View allAll Photos Tagged Metaphysical
Long exposure metaphysics in Florenc subway station transfer B tunnel, Prague.
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credo sia la prima volta che mi reputo soddisfatto.
diafanoscopio, scacchiera stampata su carta translucida (duratrans)
This is one the images in the Helsinki chapter of my new Street Metaphysics photo book.
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We're Here are at the metaphysical leper colony. Sometimes it doesn't seem metaphysical
G is for Gas Mask for the Photo Each day group - week 7
In the flowers in the light
The clouds and in the wind
A Code from the Universe
Telling you it's OK
Telling you welcome home
You knew all along and it was true
You're part of the Same
Ten thousand leaves on One Tree
A trillion stars in One Sky
You were gone but never left
Now you see it now you don't
A Code from the Universe
In the flowers in the light
The clouds and in the wind
Hietaniemi beach, Helsinki.
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More great news! I'm very happy and flattered to be selected among the finalists in the 2018 Hasselblad Masters Awards under the Street/Urban category. This selected series is part of my Street Metaphysics series.
Please go to the 2018 Hasselblad Masters page to take part to the public vote and give 3 stars to my image series if you like to support it. Thank you very much in advance!
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Winner Architecture Masterprize 2023 - category Public Exterior architectureprize.com/winners/winner.php?id=7243
Honorable mention Tokyo Foto Awards 2023 - category Architecture
filigrees of tedium
silent substratum of verbal nights
electric conductor of the liquidity of the hours
slowly putting to sleep
neon fossil broken mold absent turn
twisting grunting grinding
if only there was a place where light
dims noise away
if only there was a time to die outside
the place of dying
the camera seeking the movement of such spaces
blind
through the tumult of crossed mirrors
the inoculation of the placenta
over Umbria
over Bonaventure
over Lagos
and the erosion of the seasons
to better capture the scenario
hunting the scene in its departing dis
loc
ation
boredom cigarettes zoom alcohol words
to invent the end of the world words
to invent the invention of the world words
to think
and to think
and to think
brought here to hear the sighs of landmines
brought here to scatter thoughts in the mud
to take pictures to film the debauchery of the carrots
to give face
to spatial blades
out of the set
out of the voice of ancestors
out of the scream of gargoyles
out of the retrograde claustrophobia of nations
one inside the other
beyond forbidden perimeters
where the heads
the suspended heads
the illuminated heads
the cosmic heads the immense heads
sacramental heads
softly lullaby the creosote
calling by number the name of lost orphans
because there’s always a gasoline chant
to spill the night into the crackling hours
there’s always a terrible word to electrocute
a voice
exuberant
devastating voice that spells the spark
lacerating voice that nominates
the irrevocable dissipation of the gesture
but no not to exorcise the spell of no running waters
not to devastate the torrent of famished villages
not to follow the arrow into the epicenter
of the kiss
a voice a word an umbilical scream
an end of the world for the criminal record
metaphysical crustacean
torn diadem
.
Metaphysics embraces physics, as physics expresses aspects of what is meta. We catch it in moments of balance, when our vision expands across dimensions and we see in depth. It is the sense Blake had when he held infinity in the finite palm of his hand, and eternity for the period of an hour...
… She describes how God created, not to increase goodness, which is already infinite, but to reflect that goodness in the multiple beings of creation. Each can proclaim “I am,” she says, and so echo the divine I AM.
The story of creation unfolds in her account, like a great swoop from eternity, across time, and then back to eternity. The heavens and earth are formed. The beings who inhabit the spheres appear. Humanity falls. Civilizations disintegrate in petty squabbles. Then, surprisingly, she realizes that the fighting and quarrels are a digression.
-Mark Vernon, Dante’s Divine Comedy, A guide for the spiritual journey
Celebrating the publishing of my new monograph Street Metaphysics! The regular 7x7 in. version is now available through Amazon. The special high quality 12x12 in. XL-version is available through Blurb.
The book (62 pages) is divided into 4 sections according to the cities where the images where shot in 2016-2017 (New York, Helsinki, Venice and Prague).
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Book of Shadows pages I created. These are not pre-punched so they can be customized for most any Book of Shadows. These pages are on parchment paper 8.5 x 11 size.
Book of Shadows pages I created. These are not pre-punched so they can be customized for most any Book of Shadows. These pages are on parchment paper 8.5 x 11 size.
this photo dates back to a few decades ago. in my youth I was delighted with shots of this kind as I loved metaphysical painters.
..or should I call it "Sunset #9023984?"
"Terrazza Mascagni" - Leghorn :)
Expired Kodak Gold film, unknown date.
[more inside]
The head is that of James Tillich, the man who never existed. I created him and made him famous. He's everywhere and nowhere at the same time...kind of like enlightenment or nirvana.
Google him!
The James Tillich story is here: jamestillich.wordpress.com/2012/07/01/hello-world/
chance operation + metaphysical intention = strange attraction
(an alternative perspective on the nature of chaos)
i find, at times, that my camera is making exposures that i did not intend. it does this quite a bit, actually - in between shots, on the way to my pocket, switching between camera apps, and so on. these amount, i think, to chance operations, very-close-to-random events that might be considered misfires and discarded were i an actual photographer. but i often find that i like these images, these tiny, overlooked subjects viewed from odd perspectives, blurred by movement, or, simply, out of focus and poorly exposed. so i take this raw material and begin to look more closely, searching for the treasure within, exploring what may lie in the shadows, just below the surface, or hidden in the cascading light. increase the exposure, lighten the shadows, increase the contrast, decrease the contrast, add color, remove color, smear pixels, sharpen the result, knead and shape the pixels, admitting little bits of sensor noise, like salt or leaven, to bring out distinct and tasty characteristics that are there, not there, then there again. and all the while, i watch in wonder. the heart of a something is slowly revealed. sometimes i am able to discern and articulate some meaning in what i see, sometimes not. i continue the conversation, the dance, the follow-me-slowly from here to there until my partner is no longer following my lead, instead choosing to stand on its own, asserting itself in some mysterious way. sigh. i suppose this is not really photography. or is it? does it really matter? there are things in life that i do not understand, cannot explain, that are beautiful and valuable and wholly themselves whether or not i can name them, whether or not i have the vocabulary, the memory to say 'behold the fill-in-the-blank-with-your-own-favorite-subject.' in the end, i think of these images, of this image, as an essence that somehow wanted to be captured, communicating through some arcane mechanism, some inexplicable connection with the tool i have at hand ... and with me. i like that.
littletinperson
Mercado do Bolhão, Porto.
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Gare de Liège-Guillemins, Belgium.
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