View allAll Photos Tagged PERSPECTIVE
Laurianne Deniaud (Présidente des Jeunes Socialistes), Morgane Caradec (Membre du Bureau National), Arnaud Bonnet (Animateur fédéral d'Ille-et-Vilaine) ont participé aux réunions Perspectives 2012 à Rennes
Photos from 'Perspectives' for 'Native Gardens,' Karen Zacarías' celebrated comedy about a young Latino couple that moves into a fixer-upper next to an older couple with a beautifully kept garden. All is going really well until the aristocratic young Chileans discover their property line actually extends about 2 feet over their neighbors' flowerbed. Performances run through May 6, 2018, in the Space Theatre. For more information, call 303-893-4100 or go to denvercenter.org. 'Perspectives' is a series of free public panel discussions held just before the first preview performance of each DCPA Theatre Company offering. Next up: 'The Who's Tommy': 6 p.m. Friday, April 20, 2018, in the Jones Theatre. Photos by John Moore for the DCPA NewsCenter.
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Following from the shallow, synthetic, plastic fantastic Shetland pony extravaganza (yawn) a little perspective correction is not out of place. Once out of the tourist yoke it's comforting to slide back into traveller mode. For this little while I'll just poke about Lerwick and see what I see, not what I'm shown.
They say the town here is fairly new — 17th century. This side, next to Bressay Sound, looks like it was all pretty much built about the same time and that was that. There's got to be more to it. Linguistically, I'd be looking for a Norse origin for this Lerwick's place name and it's rumoured that the Vikings hung about for centuries. The locals are a bit annoyed that Shetland was sold off to Scotland by the Danish King and it's not a good idea to start a discussion about this being part of Scotland. Like in the Faroes my guess is that the Vikings didn't leave! With a Norse name you'd have to reason this place is much older than its buildings.
What's up there, I wonder? These lanes and steps predate everything except shanks' pony so missed out on being designed for cars and electric scooters. There's some nearby that are so steep there's handrails down the middle!
I love the emptiness of these places and the steady pace of life. You can't rush in these lanes. I love the culture. Things are a bit off centre. They speak English here. But it's a Shetland version. You don't have to look far. Down near Victoria Pier there's Da Harbour Chippy, and the next lane from here takes you up to Da Steak Hoose. They spell it how it is; with pride.
Actually, I don't want to go up there. That's the way I came into Lerwick. It's modern, uncomfortable, bland up there. I'll stay down here. I imagine it's closer to Shetland and further from Scotland.
My eye was drawn to this building, because of its slightly confusing ground plan and the resulting strange perspective.
Clay
At Morley Gallery, Morley College, till June 17th.
Inspired by... Teapot, Sheffield, England (made), ca. 1879 (made) 1879 (designed), Christopher Dresser, born 1834 - died 1904 (designer) James Dixon and Sons (maker), Electroplated nickel silver with ebony handle
V&A collection reference number(s):
M.4-2006
Sent by Renee in Hong Kong
on 27 Oct, 2019
travel time 10 days
distance travelled 7,928 km
6 Nov, 2019 received on
The most difficult shot I have ever taken: hands shaking and consumed by the emotional trauma people have when encountering deformity exacerbated by the guilt that your reactions have betrayed you. After assisting him across the road in downtown Phnom Penh I asked if I could take the shot and he assented. A lovely gentile man his interior, the fine negative of his developed exterior; sadly a negative that will remain unseen in the darkroom of our myopic world which often frames through a filter of morbid curiosity. How must it feel to live in such a shell, each encounter punctuated with a thinly veiled decaying façade of familiarity? Or else open hostility rooted in fear.
As a (very amateur) photographer I’m conflicted in taking and posting such shots (this was taken months back). Perhaps though, familiarity fosters understanding…. and at the very least a heightened sense of perspective.
Perspective refers to the relationship of imaged objects in a photograph. This includes their relative positions and sizes and the space between them. In other words, perspective in the composition of a photograph is the way real three-dimensional objects are pictured in a photograph that has a two-dimensional plane. In photography, perspective is another illusion you use to produce photographs of quality composition. When you are making pictures, the camera always creates perspective. Because a camera automatically produces perspective, many novice photographers believe there is no need to know much about it. This attitude is far from correct. When you know the principles of perspective and skillfully apply them, the photographs you produce show a good rendition of the subject's form and shape, and the viewer is given the sensation of volume, space, depth, and distance. Additionally, the photographer can manipulate perspective to change the illusion of space and distance by either expanding or compressing these factors, therefore providing a sense of scale within the picture.
Perspective (from Latin perspicere, to see through) in the graphic arts, such as drawing, is an approximate representation, on a flat surface (such as paper), of an image as it is seen by the eye. The two most characteristic features of perspective are that objects are drawn:
Smaller as their distance from the observer increases
Foreshortened: the size of an object's dimensions along the line of sight are relatively shorter than dimensions across the line of sight
This perspective is based on lighting. Diffused lighting cause difficulty in seeing the form or volume of the object because of the lack of distinct shadows. Strong directional lighting from angles causes the object to be fully lit and other parts to be shadowed which creates a visual clue of the subject's form or volume. When a number of such objects are included within the picture area, the perception of form, volume and depth is increased. When front or side lighting is used, the length, depth, and shape of the shadows cast on the ground provide a perspective of each object's volume. Also, the distance between shadows cast on the ground helps you to perceive the overall depth of the scene.