View allAll Photos Tagged Expectation
This was taken at the northwest corner of Park Avenue and 75th Street...
In case you're wondering, I have no idea what caused that dark, oval shadow-like thingy near the top of the picture. It looks like a balloon on a string, and I can assure you that I was not holding a balloon when I snapped the photo. But maybe someone else was ... e.g., someone standing behind me.
It's also worth noting that the photo was taken in the middle of the day, and during the winter season, the NYC sun is low in the sky, and pretty much in the southern part of horizon, shining very brightly in a northerly direction.
It was also bitter cold on this day in mid-December, though you would never know it by looking at the worker in the photo. But the bright sunlight helped, and there was no wind ...
A technical note: I've recently attended a weekend photography course that showed us how to use various photo-editing apps on the iPad. I've used it on this image, with the "SnapSeed" app that used to be available as a standalone app on Mac desktop/laptop computers until Google bought the company (grrr).
In any case, I used the "HDRscape" functionality, and set the brightness to -25, saturation to +25, filter strength to +25, and smoothing to +25. The combination looked better than the other variations I tried, so that's what I've uploaded here ... though I've still got the original image on my desktop Mac. (Another small technical note: Snapseed is available on the Mac via the Chrome web browser, but not on Safari; and from my relatively brief review of the browser-based Snapseed, the "HDSscape" functionality simple does not exist. Sigh...)
One of my projects this week is to visit BestBuy, to see if I can find a combination of cables and adaptors that will allow my iPad to be connected directly to a 27-inch Cinema display that I currently use as a 2nd display with my iMac. Why BestBuy? Because the local Apple Store here on the Upper West Side of NYC told me that they had no such combination of cables and adaptors themselves. Feh. I'll bet Steve Jobs is rolling over in his grave right now ... anyway, if I succeed, that might make it a little easier to start doing this iPad editing with a big screen. (Of course, an alternative would be to persuade Google to re-release the SnapSeed app on the Mac desktop; but I suspect that's a lost cause.)
None of this is likely to make any difference to the folks who merely want to look at a picture and make a snap decision about whether they like it or not. But if you thought that I spent my time simply wandering up and down the street, pointing my camera at people, and uploading the resulting image without any additional effort ... well, it's a little more complicated than that.
Note: I chose this as my "photo of the day" for Jan 13, 2014.
Note: this photo was published in a Mar 13, 2014 blog titled ”海市蜃樓 海市蜃楼 Mirage” / 寧 Serenity."
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
One of the 100 statues in Sir Antony Gormley's "Another Place" installation. I got here just as the tide was coming in and need to go back when there's more beach. Taken with a 16 stop ND filter.
St. Peter's square...chairs...
IF YOU ARE INTERESTED IN MY PRINTS PLEASE CONTACT ME BY EMAIL: zhuk@rcn.com
This was taken on 7th Ave & 11th St, in Greenwich Village.
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Model : Laurie Mayran
Make-up : Esther Perli
Hair : Christophe Versolato (Bruno Flaujac)
Stylist : Diva
Assistant : Benoit Jacquot
light : two elinchrom flash.
Place : le Palladia
With the cooperation of Marina Muller - Reyan Events.
To finish the last 10x15 cm sheet for the day a quick experiment with a pin-hole and this quick emulsion. In order to get any result with pinhole and cyanotype we should consider following
1 pinhole size
2 distance to the paper
3 sensitivity of the emulsion
4 duration of the exposure.
5 stength of the light
and in this case I used a sheet of alufoil with about 50 pinholes in a random patern
1 pinhole size, about 0.3 mm
2 distance to paper about 1 cm
3 sensitivity of emulsion unknown but should give some blue after 10 minutes
4 distance from UV light 10cm
5 unknown
anyway after 15min exposure it gave this result.
My expectation would have been small image circles with the 4 UV tubes but because of the multitude of pin points many merged to lines.
in the cut out of 2 you see the 4 tubes. Once dried I will see if I can see any further improvement of the resolution.
Sofar this process seems to work quite well with the Canon Inktjet paper, giving good resolution.
pictures taken by iphone and digitally inverted for the positive.
Late night #postworkout #meal. #dinner#gymlife#fitspo#eatforabs#eatclean#healthy#gymaddict #bodybuilding#allnatural #expectation#determination#fitness #fitnessaddict#lifestyle
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"How lovely to think that no one need wait a moment, we can start now, start slowly changing the world! How lovely that everyone, great and small, can make their contribution toward introducing justice straightaway... And you can always, always give something, even if it is only kindness!"
