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The Distillery’s 19th-century brickwork and industrial gantries overlook the Saturday Winter Village crowd — Toronto’s layered history in motion.
Another look at Times Square in New York through the lens of Renaissance Scene Painters like Albrecht Altdorfer and Hieronymus Bosch. This time though, the solarization of the image tips the view more toward the Boschian in a sense.
The image might be seen as a blend of both historical art reference and the technology of the digital age. Judging by how much earlier Science Fiction predicted our current times as slick, polished and highly technological, with the result actually being much more gritty, chaotic and unpredictable, I would postulate that the future may well look like a blend of the historical and the technical. It will be, as our time is now, dirty, overcrowded, "chaotic", a system at the farthest reach of its possibilities ... until we decide to change it.
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Music Link: "Saltarello" - Dead Can Dance, from their album "Aion". 'Dead Can Dance' is the fascinating name for the group citing the ancient and tribal idea that originally musical instruments were made with animal skins, so once they were played the animals' spirits were able to sing through the music, and thus be 'alive' again.
In their first phase DCD, were deeply in love with and inspired by the music of Medieval times and the Renaissance. "Saltarello" is an ancient piece, resurrected by the duo of Brendan Perry and Lisa Gerrard, who comprise Dead Can Dance.
www.youtube.com/watch?v=mOWrWsHG24A
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© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Holga moment as Sonic Youth played Tuesday, July 28th at Roseland in downtown Portland. The air conditioner went out just as they hit the stage and they proceeded to melt us all into a wreathing puddle of pleasure.
Abstract holga moment as Sonic Youth played Tuesday, July 28th at Roseland in downtown Portland. The air conditioner went out just as they hit the stage and they proceeded to melt us all into a wreathing puddle of pleasure.
A blend of digital colouring and enhancement along with touches of sepia toning were used in this one to give a sense of the timelessness of Times Square, of the great span of its years in history. From the old New York of the Rockefellers, the Carnegies and the Mellons to Apple, iPhones and Instagram Times Square is probably one of the greatest indicators of the human pulse over the decades since it's initial construction.
Time, space and singularity of perception are broken up, or, made simultaneous with several others. As we approach the Quantum Age, non-singularity of view, simultaneity and indeed, non-locality will increasingly become our ways of seeing.
I took my inspiration for the colouring of this image from the work of Paul B0udreau, whose unique art always boggles my mind.
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Music Link: "Stratus", Billy Cobham. From his album "Spectrum". This is a live, tour de force piece of Jazz wizardry performed by Cobham and his band, featuring some strangely appropriate, brilliant steel drum playing by his percussionist. "Stratus" always felt to me like music for a BIG city.
www.youtube.com/watch?v=JdjDFW3IDaU
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© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Music Link: "The Grid" - Philip Glass, from his score for the Godfrey Reggio film "Koyaanisqatsi". This is a very well done edit of the much longer piece which lasts almost 24 minutes. Here it is a mere 6:40, but more than enough to get the point across with hair-raising and mind blowing immediacy.
The word "koyaanisqatsi" is a Hopi word for "life out of balance". Reggio's 1983 film was the first of it's kind and a quantum leap in film making. The director started out with the very original idea to craft a film around real life footage from around the world, focusing first on the quiet solemnity and unhurried elegance of nature and then contrasting it very sharply indeed with the mad rush of human activity, perception and behaviour. The concept was to show just how literally insane the materialistic, consuming and destroying culture of the West is and that it is dangerously out of balance with the natural world.
Reggio believed modernized "First" world culture to be sick, as in not well, deep into its core for it's lost connection to the natural rhythms of nature. As its ever demanding maw grows and grows, it eats away at the planet like a cancer. He used the Hopi prophecies about this time as a way to guide the footage, which has no actors, no narration, no plots or story. Real life footage was carefully shot over years and assembled and synched to the music of Philip Glass, whose work Reggio chose for it's enormous power to reflect the themes he wanted to so viscerally display. The finished film footage and the music now are inseparable halves of a complete whole.
