View allAll Photos Tagged INTERPRETATION
My photographic interpretation of the recent minimalist work by the new generation of Black painters that are pushing the boundaries of abstract art. This particular photograph is a combined and layered homage to Rashid Johnson’s “Cosmic Slop ‘Black Orpheus’” (2011) and to Mark Bradford’s “Q3” (2020) from his “Quarantine Paintings” that utilizes agitated-looking layers of sanded paint and paper to represent a topographical map of isolation.
This photo was taken from a section of the front of a shut-down local shop, a casualty of the pandemic. The storefront was used by street artists who added layers upon layers of colorful posters and stickers during the pandemic to eventually all be painted over by a shroud of black paint. Glimpses of those colorful mosaics can still be seen just a layer under the black paint.
Recommended reading: www.nytimes.com/2021/02/12/t-magazine/black-abstract-pain...
Black Orpheus: static01.nyt.com/images/2021/02/12/t-magazine/12tmag-abst...
Q3: static01.nyt.com/images/2021/02/12/t-magazine/12tmag-abst...
"innerspace"
Model: Sayaka @ Nada, Kobe, Japan
Camera: Canon EOS 5D Mark II + EF14mm f2.8L USM
I' ve re-connected to the internet ;)
My interpretation of the year 2020 🤔 Maybe I should save this one for Halloween? lol
Stacked image, one stack for foreground, one for sky (focus stacking). 13 images each, 24 mm f/1.4 lens at f/2.8, 13 sec, ISO 5000. A long time ago in a desert far, far away. Goodbye 2020! Excited about the prospects for 2021! BTW, notice all the little critter tracks in the sand. The desert is full of life!
Os Passadiços do Cerro da Candosa, em Vila Nova do Ceira (Góis), oferecem um percurso pedestre seguro pelas encostas do vale do Rio Ceira, afluente do Mondego. Com cerca de 600 metros e 450 degraus, a estrutura de madeira serpenteia pelas fragas quartzíticas de 440 milhões de anos, resultado da transformação de areias marinhas. A iniciativa, promovida pela Junta de Freguesia e pelo município, visa revitalizar a região após os incêndios de 2017, permitindo o acesso a miradouros com vistas panorâmicas sobre o rio, a malha rural de Vila Nova do Ceira, e a Serra da Lousã. O percurso culmina no desfiladeiro conhecido como Cabril ou Portas do Ceira, um canhão fluvial com escarpas íngremes e vegetação exuberante. A intervenção integra-se numa estratégia de turismo sustentável, valorizando o património natural e promovendo a observação de aves e a interpretação ambiental nesta área de biodiversidade mediterrânica.
The Cerro da Candosa footbridges, in Vila Nova do Ceira (Góis), offer a safe pedestrian route along the slopes of the Ceira River valley, a tributary of the Mondego. With about 600 meters and 450 steps, the wooden structure winds through the 440 million year old quartzite cliffs, the result of the transformation of marine sands. The initiative, promoted by the Parish Council and the municipality, aims to revitalize the region after the 2017 fires, allowing access to viewpoints with panoramic views of the river, the rural network of Vila Nova do Ceira, and the Serra da Lousã. The route culminates in the gorge known as Cabril or Portas do Ceira, a river canyon with steep cliffs and lush vegetation. The intervention is part of a sustainable tourism strategy, valuing the natural heritage and promoting bird watching and environmental interpretation in this area of Mediterranean biodiversity.
Eine Interpretation in Schwarzweiß: Das ATLANTIC Hotel Sail City in Bremerhaven.
An interpretation in black and white: The ATLANTIC Hotel Sail City in Bremerhaven.
