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.
I started out in darkness at 4am, with a flashlight and a rudimentary pencil-drawn map of the route up the mountain, overlooking the small village of Cemoro Lawang, from which my solo hike began.
The view was worth it. This is one view of the periphery as the mist hung in the valley. The village sits on the edge of a ridge overlooking three volcanos and the immense Sea of Sand.
Bromo Tengger Semeru National Park.
East Java, Indonesia.
Ce temple Bouddhiste est entouré de superbes jardins de mousses et humides. C'est le Premier temple de la branche Seizan de la secte japonaise bouddhiste Jōdo-shū ,terre pure et il se situe un peu en périphérie de Kyoto.
.
This Buddhist temple is surrounded with magnificent foam and wet gardens. It is the First temple of the branch Seizan of the Buddhist Japanese sect Jodo-shu, the pure earth and he is situated little in periphery of Kyoto.
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
Copyright © Tatiana Cardeal. All rights reserved.
Reprodução proibida. © Todos os direitos reservados.
Klinger, not only one of the talented B-Boy, but also a graphic designer and illustrator, that used to develop graphic works at the Children at Risk Foundation - CARF - Beija-Flor, Diadema, Brazil.
Industrial harbour Victor, S.West Paris XV.
2017 ©MichelleCourteau
This fine stripe of ground along the left bank of Seine - 35/40m in width extends on 1km approximately up to the Peripheric bridge situated South, and beyond.
Extracted stones from quarries around Paris are carried on barges along the Seine and tributaries only.
The Right and Left Seine banks concentrate all the industrial cement activity for Paris and suburbans, at each limit of Paris intra-muros with integrated harbours.
GoogleEarth, Port Victor, ParisXV & Quay St.Exupéry.
.
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.
The seventeen remaining norias in the ancient Syrian city of Hama are located along the Orontes River and date back to the Byzantine Era, although locals claim they are older still.
The water wheels, called noria, are part of the city’s now-defunct irrigation system, and were designed to lift water from the river and move it through aqueducts to agricultural fields and people’s home. The wheels were powered by the current of the flowing river. As the wheels moved, wooden buckets placed at the periphery of the wheels scooped water out from the river and emptied it into aqueducts. Gravity then lead the water along aqueducts to its destination in various parts of the city.
It is difficult to say when and where the first noria came into existence. Ancient writings of Marcus Vitruvius Pollio, a Roman military engineer, suggests that they might have been invented by the Romans, probably in the 1st century BC. Other sources suggest norias were developed in India in the fifth or fourth century BC, after which the technology spread to the west and China. Another possibility of origin is Greece around the late third or early second century B.C, as ancient manuscripts suggests.
In any case, norias were eventually adopted by Muslim engineers who made certain improvements to the device, for instance, the addition of the flywheel mechanism used to smooth out the delivery of power. Norias became increasingly popular throughout the Middle East. Some of the norias used in the medieval Islamic world were as large as 20 meters in diameter and could lift as much as 2,500 liters of water per minute. The norias at Hama are the largest surviving example of this medieval technology.
At one point, there were more than thirty norias in Hama, but only 17 of the original water wheels have survived into the 21st century. They are still in good working condition, although the water from these wheels is no longer used.
Unlike many cultural treasures of Syria, Hama's noria seem to have survived the civil war more or less intact.