Canon 5D markII
I'm trying to make a working Newton's Cradle in Cinema 4D using just the built in MoDynamics, no keyframes.
The Catedral de Santa María de Tui is a castle cathedral constructed in the 12th century in a Romanesque style. Construction began in 1120, although the oldest parts go back to the late 11th century. The cathedral was completed in 1180. Significant changes were added in the following decades, such as the stunning Gothic portico that was completed in 1225. The main portal is one of the earliest Gothic works in the Iberian peninsula. 1225 is also the year when the cathedral was officially consecrated.
The church features a main nave and two lateral naves. The transept has three naves as well. There is a wealth of decorative capitals with plant elements but also featuring an important collection of the medieval bestiary. The two Baroque organs on either side on the main nave were built in the 18th century.
The cathedral is part of a walled complex, and the outside walls of the cathedral have a fortress-like appearance as well. This includes the stunning cloister that was constructed in a Cistercian Gothic style in the second half of the 13th century. It was restored in 1408 because of structural issues with its south wall. The Torre de Soutomaior, fortifying the southwest corner of the Gothic cloister was added in 1408 as well.
The colors of Autumn. Fall is more like a 2nd Spring in the desert. Life returns with the end of the oppressive heat. A beautiful sunny day after a week of storms. I realized I've not taken any shots with this lens in good weather. It yielded results that met expectation. Very similar to the other Tokina T4's I have.
This is the Lakhan Pol again, or Dedh Kangura Pol as it has been known as since Maharaja Man Singh built the Outworks. Its new name translates as 'one and a half merlons'. A merlon is the sticky-up bit of a battlement. A line of old merlons can be seen running around the tower and across above the gate - where one and a half of them remain visible! Also visible are the holes in the walls (many circled with paint) from the cannon balls fired at the gates in 1809 by the army of Jaipur.
The dispute that led to the siege involved Raja Man of Marwar (Jodhpur) and Jaggat Singh of Jaipur, both of whom fought for the hand of Krishna Kumari, the beautiful daughter of the Rana of Udaipur. The full story of this event is as follows:
"There arrived at Udaipur a detachment of the troops of Jaipur, bringing proposals for the marriage of their prince with the Rana's daughter. The Jaipur cortege encamped near the capital, and the Rana's acknowledgments and acceptance of the proposal were despatched to Jaipur.
But Raja Man of Marwar also advanced pretensions to the hand of the princess, on the ground that she had been actually betrothed to his predecessor. She had been betrothed, he said, to the throne of Marwar, not to the individual occupant; and he vowed resentment and opposition if his claims were disregarded.
Krishna Kumari was the name of the lovely object, rivalry for whose hand assembled under the banners of her admirers, Jaggat Singh of Jaipur and Raja Man of Marwar, not only their native chivalry, but all the predatory powers of Hindustan.
Sindhia, having been denied a pecuniary demand by Jaipur, opposed the nuptials, and aided the claims of Raja Man by demanding of the Rana the dismissal of the Jaipur embassy. This being refused, he advanced his brigades and batteries; and, after repulsing a fruitless resistance, in which the troops of Jaipur joined, he forced the pass into the valley of Udaipur with a corps of 8,000 men, and encamped within cannon range of the city. The Rana had no alternative but to dismiss the nuptial cortege, and agree to whatever was demanded.
The heralds of Jaggat Singh of Jaipur being thus rudely repulsed, the Jaipur prince prepared to avenge his insulted pride and disappointed hopes, and, accordingly, arrayed a force such as had not assembled in Hindustan since the empire was in its glory. Raja Man eagerly took up the gauntlet, and headed the "swords of Maru."
But dissension prevailed in Marwar, where rival claimants for the throne had divided the loyalty of the clans, introducing there also the influence of the Mahrattas. The marriage proposals gave the malcontents an opportunity for displaying their long curbed resentments, and, following the example of Mewar, they set up a pretender, whose interests were eagerly espoused, and whose standard was erected in the array of Jaipur. A battle was fought at Parbatsir on the common boundary of the two states; but the action was short, for while a heavy cannonade opened on both sides, the majority of the Marwar nobles went over to the pretender. Raja Man turned his poniard against himself, but some chiefs yet faithful to him wrested the weapon from his hand, and conveyed him from the field.