Website: www.heiko-roebke-photography.de
Une interprétation photographique de la chanson de Maxime Leforestier « Comme un arbre dans la ville «
Comme un arbre dans la ville
Je suis né dans le béton
Coincé entre deux maisons
Sans abri sans domicile
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai grandi loin des futaies
Où mes frères des forêts
Ont fondé une famille
Comme un arbre dans la ville
Entre béton et bitume
Pour pousser je me débats
Mais mes branches volent bas
Si près des autos qui fument
Entre béton et bitume
Comme un arbre dans la ville
J’ai la fumée des usines
Pour prison, et mes racines
On les recouvre de grilles
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai des chansons sur mes feuilles
Qui s’envoleront sous l’œil
De vos fenêtres serviles
Comme un arbre dans la ville
Entre béton et bitume
On m’arrachera des rues
Pour bâtir où j’ai vécu
Des parkings d’honneur posthume
Entre béton et bitume
Comme un arbre dans la ville
Ami, fais après ma mort
Barricades de mon corps
Et du feu de mes brindilles
Comme un arbre dans la ville
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A photographic interpretation of Maxime Leforestier's song "Like a tree in the city"
Like a tree in the city
I was born in concrete
Stuck between two houses
Homeless homeless
Like a tree in the city
Like a tree in the city
I grew up far from the forest
Where my forest brothers
Founded a family
Like a tree in the city
Between concrete and bitumen
To push I struggle
But my branches fly low
So close to the cars that smoke
Between concrete and bitumen
Like a tree in the city
I have the smoke from the factories
For prison, and my roots
We cover them with gates
Like a tree in the city
Like a tree in the city
I have songs on my sheets
Which will fly away under the eye
From your servile windows
Like a tree in the city
Between concrete and bitumen
I will be torn from the streets
To build where I lived
Posthumous honor parking lots
Between concrete and bitumen
Like a tree in the city
Friend, do after my death
Barricades of my body
And the fire of my twigs
Like a tree in the city
▶ Russkaya - Mandragura Animation
▶ ::Fluffy Stuff:: Cheeky Toys
▶ OPALE.Mei Hair
▶ NANIKA - Francine Top
Maitreya / Legacy / Perky / Legacy PushUp by Nerido / eBODY / eBODY Juicy Boobs
▶ REKT - Taki Pants
"No Filters!"
But of course filters are used, if I have a look at my cameras' settings, I'll discover all sorts of neat little adjustments. Digital adjustments which control the built in "filter" imbedded on the sensor. Camera phones included.
Another question I sometimes I ask myself.....Can anyone tell me "Why do sunsets have to be in color?". Nothing wrong with color, I love color imagery. We punch it up with our articificial software, adding more filtration beyond what our artificial camera/sensor provides (they ALL have built in filters btw, phones included) creating artificial scenes, which is fine if expressing an artitistic interpretation, but then many are then used to promote tourism.....are they *realistic* as to what any givien person would actually see? When we do this, are we bordering on "false advertising"?
Kinda like back in the days of airbrushing the models that appear on the magazine cover....it's fake. The only way to appreciate a scene is to acually see it with ones' own eyes....other than that, it's all "fake news". lol
And yes... I include my own images, but I never make any bones about it.... I'm an artist first, everything else is then my interpretation of what I see with no representation of "Come see this..." ....because it doesn't exist except of course, in my own mind. lol
Image was taken last night in front of our home as the sun was setting. Happy Sunday!
DENALI - The Great One - That's the common interpretation of the native Athabaskan name for Mt. McKinley (since officially renamed), North America's highest mountain at 20,310 ft. in elevation. On a clear day the mountain can be seen from Anchorage 150 miles to the south and in Fairbanks 150 miles to the north and at many other points in between along the route of Alaska's own railroad. Nowhere is the view more spectacular than in the Talkeetna area where the summit is less than 40 miles distant as the raven flies.
Here the Alaska Railroad's southbound weekly passenger train, the Aurora (235S), has paused to give the lucky visitors a spectacular view across the frozen Big Susitna River near MP 224 on the ARR's mainline. Eight miles to the south of Denali (left in the photo) is the 14,573 ft Mount Hunter.
This is what visiting Alaska and riding the Alaska Railroad is all about!