While a few other directors have taken on Reggio's very original and groundbreaking style and commercial TV has naturally copped his technique, the original "Koyaanisqatsi" still stands as the greatest film of its kind. Not so shocking and breathtaking now as it was back in 1983, the film still hits hard with dizzying accuracy. Yet at the heart of it all, Reggio's is not the voice of condemnation. He looks upon human beings as being caught in the snares of their own creation and feels compassion for them. A lesser mind would have moralized. Reggio does not.
I chose this piece as a natural accompaniment to Times Square imagery and because a lot of this segment IS shot in New York and indeed in Times Square. I think it musically reflects the unbelievable rush and chaos of the location, and the wider modern world, beautifully. This very hard to find video is the actual footage of the film to the accompaniment of its intended soundtrack.
www.youtube.com/watch?v=fwPDFeXEMs4
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© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
(October 2nd, 2010) An estimated 175,000+ people from across America -- representing all 50 states and our country's great diversity -- joined together at the Lincoln memorial to re-claim the American dream and raise their voices for jobs, justice and public education. ~ Washington, DC ~ Photo by David Sachs / SEIU
One last final daytime "tumble" of Times Square before a few night time views of the same. In this view we have one last extreme bending and distorting of single view planarity, suggesting, as I do with this technique, that what we know as 'reality' is a construct put together by our filtering brains in order for us to navigate on one safe and familiar level.
Yet science tells us that at the Quantum level there are at least 11 dimensions that have been confirmed as existing. At that level reality is an undifferentiated mass of potential, virtual realities. Yet, once we observe at that level, one single 'choice' becomes available and clicks into specificity, returning the rest to potential.
So the world that we know may, it turns out, be a consensus, a 'choice' that's been reinforced and expanded on as we move forward with it. The coming Quantum Age will be about seeing that the world, reality or the universe is not random, that it is very very finely tuned and constructed unquestionably for the creation and sustaining of life.
Anyone interested in investigating these ideas might find Ervin Laszlo's seminal book, "Science and the Akashic Field" a very readable and exciting exploration of the Quantum world and what a true understanding of its significances can have on a radically new and life affirming future that is ours to create.
Our daily choices affect reality as each one clicks a certain aspect of reality into existence. We can literally create a beautiful, life enhancing existence or an unmitigated hell, individually and collectively then. The choice is up to us each moment of the day.
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Music Link: "Mooncalf" - Ozric Tentacles, from their album "The Yumyum Tree". I've been finding the Ozrics' music to have become something of an addiction this summer and I choose them again for one last Times Square image for the power, drive and visionary soundscaping of this jaw-dropping piece of music.. The pace of "Mooncalf" and it's beautifully elegant shaping in space, despite its obvious power made it a shoe in, for me, to accompany #9 in this series.
www.youtube.com/watch?v=3z2koZk4GYI
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© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Turning heads, its not everyday Europe comes to Dublin.
Stena Europe comes to Dublin Ireland.
Covering for other Stena ships on overhauls, seen on the Holyhead-Dublin run in early 2021.
Stena Europe is expected to leave the fleet in 2023 after many years of faithful service, loved by crews & passengers.
If memory serves this was taken somewhere between 48th and 49th, where there's a stop for tourists to board the double decker buses for the drive round Manhattan. You're not quite at Times Square here, per se, but rather at the "entrance" to it as the streets become markedly more crowded and the video billboards fill up so much of the airspace above first and second floors.
You can feel the energy increase and the sense of the almost frightening press of masses of human bodies all convening upon the Square itself as you move progressively south from here.
People dressed as Mickey Mouse, Iron Man and the Statue of Liberty slide among the tourists looking for photo ops, hucksters of every kind call out vocally or visually and everyone's looking for something or someone.
