View allAll Photos Tagged Periphery
In autumn limbo - a state in it's own.
Press "L".
5x7" (13x18cm) format camera, 210mm f5.6, Kodak Tri-X 320 developed in FX-39, wet-mounted drumscan.
03-01-1986
Móstoles, Madrid, Spain
ARCHIVE SERIES
ARCHIVO SERIE
Please, do not use this photo without permission
Por Favor no usar esta fotografía sin permiso
i have always been a person on the fringe,
not quite in the thick of things,
but present nonetheless.
i realized today that this is reflected
in many aspects of my life,
and is quite obvious in my photography.
most often i accept this,
other times i am despondent.
i have come to realize that to be aware
is sometimes enough.
Safety lamps placed on the periphery of concrete barriers around a pedestrian walkway protruding into the road outside a building site.
Day Thirty, it's a Nowhere Day. My office is in the big building on the background. It's large and new, but all around it it's just junk. This is the Periphery, our Nowhere.
365+1 Day of NEX-7 project
periphery
#mysterious #macromondays #mm #hmm #withmytamron #periphery
As usual, I started shooting totally different subjects, then came across something completley different to shoot. periphery is simply the side of a torch lighter at 1:1 lifesize. I shot other aspects of this lighter, got some neat frames. However, this comp has more of my compositional sensibilities.
I had several comps to choose from: white disc in focus, disc completely oof, surface flat and everything in focus, and of course the above submitted frame. The just out-of-focus white disc appealed to me. It's dreamlike mystery, just outside of one's periphery...
I like it a lot.
Canon EOS M2
Fotodiox Pro adapter
Tamron 60mm f/2 macro
.
This is a detail of a painting by Diego Rodríguez de Velázquez in the Art Institute of Chicago. It just occurred to me that the gestural expression of her head is similar to the the photowork of Temma that I posted a couple days ago. More significant is the similar way in which that turning of the head seems to imply both an internal reflection and a recognition of something on the periphery. There is a another, very similar painting by Velázquez that includes a scene in the background on the left of the supper at Emmaus. That subject seems to imply that the young woman's gesture is one of recognizing who it is that is at the table. The composition of this painting echoes the structure of Las hilanderas by placing those who would typically be regarded as of marginal importance as the primary subject in relation to the "important" subject which is relegated to a room in the background. These works are among many in which this court painter made a central (if sometimes subtle) subject of regarding those on the periphery; thus posing questions to the conventions of pictorial hierarchy of the day.
The impact, more than its inspiration, happened during a visit for an exam eye. A looping horror story played in the waiting room showing the cause and effects for vision impairnents.
A woman was escorted out of the building. She is captured center frame, but the discourse of images from the video show a large black circle for extreme vision disease spilled its lesson into the possibility of limited seeing.
I wonder why I am fascinated with backlight and silhouettes. I am thankful for a good eye exam report, but this delivery of high key makes for exposure, but also appreciation for things passing along the edges of periphery in shadow.
An inception for capture began with the concept of things under exposed, and the things we desire to expose, to elicit and pronounce an overexposure in exhibition for self-aggrandizement, and critical sharing to render flaws and repetition of things seen, and unseen, that we choose to covet from the Periphery.
Maybe the high key and silhouette are more similar than dissimilars by the act to squint. To squint, and look at a scene reveals its design in form. A silhouette, with light at its edges highlights form, to close our iris, and open understanding of applied meaning from the intended meaning. Or perhaps, maybe we squint as a physical act of reducing light for acuity in seeing, while selecting what shapes to register (and distinguish) as responsibility from fault of expecting and assuming what we see, from what we've seen.
It's the periphery that holds agreement as fleeting, while also an important element to support meaning inside a fully conceived and unhindered graphic expected to remain the standard for placement and carriage for impact of meaning.
I think I will consider a nap for my next visit to the eye doctor.
Hi everyone - I just tried to add my name to this photo in Aviary and for some reason it has taken my photo off and says it is no longer available - I have been having trouble with Aviary for a few days now :-( I will be absent from Flickr for a few days so hopefully problems will be resolved by then - enjoy the rest of your week everyone :-)
Managed to replace the photo without losing my faves and comments thank goodness :-)
Foreground: Periphery of Space, 1980-2025. Paper, stone.
Background - left: Supported Wood (1982-2025), wood, cloth, stone.
Background - right: Law of Halted Space (2016-2025), wood, metal.
Where Both Sides Meet is the first Dutch solo exhibition of the Japanse artist Kishio Suga (1944, Morioka, Japan).
He is an key figure of the postwar Japanese avant-garde and know for his poetic installations and sculptures in which natural and industrial materials come together in their original state (the called Mono-ha movement).
In addition to installations, he also creates works on paper, wall assemblages, and performances, which he calls “activations”. His oeuvre is extensive and internationally recognized, with exhibitions at MoMA, Centre Pompidou, and the Venice Biennale, among others. Suga lives and works in Ito, Japan.
The exhibition in Cobra Museum in Amstelveen runs from June 28 to October 26, 2025