South of Talkeetna, Alaska
Sunday March 20, 2011
A personal interpretation of a sunrise captured from my hills
I hope you like it and thanks for looking : )
Una interpretacion personal de un amanecer tomado desde mis colinas. Espero que os guste y gracias por pasar por aqui : )
I know someday you'll have a beautiful life /
I know you'll be a star in somebody else's sky /
But why, why, why can't it be /
Oh, can't it be mine?
--Pearl Jam, "Black"
"The song is about letting go... I've heard it said that you can't really have a true love unless it was a love unrequited. It's a harsh one, because then your truest one is the one you can't have forever."
--Eddie Vedder, on "Black"
“Open for Interpretation”
My nineteenth entry for Salon 8
8 photographers take on 26 themes.
26 ideas seen through 8 different sets of eyes.
Every two weeks we will posts these images of the
world as we perceive it, as we dream and taste it
TOTW: Blood and Gore
To view more of my images, of Belton House, please click "here" ! Click any image to view large!
Belton House is a Grade I listed country house in Belton near Grantham, Lincolnshire, England. The mansion is surrounded by formal gardens and a series of avenues leading to follies within a larger wooded park. Belton has been described as a compilation of all that is finest of Carolean architecture, the only truly vernacular style of architecture that England had produced since the Tudor period. The house has also been described as the most complete example of a typical English country house; the claim has even been made that Belton's principal facade was the inspiration for the modern British motorway signs which give directions to stately homes. Only Brympton d'Evercy has been similarly lauded as the perfect English country house. For three hundred years, Belton House was the seat of the Brownlow and Cust family, who had first acquired land in the area in the late 16th century. Between 1685 and 1688 Sir John Brownlow and his wife had the present mansion built. Despite great wealth they chose to build a modest country house rather than a grand contemporary Baroque palace. The contemporary, if provincial, Carolean style was the selected choice of design. However, the new house was fitted with the latest innovations such as sash windows for the principal rooms, and more importantly completely separate areas for the staff. As the Brownlows rose from baronets to barons upward to earls and then once again became barons, successive generations made changes to the interior of the house which reflected their changing social position and tastes, yet the fabric and design of the house changed little. Following World War I (a period when the Machine Gun Corps was based in the park), the Brownlows, like many of their peers, were faced with mounting financial problems. In 1984 they gave the house away—complete with most of its contents. The recipients of their gift, the National Trust, today fully open Belton to the public. It is in a good state of repair and visited by many thousands of tourists each year The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of £9,000 per annum (about £ 1.17 million in present day terms) and £20,000 in cash (equivalent to about £ 2.59 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton. Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons. Whoever the architect, Belton follows closely the design of Clarendon House, completed in 1667. This great London town house (demolished circa 1683) has been one of the most admired buildings of its era due to "its elegant symmetry and confident and common-sensical design". Sir John Summerson described Clarendon House as "the most influential house of its time among those who aimed at the grand manner" and Belton as "much the finest surviving example of its class". John and Alice Brownlow assembled one of the finest teams of craftsmen available at the time to work on the project. This dream team was headed by the master mason William Stanton who oversaw the project. His second in command, John Thompson, had worked with Sir Christopher Wren on several of the latter's London churches, while the chief joiner John Sturges had worked at Chatsworth under William Talman. The wrought-ironworker John Warren worked under Stanton at Denham Place, Buckinghamshire, and the fine wrought iron gates and overthrow at Belton may be his. Thus so competent were the builders of Belton that Winde may have done little more than provide the original plans and drawings, leaving the interpretation to the on-site craftsmen. This theory is further demonstrated by the external appearance of the adjoining stable block. More provincial, and less masterful in proportion, it is known to have been entirely the work of Stanton.
From Wikipedia, the free encyclopedia
Photographer: Fred H. Politinsky
Subject: Jazz Greats
View my photographs on the following websites:
www.flickriver.com/photos/jackpot999
www.fluidr.com/photos/jackpot999
www.flickr.com/photos/jackpot999
GOOGLE at NPR JAZZ PHOTOGRAPHY POOL - FLICKRIVER (Look for photographs by Bebop18.)
