

Artur Vetkas

December 3, 2010 Camera: Canon PowerShot A400

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Exposure: 1s Aperture: f/3.8 Focal Length: 5.9mm

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LIKE A ROCK STAR

Robert Payton

December 4, 2010 Camera: Canon EOS 1000D

ISO: 100 Exposure: 1/200 Aperture: f/11 Focal Length: 53mm

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ESSENCE

Kevin Laughlin

ISO: 100 Exposure: 1/15 Aperture: f/2.8 Focal Length: 100mm

December 7, 2010 Camera: Canon EOS 7D

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SHUT UP, AT LEAST IT’S BETTER

Adam Kolff

ISO: 400 Exposure: 1/50 Aperture: f/5 Focal Length: 43mm

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December 7, 2010 Camera: Canon EOS Digital Rebel XS

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GROUSE

Alec Thomson

December 8, 2010

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SETH

Luke Patton

December 9, 2010 Camera: Canon EOS Digital Rebel XT

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ISO: 800 Exposure: 1/160

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GATE

Artur Vetkas

December 10, 2010 Camera: Canon PowerShot A400 Exposure: 1/125 Aperture: f/3.8 Focal Length: 5.9mm

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BRIDGE Stijn Benoot

December 11, 2010 Camera: Sony Alpha 450 ISO: 800 Exposure: 1/13 Aperture: f/4 Focal Length: 18mm

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FOREVER CHRISTMAS

Robert Payton

December 12, 2010 Camera: Canon EOS 1000D

ISO: 1600 Exposure: 1/15 Aperture: f/8 Focal Length: 39mm

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SNOW

Luke Patton ISO: 800 Exposure: 1/15 Aperture: f/3.5 Focal Length: 18mm

December 13, 2010 Camera: Canon EOS Digital Rebel XT

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THERE IS SOMETHING HERE

Adam Kolff

ISO: 400 Exposure: 1/25 Aperture: f/22 Focal Length: 50mm

December 14, 2010 Camera: Canon EOS Digital Rebel XS

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ICE COLD Stijn Benoot

December 14, 2010 Camera: Sony Alpha 450

ISO: 1600 Exposure: 1/60 Aperture: f/5.6 Focal Length: 55mm R OT AT I ON

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IMG_3938

Luke Patton

ISO: 800 Exposure: 1/40 Aperture: f/22 Focal Length: 55mm

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December 16, 2010 Camera: Canon EOS Digital Rebel XT

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PILLARS

Artur Vetkas

December 17, 2010 Camera: Canon PowerShot A400 Exposure: 1/500 Aperture: f/3.8 Focal Length: 5.9mm R OT AT I ON

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A LITTLE BENDY

Alec Thomson

December 18, 2010

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EDGE OF OBLIVION

Robert Payton

December 19, 2010 Camera: Canon EOS 1000D

ISO: 200 Exposure: 1/50 Aperture: f/10 Focal Length: 36mm R OT AT I ON

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VISIONS

Kevin Laughlin December 21, 2010 Camera: Canon EOS 7D

ISO: 100 Aperture: f/4.5 Focal Length: 22mm

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YOU SHOULD HAVE SEEN THE OTHER GUY.

Adam Kolff

ISO: 800 Exposure: 1/250 Aperture: f/22 Focal Length: 55mm

December 21, 2010 Camera: Canon EOS Digital Rebel XS R OT AT I ON

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INSERT SOME AUTUMN-THEMED NONSENSE HERE.

Adam Kolff

December 22, 2010 Camera: Canon EOS Digital Rebel XS ISO: 800 Exposure: 1/50 Aperture: f/7.1 Focal Length: 55mm

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GOOD MORNING Stijn Benoot

December 23, 2010 Camera: Sony Alpha 450

ISO: 800 Exposure: 1/8 Aperture: f/4 Focal Length: 18mm R OT AT I ON

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This is the end Beautiful friend This is the end My only friend, the end Of our elaborate plans, the end.

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All photographs in this book are copyright protected.

Designed by Nick Pomeroy

For further photographs visit http://www.flickr.com/groups/therotation/ www.nickpomeroy.co.uk

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