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The famous Luskentyre Beach on Harris. We had a mad dash down from Callanish to try and see the beach before the sun went from the sky and made it just intime to spend a short while enjoying the wild side of Harris.
Not a bad place for a 5th Anniversary either!
L’artiste nous propose une architecture en bois de mélèze sous la forme d’une spirale. Protégé des regards, le visiteur entame un parcours intime – proche de l’écorce de l’arbre et des branches – qui débouche sur une impossibilité d’aller plus loin sinon dans l’imaginaire ou la contemplation du parc par de petits trous percés dans la palissade qui nous protège d’une chute possible parce que l’on a pris de la hauteur dans ce remarquable tulipier.
The artist offers us a larch wood architecture in the form of a spiral. Hidden from view, the visitor enters an intimate path - close to the bark of the tree and branches - which results in an inability to go further if not in the imagination or contemplation of the park through small holes drilled through the fence that protects us from a possible fall because we took height in this remarkable tulip tree.
Loch Ness ? Le plus célèbre c'est sûr mais pas le beau... D'autres Loch plus intimes dévoilent davantage de charme encore au détour d'une route au sein des Highlands.
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Loch Ness is a large deep freshwater loch in the Scottish Highlands, 37 km (23 miles) southwest of Inverness. Not the most beautiful and romantic loch in Scotland in my opinion, it is best known for the alleged sightings of the Loch Ness Monster, also known affectionately as "Nessie".
El frío y la niebla se metían sin permiso durante estos momentos. Una humedad del 90%. Pero la foto me gustaba. Y después, a la chimenea. Una chimenea de tamaño natural. Algún día la subiré.
Le froid et le brouillard, ils ont obtenu sans permission pendant ce temps. Un taux d'humidité de 90%. Mais la photo, je l'ai aimé. Et puis la cheminée. Une cheminée grandeur nature. Un jour, je vais télécharger une photo.
The cold and the fog, they went without permission during these moments. A humidity of 90%. But the photo, I liked it. And then, to the fireplace. A full size fireplace. Someday I'll upload a photo
Samuel H Boardman SP, OR
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I shot this location almost exactly a year ago the result was decent, there was a nice glow on the rocks, but the light really didn't develop much after that. This time around the sky really lit up and created a nice color palette across the sky. It was foggy and cloudy most of the day and really looked like a bust, but we didn't have an alternative location we could get to intime or I think we would have gone, thank god we didn't, 15 minutes before sunset the color slowly started to show up, and was still going off when we were packing up our gear to leave. This is a great location, fairly well known but still a fun location to shoot.
Tech:
Nikon D810
NIkon 14-24
ISO - 200
24 mm
f-11
1 sec exposure
4 image focus stack
Prints & post processing instruction available. See my website for more details Ryan Engstrom Photography
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Scattata con Polaroid Now +
Pellicola i-Type Colot Film
Non manipolata digitalmente
Digitalizzata
Martinsicuro Giugno 2025
Taken with Polaroid Now +
i-Type Colore Film
Not digitally Manipulated
Martinsicuro June 2025
VON PIACERE, CONDIVIDO CON VOI IL BELLISSIMO TESTO CRITICO DI GIORGIO BONOMI
"Il silenzio metafisico delle Polaroid di Stefania Piccioni"
di Giorgio Bonomi
Stefania Piccioni ha una grande esperienza nella fotografia che ha esercitato soprattutto per l’autoritratto e gli still lives. Da qualche tempo opera con la Polaroid, strumento e tecnica che le permette di produrre opere più “intime”, “riservate”, finanche “liriche”.
Come scrive Roland Barthes, “la fotografia non dice ciò che non è più, ma soltanto e sicuramente ciò che è stato”. Così la fotografia serve per il ricordo, per evocare la memoria e, in tal modo, a suscitare la nostalgia che è un sentimento carico di affetti.
Allo stesso tempo la fotografia è, come dice un altro studioso francese, Jean Baudrillard, “silenzio”, per questo è assai diversa dal cinema o dalla televisione. Quindi, se il silenzio è dell’immagine, lo è anche dell’oggetto rappresentato che viene avulso dal contesto del mondo reale.
Nelle Polaroid di Piccioni gli oggetti degli still lives (ricordo che in italiano questo tipo di opere si chiama “natura morta”, mentre le parole inglesi significano, in modo più pregnante, “vita immobile”) o i “paesaggi” vivono una situazione sospesa nel tempo e nello spazio, presentandosi con una forte atmosfera metafisica.
Inoltre devo notare che Piccioni si esprime come tutti gli artisti “veri” che presentano sempre nelle loro opere, create con il proprio linguaggio soggettivo, un richiamo ad altri artisti precedenti, anche assai differenti. Infatti in queste Polaroid non si può non ritrovare un’eco di certe nature morte di Morandi o certe situazioni, appunto metafisiche, di De Chirico.