The best photography is a form of witness, a way of bringing a single vision to the larger world.
---- Ben Goldberger, Nation editor, Time Magizine
ALL OF MY PHOTOGRAPHS ARE COPYRIGHTED. ALL RIGHTS ARE RESERVED. DO NOT USE, EDIT OR COPY ANY OF MY PHOTOGRAPHS WITHOUT MY PERMISSION.
The Many-Worlds Interpretation (MWI) of quantum mechanics holds that there are many worlds which exist in parallel at the same space and time as our own. The existence of the other worlds makes it possible to remove randomness and action at a distance from quantum theory and thus from all physics. Which is awesome for Schrödinger's cat! ;-p
First proposed by Hugh Everett in 1957.
More detailed info for those interested:-
en.wikipedia.org/wiki/Many-worlds_interpretation
The nylon wire is 0.14mm the drops are between 1.5 and 2mm.
Candid capture in the Boedo neighborhood.
What interests me in shots like this is to capture thought. I prefer to leave interpretation open...free.
Photography is about interpretation of a scene in reality. There are so many ways to interpret a scene. You can use different cameras or lenses, different compositions, different settings and exposure, or even different processing and editing in post-production.
When a photographer relies very much on post-production, he/she departs more from reality. In the extreme case, you can create an image without a real shot from camera!
You can do a fake infrared shot solely by post-production or software. I still do it with the low-tech way i.e. using my little Fuji X10 and the Hoya R72 infrared filter. The sunny summer day in Minoru Park means abundance of infrared light too. This is good day for infrared shot.
Wish you a good Sunday!
Fuji X10 compact
Hoya R72 infrared filter
B&W with red filter Film Simulation
350th anniversary of the Great fire of London.
As history would have it, the fire that engulfed London for four days began on Pudding Lane. A baker by the name of Thomas Farriner was blamed for the blaze - something he denied for the rest of his life.
The small blaze spread between September 2 and 5 1666, leaving 436 acres of the city completely destroyed.
On it's 350th anniversary, the capital is hosting a series of events to mark the dark period in its history.
Designed by American artist David Best, the London 1666 installation is part London's Burning, a festival of arts produced by Artichoke.
(I won't be there for the actual burning tonight so did my own interpretation :))
Stately and striking, Haddo House casts a huge impression from the moment you set eyes on it. Designed in 1732 by William Adam, the house underwent an opulent remodelling in the 1880s. As a result, it has the clean elegance and swooping lines of the Georgian style with a luxurious Victorian interior. Family portraits trace generations of Gordons, who played a huge part in Scottish history. George Gordon, 1st Earl of Aberdeen was Lord Chancellor of Scotland; the 4th Earl served as Prime Minister. More recently, Haddo was a maternity hospital during World War II – over 1,200 babies were born here. In 2016, a painting of the Madonna at Haddo received a lot of attention when it was identified as being probably by Raphael. We’re now working with Dr Matthias Wivel, curator of 16th-century paintings at the National Gallery in London, to try to arrive at a definitive attribution for this beautiful painting. The house is surrounded by a terrace garden with a lavish herbaceous border and geometric flower beds. A magnificent avenue of lime trees leads to Haddo Country Park. www.nts.org.uk/visit/places/haddo-house
DSC8505
When I think of sand dunes and photography, I think black and white. The natural white environment coupled with shadow areas is just made for B/W interpretation. Here are my attempts to capture the beauty of White Sands National Park in this medium. Most are shot in hard light, but some are early or late in the day, some even approach high key. White Sands looks great in any wardrobe.
In late October, I made a trip to New Mexico to shoot the dunes at White Sands National Park. I hooked up with my close friend and photographer, Sandra Herber. www.flickr.com/photos/sandraherber/ We were at White Sands four days, made eight excursions into the dunes, hiked over 20 miles and shot close to 2,000 photos between us.
