View allAll Photos Tagged Perceptions
Photographers at the Olympus photographic playground in Amsterdam. The light source creates a shadow on the screen which is between me and the photographer. Through the shadow another photographer and his subject is visible.
At first sight the shadow looks more real than the person that creates the shadow :).
For me this image serves as a modern illustration of Plato's cave allegory and the perception of the freed philosopher. The philosopher can see through the shadows the reality. The image illustrates for me also that images can have different layers of interpretation.
Cave allegory from Wikipedia:
Plato has Socrates describe a gathering of people who have lived chained to the wall of a cave all of their lives, facing a blank wall. The people watch shadows projected on the wall from things passing in front of a fire behind them, and they begin to give names to these shadows. The shadows are as close as the prisoners get to viewing reality. He then explains how the philosopher is like a prisoner who is freed from the cave and comes to understand that the shadows on the wall do not make up reality at all, for he can perceive the true form of reality rather than the mere shadows seen by the prisoners. ...This allegory fascinated me already as a child.
Though Winter has been brutally cold and many with more snow than other areas or snow in places that don't get snow, my perception is Wisconsin had a mild Winter so far.
I often like to think about our place in the universe... and scale... and relativity. For all we know, this big honking Earth of ours... teeming with what we know as lifeforms... is merely a molecule in some other, much larger structure.
Could be. After all, the microscopic view reveals entire worlds and civlizations invisible to our unaided eyes. And even a macro lens gives us a whole different perspective on size and scale.
And since I'm too tired to write today, I'll just repeat some doggerel I created as a kid, which basically says the same kind of thing (and suggests that I have changed very little in the past 30-plus years):
To a flea it's a four-lane highway
To an ant it's a mountain pass
To a cow it's plain delicious
To me it's a piece of grass.
(P.S. This is my first photo taken with my first-ever macro lens, which Husband Mike bestowed upon me for the big Four-Oh.)
An abstract perception/impression of a local stainless steel sculpture and my shadow while photographing it.
I took this shot at the Salford Quays watersports centre, these canoes were stacked up and looked interesting, and the name perception intrigued me too.
I always try to catch the light and the moment. It`s like dancing Tango Argentino: A passion!
Saturday I danced with the light and this shot is the fusion!
A moment and the light as well:
Assassin's Tango:
Gloucester Cathedral Cloisters (re-visited with a new lens!) Vertical iPhone Panorama (then rotated) and seen through the eye of my latest lens, a Zeiss ExoLens Wide-Angle working together with a Manfrotto tripod, Shoulderpod S1, Hisy remote and a hand operated 180 degree swing!, post processing in Apple 'Photos' on iMac, then Snapseed on iPad Pro.
exolens.com/product/exolens-with-optics-by-zeiss-macro-co...
"It is our failure to become our perceived ideal that ultimately defines us and makes us unique." Conan O'Brien
A little gem from the book Steal Like an Artist.
I'm working on an idea I got in the shower for a series that I can already tell will be a challenge. But I am very excited for the outcome and can't wait to share with you all!
This time of the year is high season for drunk driving. People attending Christmas parties and driving (more or less) drunk home.
Luckily this is no longer an acceptable behaviour compared to 10 or 20 years ago where "just drive carefully" was the motto.
We seems to forget that alcohol influence on our perception, so we can not judge how to drive a car. And when not to try at all.
Punta Marina Terme, Jan.2019
Sony A6000 with Selp1650pz, minimum edit in Adobe Lightroom and Gimp
Album: "Dietro Punta, ricordi di Deserto Rosso". Take a look at www.flickr.com/photos/simonepelatti/sets/72157706418034334
#countryside #industrial #cold #sunset #dark #PuntaMarina #Ravenna #contrast
ah perception...
I was in the woods the other day...
saw this wicked knot on this monster cottonwood tree, oh, too suggestive?
stop projecting!
Back at it again after a short break, visiting some local woods with my brother for some lightpainting.
Fenix is the new art museum about migration in Rotterdam.
The exhibition ‘All Directions’ is organized around six themes: migration, identity, fortune, border, flight and home.
Home
Home is where the journey begins and ends. But not everyone arrives at their destination. (…) Home can be a long search. A home is more than just a roof over your head. (…) Home is also a feeling. It's the tea you pour and the people you laugh with. Shoes off, slippers on.