I chose to 'mirror' this particular shot because of the strength of the gaze of the young Asian man who's starring directly into the camera, and hence at the viewer. He seems both confident and very curious. When I eliminated half of the original image and flipped the remaining half over, VOILA , something that spoke of the "mythology" that is Times Square really popped out in a very dramatic and unforeseen manner. Images of rockets, which could be insects or dragons, in some kind of procession or parade, led by our Asian man, as an unexpected future arrives to approach us.
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Music Link: "Magick Valley" - Ozric Tentacles, from their album "The Yumyum Tree". Again, the Ozrics. I chose this piece for it's exotic, futuristic sound which can alternately be taken as a powerfully different vision or something, perhaps, vaguely threatening. Maybe both. Those perceptions, I think, have a lot to do with our own fears and expectations of the future.
www.youtube.com/watch?v=SHXvx2X2-CE
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© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
One lucky girl was able to get some shots while near the front of crowd during Matt and Kim's set at this year's Sasquatch Festival.
Photo available upon request. E-mail Xander@Xanderdeccio.com for more info.
A tableau vivant is a French term that has no real English equivalent. A close approximation is "a silent and motionless group of people arranged to represent a scene or incident."
Let me illustrate for movie lovers. Do you remember the classic Audrey Hepburn scene at the Royal Ascot racecourse in the classic musical, "My Fair Lady"? The action is stopped and the sound of galloping horses is heard, before Eliza Doolittle shocks the Lords, ladies and gentlemen with her uncouth cheer.
Now I can assure you there were no actual Lords at the Launceston Cup yesterday, and the closest we got to the Royals was the Governor of Tasmania. But I do believe for one instance we got our Tableau Vivant. Here it is! How do you like the guy in the mirrored sunglasses giving me THE stare?
A final word about Jacques Henri Lartigue (1894-1986), regarded as the greatest amateur photographer of the 20th century and an early user of colour. Lartigue loved scenes just like this one, and I encourage you to get a look at a copy of his greatest collection of colour shots, "Lartigue: Life in Color" (Abrams, 2015).
Every 14th July, the skies over Bordeaux explode into splendour as the city celebrates Bastille Day in style. Shot from the quays of the Garonne, this fiery collage captures the energy, joy, and collective gasp of the crowd as golden chrysanthemums, weeping willows, and fan-shaped bursts lit up the night.
Revolution may be old news, but these fireworks still stir the soul. Liberté? Definitely. Égalité? On the riverside, we’re shoulder to shoulder. Fraternité? You should’ve seen the flirting once the finale ended.
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🇫🇷 Chaque 14 juillet, Bordeaux embrase son ciel pour la Fête nationale. Pris depuis les quais de la Garonne, ce collage flamboyant reflète la joie collective, les cris d’émerveillement et la chaleur humaine qui montent avec les fusées.
La Révolution ? Du passé. Mais ces feux d’artifice font toujours battre les cœurs. Liberté ? Assurée. Égalité ? Collés les uns aux autres. Fraternité ? Il fallait voir les regards échangés après le final…
Well I found out the hard way that The Killers are very serious about NOT having photos taken of them (even if you have a photo pass, which I did).
After the opening act my writer and I got ourselves a good spot in the crowd, had a Photo Pass for the show, got some good shots during the opening song "Spaceman". Was looking through my lens when someone yanked me by the collar from behind. It was the venue's security, apparently The Killers have their own photographer who is the only photographer allowed to take photos during the live show.
I was hastily escorted backstage where they inspected my photo pass and asked me a few questions. From there I was escorted to meet the Tour Manager. He was not a happy fellow and asked me to delete all the photos of The Killers.
I hurriedly complied not wanting to cause any more trouble. Tour Manager allowed me to keep this single photo of The Killers before summarily being escorted out of the venue via the back door.
Not the best shot I got of The Killers but those are gone and this is what I have. At least the Tour Manager was nice enough to let me keep it.
So to all you fellow Rock Photogs out there, don't even think about shooting The Killers with an SLR.