We are posting our images at the same time and it will be interesting to see how we handled being in the same locations together. For safety reasons and for the fun of it, we hiked the dunes together, sometimes pointing our lenses in the same direction, other times wandering apart. I am sure we got some similar shots, but it will be interesting to see those that are different as we each have our own way of looking at things, as well as having different focal length coverage. Then there is the processing aspect.
To say White Sands is magical is an understatement. As photographers, we talk about the light, emphasize the light, are critical about the light. The dunes at White Sands react in amazing ways to the change in light, offering different looks, revealing various personalities. It is this diversity of the dunes that I wanted to capture then, and present here now.
Dred Van Winkle wakes every 100-years for the solar eclipse, and free ranges for 48 hours, then, back to sleep....
My artistic interpretation of the four elements: Earth Wind and Fire and water! The flame is obvious. On the left, it looks like a moody cloudy sky with earth below it. The swirly specks represent wind and the whole thing is shot through water. The reality: A water bottle that has a pyramid shaped crystal inside of it and it is full of water. The candle sits behind the whole thing. :) Mmm.. it also kind of looks like a brown planet in the upper right corner. Don't know where that came from! LOL. HMM everyone!
Interprétation de la Square du Vert-Galant en couleurs d'automne.
Paris 2017
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Author : Oriol Esteve tinyurl.com/jk295jy
Folder : Nicolas TERRY
Paper : 35x35 cm from a new korean Hanji that I'm testing
Happy Sliders Sunday! Also for 115 pictures in 2015 #50 Interpretation of a famous painting. My interpretation of Joshua Renshaw's "Abbey ruins" www.plentyofpaintings.com/Joshua-Renshaw/Abbey-Ruins-2-oi... iPhone5 image playing around with the Paintesque App
Hi, in my interpretation I have chosen our beloved Danbo for an just cause, I think. Daily sitting, lying or who are begging on the street in hot or cold, we kind-hearted, not see them. For us they are invisible.
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All and all the photographic set was created by me.
Note well the details, the wall looks like an american construction, the phone also.
The murales instead recalls Paternò, my little country, at the feet of Etna in Sicily (Italy), and I with the red shirt.
Bois du Breuil (Forest of Breuil) near Honfleur, Calvados, Normandie (Normandy), France. A rich forest, part of the commune of Équemauville and overlooking the communes (towns/villages) of Honfleur, Vasouy and Pennedepie as well as the River Seine. It belonged to the Dukes of Normandy until 1204 when King Philippe Auguste conquered Normandy and the forest passed to the French kings. Located 4km from Honfleur, the Bois du Breuil is one of the rare forests on the coastline and is open to the public. This forest, covering 120 hectares, is the property of the Conservatoire du Littoral (Coastal Conservancy). Great variety of species (32 listed species including oak, beech, Scots pine and maritime pine), a fine population of naturalised rhododendrons, large 1,200m path lined with beech trees dating from 1850. Preserved natural wealth thanks to meticulous management in keeping with nature. Access via the RD62 (Equemauville-Pennedepie road). 2 car parks. Round trip, approximately 5km, offering superb views over the Seine bay. www.conservatoire-du-littoral.fr/siteLittoral/115/28-bois... and www.calvados-tourisme.co.uk/diffusio/en/discover/natural-...
