Another month of Instagram
Another month on the road, another batch of Instagram pictures. This month I have continued travelling—in Italy, Scotland, Italy again, then in Austria. I have kept posting fresh daily photos to Instagram. The pictures are laid out below.
To continue the trivia from last month, a brief equipment scorecard and review:
24 of the photos posted this month were taken with the Canon EOS 5D Mark II with EF 16-35mm f/4L IS USM lens (it gave me high quality output as I expected, I found its usability excellent because I am so used to it, but it was a damn heavy lump to schlep around).
5 of the photos were taken with the FujiFilm X-E1 with XF 18mm f/2 R lens (output is remarkably good, I’m getting used to it, a delight to carry)
3 of the photos were taken with the FujiFilm X-E1 with XC 50-230mm OIS II lens (output from this lens is slightly better than I expected, its capabilities are typical of consumer-grade lenses so I won’t complain, and it was light and compact).
A month of Instagram
I don’t like being the target of surveillance by Mark Zuckerberg and his gang. I wouldn’t want to add up the time I have spent on Instagram. I resent the advertising that gets more intrusive with each update. At times I feel like chucking it in.
But, I do get a buzz from editing each image, composing a caption and hashtags, uploading the piece for my few followers, and watching their response. And so I keep doing it.
There is nothing insta about Instagram the way I use it. I select each image from my photo archive after it has had time to ripen and mature, perhaps for a month, or a year, or longer. These are pictures taken with a camera, not a phone. I edit each picture in Lightroom and upload it via the LR/Instagram plug-in.
I make it a rule to make just one post per day (I unfollow people who post too much).
I have spent the month of April travelling in Africa and Europe. For a change, I have been posting photos while they are still fresh—some on the day I took them, the rest a day or so later. Between 5 April and 30 April I posted the 25 travelling pictures shown below.
Trivia: I took two cameras on this trip—a Canon EOS 5D Mark II with EF 16–35mm f/4L IS USM lens (which I used for 15 of these photos), and a FujiFilm X-E1 with XF 18mm f/2 R lens (5 photos) and XC 50–230mm OIS II lens (4 photos). One picture is a computer screen shot.
I play a little game with myself, trying to guess what sort of response each picture will get from my followers. If I guess a picture will be unappealing I am usually right.
I had fair success in predicting which of this month’s pictures people would like. See the six most-liked images in the slideshow below.
Making a wooden bucket
George Smithwick makes a wooden bucket, meanwhile explaining what he is doing, with a glimpse of the life of a family of coopers. Fascinating.
A lantern slide of the Old Museum Building
I have recently acquired five nineteenth-century lantern slides of Queensland subjects published by the Scottish firm of George Washington Wilson and Co Ltd.
My favourite is this one, of the Exhibition Buildings in Brisbane. It is the earliest good-quality photograph of the building I know of. I have just started work on updating the conservation management plan for this building, so getting this photo is a treat.
The photo shows the building soon after it was completed for the Queensland National Agricultural and Industrial Association. The architect G H M Addison’s design is shown off, with its contrasting red and cream brickwork and its striking towers and domes. I am not sure who to blame for the plain wooden sheds that contain the entry turnstiles, but I doubt these were designed by Mr Addison.
The picture was taken on a whole-plate glass negative by the Scottish photographer Fred Hardie, who was sent to Australia in 1892 by the G W Wilson company to record the landscapes, industries, towns and people of the colonies. He took photographs in Queensland, New South Wales, Victoria, Tasmania and South Australia which were sold in various printed formats as well as lantern slides. I am delighted that the original negative survives in the University of Aberdeen’s George Washington Wilson Collection.