'Doors of Perception', 2023-2024 by Maurice van Tellingen (Netherlands, 1957).
Front doors tell stories about those who live behind them. Like a timeline, these ten doors represent the architectural styles of Dutch homes over the past hundred years.
Source: Info panels inside the museum and next to the art works.
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Fenix is het nieuwe kunstmuseum over migratie in Rotterdam. De tentoonstelling ‘Alle Richtingen’ is opgebouwd rond zes thema's: migratie, identiteit, geluk, grens, vlucht en thuis.
Thuis
Thuis is waar de reis begint en eindigt. Maar niet iedereen komt aan op zijn bestemming. (…) Thuis kan een lange zoektocht zijn. Een thuis is meer dan een dak boven je hoofd. (…) Thuis is ook een gevoel. Het is de the die je schenkt en de mensen met wie je lacht. Scoenen uit, slippers aan.
'Doors of Perception', 2023-2024 door Maurice van Tellingen (Nederlalnd, 1957).
Voordeuren vertellen verhalen over wie erachter woont. Als een tijdlijn representeren deze tien deuren de bouwstijlen van Nederlandse woningen in de afgelopen hondert jaar.
Bron: Informatiepanelen in het museum en naast de kunstwerken.
Photography, over other art forms, has a powerful ability to offer the viewer an anchor in the authentic. There is a commonly held perception that because the ‘photographic’ image mechanically represents the genuine place, (that anyone can visit the location and see it for themselves), it offers the image a perception of trustworthiness, accessibility beyond the surface engagement. Now that said, there is also a flip side to this, a mistrust born out of new technology, that is corroding the once universal acceptance and ironically stimulating the respectability of film, as a non digital medium, (but that’s another story). I’ve previously explored this ‘reality’ in some depth and don’t wish to cover similar ground here. But what does stimulate my intrigue, is the psychological edges of this trust perception, (as for many reasons, we each have differing leaves of skepticism), and the way in which this can stimulate creativity, which is the area that continues to fascinate me. It offers us as photographers a way of maintaining the perceived ‘reality’, but the ability to twist and distort the imagination, developing further complexities and in turn more powerful visual and conceptually meaningful pieces of art.
Now personally speaking, I actively desire my perception, of what is ‘reality’, to be challenged. I want to be surprised; I want to be left puzzled and to be questioning how and why. For me this area of photography, offers to stimulate my visual and conceptual imagination. It flirts with science and art to illuminate the new. I have a desire to base my images in the ‘real’, but to seek out twist and extend that perception, is my creative goal. Think of it, like having the ability to see behind our known horizons, deep into space, beyond atoms and quarks. For in those yet undiscovered, grey areas of our consciousness, lies the greatest creative rewards. New connections are waiting to be discovered, new horizons sort out and examined.
Now I’m sure it sounds like I’ve lost the plot to a few of you, and I genuinely don’t mind you thinking that, but if what I’m writing makes you just wonder for a few seconds, look into that deep abyss, then I’m happy. Our world is not strait forward, it is not easy to understand, answers to questions only open up more questions without answers, but that is to me paradoxically humbling.
There seems to be a purposeful divide between what we know and what we are able to comprehend in any moment. Yes if we sit down and think about the black and white facts, (that we are on a rock crust, over a massive ball of molten rock, spinning at a 1000 miles an hour in an infinite universe), then we turn the facts into feelings through our imagination and things become really interesting. It’s an indescribable feeling of being connected to something more powerful, something that we are not in control of but are part of and struggle to even perceive. This is this feeling that I love, like the feeling one gets when stood at the foot of a mountain, gazing up and up and up, like the feeling at the edge of an ocean without the ability to conceive the vast enormity beyond our perception.
Ironically the ability to comprehend these ‘scientific facts’ seems to rely on allowing the mind space to imagine and drift into creativity. It is these feelings that get me excited when looking at the boundaries of our own perception. I cannot easily find the words to do this feeling justice; only insufficiently describe it as natural optimism. But it is this feeling that I’m trying to describe and make links to the unknown here. For me this feeling is wonderful catalyst to optimism, I feel very humbled by the knowledge that we as humans are so insignificant, that I just don’t matter in the scheme of things. Bizarre to make that statement because our world seems to excel in making the center of the universe individual. And for me this feeling is to be found at the edges of my perceived photographic reality, a gateway into my imagination but based on known facts.