Une interprétation photographique de la chanson de Maxime Leforestier « Comme un arbre dans la ville «
Comme un arbre dans la ville
Je suis né dans le béton
Coincé entre deux maisons
Sans abri sans domicile
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai grandi loin des futaies
Où mes frères des forêts
Ont fondé une famille
Comme un arbre dans la ville
Entre béton et bitume
Pour pousser je me débats
Mais mes branches volent bas
Si près des autos qui fument
Entre béton et bitume
Comme un arbre dans la ville
J’ai la fumée des usines
Pour prison, et mes racines
On les recouvre de grilles
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai des chansons sur mes feuilles
Qui s’envoleront sous l’œil
De vos fenêtres serviles
Comme un arbre dans la ville
Entre béton et bitume
On m’arrachera des rues
Pour bâtir où j’ai vécu
Des parkings d’honneur posthume
Entre béton et bitume
Comme un arbre dans la ville
Ami, fais après ma mort
Barricades de mon corps
Et du feu de mes brindilles
Comme un arbre dans la ville
—————————————————————————————————————-
A photographic interpretation of Maxime Leforestier's song "Like a tree in the city"
Like a tree in the city
I was born in concrete
Stuck between two houses
Homeless homeless
Like a tree in the city
Like a tree in the city
I grew up far from the forest
Where my forest brothers
Founded a family
Like a tree in the city
Between concrete and bitumen
To push I struggle
But my branches fly low
So close to the cars that smoke
Between concrete and bitumen
Like a tree in the city
I have the smoke from the factories
For prison, and my roots
We cover them with gates
Like a tree in the city
Like a tree in the city
I have songs on my sheets
Which will fly away under the eye
From your servile windows
Like a tree in the city
Between concrete and bitumen
I will be torn from the streets
To build where I lived
Posthumous honor parking lots
Between concrete and bitumen
Like a tree in the city
Friend, do after my death
Barricades of my body
And the fire of my twigs
Like a tree in the city
”He reflected for a while, then said, ’I can’t make anything of the first one. It’s very probable that a displacement is involved, but there’s no way of guessing what the intermediate elements are. For the second I’d venture an interpretation if the person reporting it as his own were not a Frenchman."
My interpretation of Glinda the Good Witch in The Whiz
youtu.be/DHzx2P4x63c?si=svSaKyA31g1dqP2v
Backdrop: SATO Magical Dreamy Backdrops
Outfit :
Madame Noir - Gilda Gown
Madame Noir - Dalia Cap
Malandra- Sensual Diamond Dress 15
Madame Noir - Zee Boots
Hair: Stealthic Resist
Sub zero. 3 shot multi exposure with canon dsr All in camera even the wavy horizon courtesy of the imagine stabiliser in the lens!
Une interprétation photographique de la chanson de Maxime Leforestier « Comme un arbre dans la ville «
Comme un arbre dans la ville
Je suis né dans le béton
Coincé entre deux maisons
Sans abri sans domicile
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai grandi loin des futaies
Où mes frères des forêts
Ont fondé une famille
Comme un arbre dans la ville
Entre béton et bitume
Pour pousser je me débats
Mais mes branches volent bas
Si près des autos qui fument
Entre béton et bitume
Comme un arbre dans la ville
J’ai la fumée des usines
Pour prison, et mes racines
On les recouvre de grilles
Comme un arbre dans la ville
Comme un arbre dans la ville
J’ai des chansons sur mes feuilles
Qui s’envoleront sous l’œil
De vos fenêtres serviles
Comme un arbre dans la ville
Entre béton et bitume
On m’arrachera des rues
Pour bâtir où j’ai vécu
Des parkings d’honneur posthume
Entre béton et bitume
Comme un arbre dans la ville
Ami, fais après ma mort
Barricades de mon corps
Et du feu de mes brindilles
Comme un arbre dans la ville
—————————————————————————————————————-
A photographic interpretation of Maxime Leforestier's song "Like a tree in the city"
Like a tree in the city
I was born in concrete
Stuck between two houses
Homeless homeless
Like a tree in the city
Like a tree in the city
I grew up far from the forest
Where my forest brothers
Founded a family
Like a tree in the city
Between concrete and bitumen
To push I struggle
But my branches fly low
So close to the cars that smoke
Between concrete and bitumen
Like a tree in the city
I have the smoke from the factories
For prison, and my roots
We cover them with gates
Like a tree in the city
Like a tree in the city
I have songs on my sheets
Which will fly away under the eye
From your servile windows
Like a tree in the city
Between concrete and bitumen
I will be torn from the streets
To build where I lived
Posthumous honor parking lots
Between concrete and bitumen
Like a tree in the city
Friend, do after my death
Barricades of my body
And the fire of my twigs
Like a tree in the city