Dunstanburgh Multiple Exposure/ICM


Link Posted 25/02/2016 - 11:07
Thought I'd post these, which I took over the same (very stormy) period up at Dunstanburgh as the recent B&W shots. They're all in-camera multiple exposures/icm images (mainly a combination of the two), taken on the K3 in multiple exposure mode (mostly bright blend, occasionally average, combinations of between 2 and 5 shots). I tend to do this when I think it might suit the subject matter (and the subject matter might suit it). Useful for getting at the essence of a thing as opposed to just the thing itself. Know they tend to polarise opinion a fair bit, but very much part of the whole investigative/photographic process for me these days. Hard hats on, here we go...







All thoughts, observations etc very welcome as ever...




Link Posted 25/02/2016 - 11:44
I'm still trying to work out if I like them but they are certainly interesting and I appreciate them. I like blur but I'm less keen on ghosting. But jury's still out.
You can see some of my photos here if you are so inclined


Link Posted 25/02/2016 - 11:52
For me, some work; others less so. No 5 works bets form, and I like the minimalism you have achieved in no.6. Its a technique I feel I would like to master, but don't often think of it out in the field! Thanks for sharing.


Link Posted 25/02/2016 - 13:51
They work for me...really like them. Keep saying I must try a bit of this ICM in particular.




Link Posted 25/02/2016 - 15:49
sorry but to me they look like a Monet after his eye sight had gone


Link Posted 26/02/2016 - 06:11
Well I would liken them more to Turner in his later vulgar phase then Monet. And I would also liken them a lot 'photography as art not just a silent witness'


Link Posted 26/02/2016 - 19:39
As said some work some don't, but that's the nature of the beast, and everyone will have their own opinion of them. Having been to Dunstanburgh castle many times, mostly in bad weather, I feel No 4 gives a true feeling for the place. I really like that one, well done for doing something a little different.



Link Posted 28/02/2016 - 09:16
I'd happily stick No. 6 on my wall. If it was all reds and oranges it would be really Turner-esque.

Cheers, Kris.
Kris Lockyear
It is an illusion that photos are made with the camera… they are made with the eye, heart and head. Henri Cartier-Bresson
Lots of film bodies, a couple of digital ones, too many lenses (mainly older glass) and a Horseman LE 5x4.

My website


Link Posted 28/02/2016 - 10:18
Fun to do and nice to see something different, but ultimtely, as the Yanks say, Meh...
Best wishes,


"These places mean something and it's the job of a photographer to figure-out what the hell it is."
Robert Adams
"The camera doesn't make a bit of difference.  All of them can record what you are seeing.  But, you have to SEE."
Ernst Hass
My website:


Link Posted 29/02/2016 - 19:16
Thanks all for taking the time and trouble to comment on these... very much appreciate the thoughts and the honesty... always useful to hear opinions either way re the genre/this execution of it (which let's face it is a bit marmite), as well as specifics re which ones do/dont land for people (1,4,5 and 6 my faves fwiw)... still very much a work in progress my end... been trying various things out... was specifically interested in this particular instance in trying to get a handle on the atmosphere of the place i.e. how it felt to be there... Adrian, my jury still out on the "ghosting" front too... I did rather go after it in these (I like the sort of echo effect it can sometimes give, and I thought it might suit the rather spikey frantic energy of the time and place), but too much of it can feel a bit heavy handed (eg I suspect in no.3)... have some from the Dales which I'll post in a bit... less ghosting/more abstract... very useful... thanks again all...





Link Posted 01/03/2016 - 14:03
Number 1 is the stand-out image for me. It's quite sublime and would print absolutely enourmous
If I had to be picky I would like to see a smidge more bottom and less sky. My personal trick for gettting less sky but still retaining it, is grab the top rectangle, squash it down with the transform tool and crop the (now empty) top off
Fab. Always love seeing your work Bill.
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Plymouth Photographer
Last Edited by Darkmunk on 01/03/2016 - 14:04


Link Posted 01/03/2016 - 15:39
Some really nice experimentation, and on the whole I think they work. As Darkmunk says No.1 is the stand-out shot, although the first 4 are all to my taste. I'd take the opposite stance on the foreground and sky, I'd reduce the amount at the bottom (first 4) - leaving the sky and foamy waves (the lighter tones) to dominate - probably 1/4 to 1/3 crop off the bottom - and a wider, shorter format - but that really is just my preference, they are excellent as they stand too


Link Posted 03/03/2016 - 13:37
Some nice creative shots, 1, 5 and 6 work best for me.


Link Posted 13/03/2016 - 19:03
Sorry to be late to reply to these... Thanks Mark, Lenny and Russ for thoughts, comments and suggestions re these... Mark, top tip thank you... A tad beyond my general pp ability so will def have a look at that for future reference... Lenny, yes, good idea... You may well be right... Will have a look at that too... Thanks all...




Link Posted 14/03/2016 - 10:29
The one I keep going back to is #3 but they are all fascinating. The old argument about whether or not photography can be art is easily be resolved by asking a simple question. And that is: are photographers capable of pushing at the boundaries by throwing out old rules and inventing new ones along with new techniques?
Painters did it centuries ago by evolving their work from traditional to often challenging new forms.
Some photographers are doing it now - and Bill is one of them - by adopting new ways of seeing things.
Keep it up Bill.
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