He was pursued to his capital, which was invested and gallantly defended for a period of six months (during which these cannon ball marks were made). The town was at length taken and plundered; but the castle of Joda defied every assault, and in time the mighty host of Jaipur, which had eaten the country bare for twenty miles round, began to crumble away: intrigue spread through its ranks, and the siege ended in pusillanimity and flight. Jaggat Singh, humbled and crestfallen, skulked from the desert retreat of his rival, indebted to a partisan corps for safety and convoy to his capital, around whose walls the wretched remnants of his ill - starred troops long lagged in expectation of pay, while the bones of their horses whitened the plain on every side.
Raja Man owed his delivery to one of the most notorious villains that India ever produced, the Nawab Amir Khan. This man held command of a brigade of artillery and horse in Jaipur's army, but in the course of the siege he deserted to the side of Marwar ; and he now offered, for a specific sum, to rid the Raja of the pretender and all his associates. The offer was accepted, and Amir Khan was not long in laying his plans. Like Judas he kissed whom he betrayed. He took service with the pretender, and, at a shrine of a saint of his own faith, exchanged turbans with his leaders, a ceremony equivalent to the most solemn oath of friendship. The too credulous Rajputs celebrated this acquisition to their party by feasting and revelry ; but in the midst of dance and song, the tents were cut down, and the victims, enveloped in their toils, were slaughtered by the Khan's followers with showers of grape.
Thus finished the under-plot ; but another, and more noble, victim was demanded before discomfited ambition could repose, or the curtain drop on this eventful drama. Neither party would relinquish his claim to the fair object of the war ; and it was the unhallowed suggestion of the same ferocious Khan that the blood of the princess could alone extinguish the torch of discord.
We need not analyse the motives that prompted him to this devilish scheme. He had determined to make himself all-powerful in Marwar, and the alliance of Raja Man with Mewar was not calculated to further his object ; nor was he anxious for a renewal of the war with Jaipur, which he knew to be inevitable unless the dispute were settled. Through the medium of the Chondawat, Ajit, whom a heavy bribe had made his accomplice, he revealed his design to the Rana, and induced him to believe that there were but two alternatives to his daughter's death. Either he must force her, already promised to the Jaipur prince, into a dishonourable marriage with Raja Man, or, by refusing to do so, draw ruin upon himself and his country. The fiat was passed that Krishna Kumari should die.
Krishna Kumari Bai, the " virgin princess Krishna," was in her sixteenth year. Her mother was of the Chawura race, descended from the ancient kings of Anhulwara. Sprung from the noblest blood of Hind, Kumari added beauty of face and form to an engaging demeanour, and was justly celebrated as "the flower of Rajasthan." When the fatal cup was presented to her she received it with a smile, at the same time addressing words of comfort to her frantic mother; "Why afflict yourself, my mother, at this shortening of the sorrows of life? I fear not to die. We are marked out for sacrifice from our birth ; let me thank my father that I have lived so long." Three times the nauseating draught failed in its object. A fourth, a powerful opiate, was prepared and administered, and " the desires of barbarity were accomplished. She slept." The wretched mother did not long survive her child ; nature was exhausted in the ravings of despair ; she refused food, and in a few days her remains followed those of Kumari to the funeral pyre."
Expectation among the Science and Computing teams minutes before the deadline to submit observation proposals.
More information: www.eso.org/public/images/ann17024a/
Credit:
R. Bennett - ALMA (NRAO/NAOJ/ESO)
---- Sunday 19/05/2013, Limina - Sicily (the expectation that precedes the coming out of the Saint from his church, and His mad rush): two young devotees .... ----
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.... this is a short-long report on the traditional feast of St. Philip which takes place in Limina (Sicily), this feast is held over two days:
the first day of feast takes place early in the month of May (this year On 11-05-2013), with the procession which reaches up to the district of "Murazzo"; the second day of feast takes place the third Sunday in May, called the "eighth" (this year On 19-05-2013).
St. Philip in antiquity was sent by the then pope in the land of Sicily, to evangelize the Gentiles, and cast out demons hiding in the island. The Sicilian town of Limina, dedicates to St. Philip a very typical festival, full of devotion and traditions (which in fact takes place in two non-consecutive days in the month of May).
The float with the Black Holy is carried on shoulders, high up on the hill called "Calvario", then the float returns to the country and here the Saint is rushed back and forth, but is also twirled rapidly; then the saint is again carried out of the country, reaching the district of "Durbi ", then He goes fastly back again to Limina ... and here the Black Holy of Limina continues its race-dance .....for a long long time.....