Orbene, qui la memoria si concentra sulla storia (dell’arte), alla stessa maniera, come ho accennato più sopra, che il ricordo è personale, intimo, esprimendo nostalgia anche di “piccole cose”, come un fiore, una bottiglia, la visione di un panorama, di uno scorcio di un paese antico.
Oltre all’inquadratura, la nostra artista riesce a creare effetti assai poetici, nei ritmi delle luci e delle ombre, sia quando si serve del bianco e nero sia quando usa il colore, sempre tenue, mai sgargiante.
Non possiamo non ricordare, di fronte al “silenzio” di queste immagini, “quello infinito silenzio” leopardiano che al poeta di Recanati fa pensare al passato e al presente, come le opere di Piccioni – si parva licet componere magnis – ci suscitano riflessioni ed emozioni nel ricordo e nella speranza.
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WITH PLEASURE, I SHARE WITH YOU THE BESTIFUL CRITICAL TEXT by GIORGIO BONOMI
The Metaphysical Silence of Stefania Piccioni’s Polaroids
by Giorgio Bonomi
Stefania Piccioni has extensive experience in photography, a medium she has mainly explored through self-portraiture and still lifes. Recently, she has been working with Polaroid—a tool and technique that allows her to create works that are more “intimate,” “reserved,” even “lyrical.”
As Roland Barthes writes, “Photography does not say what is no longer, but only and certainly what has been.” Thus, photography serves memory, evokes recollection, and in doing so, stirs nostalgia—a feeling laden with affection.
At the same time, photography is, as another French theorist, Jean Baudrillard, notes, “silence.” This is why it is so different from cinema or television. If silence belongs to the image, then it also belongs to the object represented, which is thus detached from the context of the real world.
In Piccioni’s Polaroids, the subjects of the still lifes (a genre that in Italian is called natura morta—“dead nature”—while the English term still life more poignantly suggests “still living”) or her “landscapes” exist in a state suspended in both time and space, conveying a strong metaphysical atmosphere.
I must also note that Piccioni expresses herself like all “true” artists, who always embed in their works—created through their own subjective language—an echo of earlier artists, even if stylistically very different. In these Polaroids, one cannot help but find a resonance with certain still lifes by Morandi or the metaphysical scenarios of De Chirico.
Here, memory is focused on history (of art), in the same way that recollection is personal and intimate, expressing nostalgia even for the “small things,” like a flower, a bottle, the view of a landscape, or a glimpse of an ancient village.
Beyond composition, Piccioni is able to create deeply poetic effects in the interplay of light and shadow, whether working in black and white or with color—always soft, never garish.
We cannot help but recall, when faced with the “silence” of these images, that “infinite silence” of Leopardi’s, which led the poet from Recanati to ponder the past and the present—just as Piccioni’s works – si parva licet componere magnis – stir in us reflection and emotion through memory and hope.
"Reverie is the Sunday of thought, and who knows which is the more important and fruitful for man, the laborious tension of the week, or the life-giving repose of the Sabbath?"
Henri-Frederic Amiel, Journal Intime, April 29, 1852
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my images may not be downloaded, reproduced, copied, transmitted or manipulated without my written permission..
Mount Song China.
美德布魯斯花修士微小的黃色綻放喜悅可愛的美麗照亮了紅色巨大的寧靜享受自然歌曲和平早晨,
douches douces arbres compatissants gazouillent le ciel intime de l'harmonie soleil levant merveilleux brindilles soleil intérieur lumineux envahi d'amour,
grandi sentieri che avanzano luna unica viaggi artistici fantasiosi profumi estati schermo foglie dolci vento di montagna miglia nebbiose,
мощное сердце белый туман выветривания мечты выгравированные впечатления ликующие крылья дикие взгляды слабые тени просветление мудрость,
bus tristia mille vias lumen clarum fluminum aquis deliciarum nitet complevit rerum immodice numerum harenae calidae gradus uagamur uicatim circumferentes noctibus,
絶妙な岩紺碧の渦巻く祈り束縛されない考え鮮やかな色貴重な永遠の儚い自然深い情熱沈む月おやすみ.
Steve.D.Hammond.
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L’hôtel Royal-Riviera, a Saint-Jean-Cap-Ferrat, est un palace intime – luxueux mais discret – classique mais contemporain – chic mais (très) convivial.
Terrasses ensoleillées, plage de sable, piscine à débordement, comme un cadeau, du réveil jusqu’aux heures tardives de la nuit, aux hôtes du Royal-Riviera.