Let me attempt to illustrate these words with an example, turning to this image in particular, for me it feels unusual. The composition was very important in the making of it and I paid close attention to the diagonals here in an attempt to highlight the semi-circular inlet. But what I didn’t fully expect to happen was the way in which the long exposure (three minutes) not only simplifies the wave motion but, offers us a glimpse underneath the surface. The graduating color tones then become a depth chart with a turquoise vibrancy fringed by white oxygenated turbulence.
It leaves me wanting to dive in and go deep into the ocean in an attempt to discover the as yet undiscovered. I know on one level that there is an underwater landscape here beneath the waves, and the long exposure hints to this by showing me some elements of depth, but from this perspective above the water, I can only imagine this as I’m relying on what I’ve been told, (having never dived). The water is then a physical barrier, but a portal to another perception. Am I making any sense? Do any of you feel the same? Are the men in white coats about to knock on my door?
Anyway this image was made on the south side of St Michael's Mount, I’d been to the area last year (well not so far around as this) and really wanted to try and make another image that championed the unusual geology and exploited the wonderful greens and blues in the sea. So as I took the tour around the House, I was eyeing up the location from the buttresses, but keeping the other eye firmly westward trying to second-guess the weather. It was very overcast and what you see here was a storm coming in, (a common feature of this ‘summer’), but I wasn’t disappointed as it offered me a different take on the location.
Time became precious due to the extended second guessing, (and a very nice Cornish cream tea), so on a tighter than comfortable schedule, I had to endure. You see I had to make it back around the other side of the island by 5.30pm, for the last ferry back to the shore, but managed to rattle off five or six three minutes exposures in this very inspiring location before the cats and dogs arrived. By the way I did just manage to make it back for the ferry! if not I'd have had to wait for the tide to go out enough to wade thy deep, camera firmly held high, along the winding cobbled road connecting the mount to the mainland. (Not even imagining how furious Cathy would have been!) Anyway it always amuses me that people are prepared to get wet wading through the incoming tide here. But it does make me chuckle watching them each year I visit the mount.
I find that looking up or down my driveway through a lens can confuse perception later.
Is this a photo going up or down?
It is going up to the ridge but it could be either if one did not know!
Alien Perceptions.
Yeux gris lumières abstraites levant les visages traçant des cercles intimidation temps anciens arbres particuliers embourgeoises lieu matins dégoûtants,
հաշվապահական շներ սովորական ֆանտազիաները ցնցում են կեռերը, անհանգստացնում են միայնակ մղձավանջները, որոնք պտտվում են անփոփոխ դիակների վրա, սահող անհանգստացնող պահեր,
pasos sigilosos satisfechos noches oscuras circuitos de rastreo voces espeluznantes brutos emocionados haciendo movimientos que reflejan el horizonte,
snažni oblaci nestrpljivi grebanja odvratnosti uzbuđenja potamnjenja slova melanholija štapi oštre snove koji uništavaju vijesti,
εκφράζοντας υποψίες ουσιώδεις επιθυμίες υπολογισμούς ανησυχιών υπερφωτισμό βρώμικες δύσκολες καταστάσεις κατηγορώντας θυμωμένα δάχτυλα,
acque affollate strade profonde accordi estremi scopi non annunciati idee cupe furtivamente spirito freddo che allunga le regole,
影を向ける枯れた肌が血の斜面にまたがるすすり泣くアラームリモート煙具現化するデザイン創意工夫アドベンチャーけいれん収縮蒸し暑い目覚め.
Steve.D.Hammond.
Panning can be a great exercise for training your hand-eye coordination when following a subject in motion. The lower the shutter speed, the more difficult it gets to obtain a sharp image of the subject . If the shutter speed is extremely low, then the object appears to be moving real fast, like those cars on the magazine covers.
Practicing the panning technique is very helpful for improving the tracking precision of the birds in flight - keeping that “one dot” on the bird’s head, which poses a serious challenge for everyone.
For this shot, instead of using a tripod I didn’t have at the time, I have concentrated to keeping the focus on the subject at a very low shutter speed: 1/5s, ISO 50, f8, hand-held.