This photo was taken on 41st Street, between Madison and Fifth Avenue.
The picture speaks for itself...
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Waiting is a joyful hope,
patience a chant, steady and clear.
Each thought a seed, shaping the year,
blossomed and known yet still the horizon lingers near.
⁛ echoes beneath the quiet light
© 2025 Lorrie Agapi. All rights reserved.
My heart, my words. Please respect them.
Everything I share here comes from my own soul and my own journey.
Please don’t copy or rewrite my texts as your own.
Your own voice deserves its own space.
Jerry Weiss (born October 21, 1959) is an American figurative, landscape, portrait painter and writer. As a student he studied classical drawing; he initially focused on portraits, and began to paint landscapes during the 1980s. Weiss is a Contributing Editor of The Artist's Magazine, for which he writes a Master Class feature with an overview of historic artists. His father is cartoonist, Morris Weiss.
[Oil on canvas, 36 x 48 inches]
gandalfsgalleymodern.blogspot.com/2011/06/jerry-weiss-exp...
Going for a walk in the middle of a forest somewhere, and my brother decided to take the 'better route', up a small hill, unfortunately, he got stuck. But I took his misfortune as a chance to get a mysterious silhouette shot, which I'm quite pleased with. (He managed to get the down by the way, we didn't just leave him up there..)
One of the most common tropes these days is "expectation versus reality". Everyone likes to joke about it, the times we discovered that what we imagined didn't quite match up to real life. I'm never sure if I come off better or worse when someone meets me face-to-face, but I'm often informed that I'm different in some specific way. "You're taller than I thought" is something that's said, or how I'm younger than they realized. I hear more neutral observations than negatives or positives, though an older woman on the street told me: "You're more handsome in person," which made me smile. The truth is, like all artists with an audience, I'm forging a certain parasocial relationship – a one-sided connection convincing strangers that they know me through my work. But no one ever knows me fully.
The widest gulf between online and off is personality. Judging from my writing, a lot of folks think I'm terminally morose, just about to off myself at any moment. I even had a man show up at my door once, genuinely concerned that I was a suicide risk. Honestly, I see why he might think that. The content I create is often dark, intensely focused on desperation and death. There's no doubt that I'm obsessed with life's other side. But one of my favourite songwriters said it best, the late Mickey Newbury. "How many people have listened to my songs and thought: 'He must have a bottle of whiskey in one hand and a pistol in the other.' Well, I don't. I write my sadness." In another interview, Mickey referred to his process as "robbing the dragon". I've always loved the sound of that, like sneaking in and stealing something back to make it good.
I'm a classic introvert at heart. I might not have a real conversation with anyone beyond my wife and family for weeks at a time, just a quick hello to the workers at the post office or grocery store. Community isn't something I miss – fully engaged with the adventure of exploring, capturing images, arranging thoughts into words, and sharing it with you. But when I do meet someone, I'm anything but tongue-tied. What an incredible experience it is, this human connection, that buzzing back-and-forth of two people usually buried in their own worlds. I'm certain some are taken aback at first contact, having imagined me like a hermit or recluse, devoid of social skills from years of isolation. But I love people in their tiny doses, will always easily talk too much until time runs out. I can't quit loving just how wonderful we can be with each other.
None of my work would be possible if I weren't content with my company. Regularly, I'll hear from folks who profess a hatred for humanity, an appreciation for the remote cabins from my adventures, and a wish to live forever in such a place. I don't know whether to be flattered or frightened that they're telling me this, because discontent breeds misery when you go it alone. A couple winters ago, I met a recent transplant from Ontario, set up at a secluded cottage by the shore. He was middle-aged, recently on the run from a corporate job he despised. With no plans or hopes for the future, besides the vague eternal vacation of early retirement, he did little with his days but watch the money run out – brooding on time and love lost. Getting away from people will not solve your social ills, only narrow and magnify them down to emanating entirely from you. I'm not off in my own little world, I'm off in ours. We're in this together, even when we're in this alone.
November 7, 2022
Lunenburg County, Nova Scotia
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50/70, soft pastel
This work is a combination of symbols and colours that are linked together to bring a sense of expectation to the viewer. One of my favourite materials is soft pastel so I carefully drew the outline of the figures, trying to make them look real. The colour of the cartoon is a combination of red and brown, which gives a sense of mystery and "suspense", making the figure of the angel shining.