Cocktail d’influences Art-Déco et Néo-Héllénique dans le grand salon qui plonge sur le jardin méditerranéen redessiné par Jean Mus et le bleu immense de la Méditerranée.
Harmonie de couleurs du sud, lumière du matin, balcon sur la mer, et souci du détail dans les chambres, tout est pensé pour faire de chaque séjour un merveilleux souvenir, une folle envie de revenir.
Jardins du Sud et vue sur la mer toujours présente, lire un livre, prendre un thé au cœur du merveilleux jardin : au Royal-Riviera, tout devient différent, plus serein, plus beau qu’ailleurs.
The Royal-Riviera Hotel, in Saint-Jean-Cap-Ferrat, is an intimate palace - luxurious but discreet - classic but contemporary - chic but (very) friendly.
Sunny terraces, sandy beach, infinity pool, as a gift, from waking up to the late hours of the night, to the guests of Royal-Riviera.
A cocktail of Art Deco and Neo-Hellenic influences in the large living room that plunges into the Mediterranean garden redesigned by Jean Mus and the immense blue of the Mediterranean.
Harmony of colors of the south, morning light, balcony on the sea, and attention to detail in the rooms, everything is thought to make every stay a wonderful memory, a crazy desire to return.
Gardens of the South and always sea view, read a book, take a tea in the heart of the wonderful garden: the Royal Riviera, everything becomes different, more serene, more beautiful than elsewhere.
A Tukuche au Népal lors du tour des Annapurnas.
Une scène amusante et fort sympathique avec ces jeunes curieux. Quand fut arrivé le brossage des dents ce fut le rire collectif.
D'après diapositive d'octobre 1977.
Op de Thermen est une place du centre de Maastricht, aux Pays-Bas . Elle a été créée après la rénovation du quartier de Stokstraat dans les années 1950 et 1960. Elle doit son nom aux thermes romains découverts sur le site. Op de Thermen est une place intime, piétonne, pratiquement dépourvue de boutiques, de restaurants et de terrasses.
17 AU RENARD BON LOGIS 57
Un slogan publicitaire datant de 1757 : on est bien logé, chez Reintje de vos.
Sur la façade d'une (ancienne) école, Stokstraat 46, est inscrit 17 AU RENARD BON LOGIS 57. On a peine à s'imaginer que l'enseignement allait jusqu'à fournir le gite.
Il devait donc y avoir un autre bâtiment à cet endroit (à moins que l'enseigne ait été simplement replacée ici après avoir été prélevée sur une maison portant le même nom au début de la rue ?), dont l'occupant indiquait clairement au moyen de l'inscription ce à quoi il pouvait s'attendre : un lit et un bon repas. Sans doute destiné au voyageur, qui entrait dans la ville par la porte Onze Lieve Vrouwepoort toute proche.
Mais pourquoi une inscription en français ?
Beaucoup de ces voyageurs venaient de Wallonie, l'arrière-pays de Maastricht.
Ce n'est pas différent de nos jours, car lorsque l'on traverse le Markt aujourd'hui, on a parfois l'impression de se promener dans une ville francophone.
Pour un Maastrichtois, ces textes en français, que l'on retrouve également sur d'autres enseignes ailleurs dans la ville, n'avaient et n'ont rien de surprenant. Personne ne se serait étonné de lire Au cheval noir, A la coupe dor ou Au mouton blanc, d'autant plus que ces enseignes étaient généralement assorties d'une illustration.
Op de Thermen is a square in the center of Maastricht, Netherlands. It was created after the renovation of the Stokstraat district in the 1950s and 1960s. It owes its name to the Roman baths discovered on the site. Op de Thermen is an intimate, pedestrianized square, virtually devoid of shops, restaurants, and terraces.
17 AU RENARD BON LOGIS 57
An advertising slogan dating from 1757: We're well housed, at Reintje de Vos's.
On the facade of a (former) school at Stokstraat 46, the inscription reads 17 AU RENARD BON LOGIS 57. It's hard to imagine that the teaching extended so far as to provide lodging.
There must have been another building at this location (or was the sign simply repositioned here after being taken from a house with the same name at the beginning of the street?), whose occupant clearly indicated through the inscription what he could expect: a bed and a good meal. This was undoubtedly intended for travelers entering the city through the nearby Onze Lieve Vrouwepoort gate.
But why a French inscription?
Many of these travelers came from Wallonia, the hinterland of Maastricht. It's no different today, because when you walk through the Markt today, you sometimes feel like you're walking through a French-speaking city.
For a Maastricht resident, these French texts, which are also found on other signs elsewhere in the city, were and are nothing surprising. No one would have been surprised to read "Au cheval noir", "A la coupe dor", or "Au mouton blanc", especially since these signs were usually accompanied by an illustration.