View allAll Photos Tagged Persistence
Camera: Zero 2000 Pinhole
Film: Kodak Ektar 100
Exposure Time: 2 minutes
Location: Japanese Garden, Washington Park Arboretum – Seattle, Washington
I sat down Sunday evening with the intention of writing about my struggle to transform my photography from the negative/scanned image into a print. Twice I got several paragraphs in only to find it long winded and wandering upon rereading it. Frustrated I decided to scrap them and instead let the thoughts flow free and open, and yes I admit it’s still rather long. The short version of the story is I lack confidence in my work when it’s in print form.
Over the past year or so my ability, knowledge and photography style has grown exponentially, more so than the previous four years combined. I feel at ease holding a camera, no longer struggling to comprehend its dials and settings, this has allowed me to slow down and concentrate my efforts in creating the image itself. Sure I still make mistakes…. ok a lot of mistakes, but I no longer see them as failures but rather learning experiences. This attitude has resulted in the best work I’ve ever produced. Nothing makes me happier than getting film back from the lab and realizing I nailed an exposure. One great image negates a roll filled with bad ones in my opinion.
I am still often surprised when viewing some of my better photographs that I actually made them and not someone else. I’ve never considered myself a talented or artistic person. I’m not musically inclined, or possess a natural ability to draw or paint. Heck my drawing skills have failed me more than one during a game of Pictionary. Film for me is a labor of love. Where I lack natural talent I strive to make up for it with patience and persistence.
I think about photography on a daily… almost hourly basis. I am obsessed with it, never in my life have I found something that has interested me so much as film photography. I yearn to hold a camera in my hands peaking at the world through its view finder, hearing the ca-chunk of it’s shutter, and the sound of it advancing the film. But still my photographic process is lacking, where I have grown confident in my ability to create an image with a camera, and satisfaction with my scanning skills, I still lack faith in my work when printed.
I’ve struggled with this for nearly a year now, my inability to make hard copies of my photography. A mental block of sorts that I have come to equate as being similar to what it must feel like to have writers block. It must seem silly to my family and friends who praise a given photograph and suggest I print and frame it, only to have me shrug them off and say I am not ready. What does it mean to be ready anyway? Its strange I can look at one of my photographs, like the one above, on a computer screen and marvel at it, beaming with self-pride. Yet I still can’t bring myself to make a print of it.
I think part of my issue is I have this feeling that to print and frame something is to makes it real. Viewing it on the computer screen is one thing, but on the wall? Now that is something completely different. Its more concrete set in stone if you will. Real things are more open for judgment and ridicule, which is where my lack of self-confidence comes in. I still don’t think on some level that any of my work is worthy of being printed and displayed. And it eats me up inside.
I’ve made a few prints in the past. Most of which have turned out darker than they appear on the computer screen. This is of course an issue everyone deals with as LCD screens display things more vividly than a printer can. There seems to be no easy fix to it, aside from fiddling in postproduction or obtaining various forms of expensive software, which calibrate your screen. Postproduction as a whole is not something I’d say I am overly interested in as it is, so the prospect of having to do more of it has deterred me from making prints.
Hopefully I can overcome these issues, and conquer the unknown. Two years ago I didn’t even know what medium format photography was, and now I shoot it almost exclusively so I have come along way already. I know the only true way to learn something is to dive right in and that’s my goal, right now I’m just waiting for that swift kick in the ass to get me started…
"Ambition is the path to success.
Persistence is the vehicle you arrive in."
Bill Bradley
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Cloudy afternon in Cala S'Aguia (Blanes, Costa Brava),
a difficult but challenging location.
Haida 3.0 + CPL + Black Card
I shot this bridge several times over the past few years, and have nothing to show for my efforts. Finally, something I like. Persistence pays off!
Photographers are always looking for inspiration - it can be elusive - the last couple of weeks I have not felt much inspiration - but I know this feeling comes and goes and the only remedy is to keep shooting.
This image was captured at Little Austinmer about an hour south of Sydney - I have shot this location quite a few times but without much "luck". But persistence is key and so on this day I got "lucky" and we had beautiful light and water flow. It was a terrific shoot and I got a number of keepers and was able to experiment.
Processed in PS CC and captured on my Nikon D810.
Brendan is a amateur photographer based in Sydney Australia who loves exploring and shooting sea/andscapes/nightscapes in different areas sometimes with good mates other times by himself to improve his skills. I'm always after followers so don't be afraid to follow me on my photographic adventures.
Requested for publication by Mark Batty Publisher
for "Everyman’s JOYCE" of "W. Terrence Gordon, Eri Hamaji & Jacob Albert”
“Picasso merely shrugged and declined the invitation to illustrate an edition of Ulysses, dismissing Joyce as an obscure writer that all the world can understand ... Can, not does.”
Through the power of illustration the Everyman’s Series illuminates complex bodies of work by some of the 20th century’s most vital thinkers. Picasso’s assessment of James Joyce as a writer that “all the world can understand” speaks to how a perspective that favors the visual can see through dense texts, allowing meaning to take shape. W. Terrence Gordon’s examination of the James Joyce canon and its impact on the world, both in terms of literature and culture at large, provides accessible and singular evaluations of why Joyce, no matter how impenetrable his books may seem on the surface, continues to attract readers today. In Everyman's Joyce, Gordon’s close readings and biographical insight gel with contemporary visual cues that usher Joyce into the 21st century.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Etude du jour:
(...) A ce jeu-là, on ne gagne que de jouer. Rien n'est plus transcendant que de rhizomer ensemble cette partie désespérément joyeuse, quoi que nous échangions, quand que ce soit. Seule la fin de la partie est virtuelle et définitivement sans la moindre signification.
Il n'y a pas de différences sans répétitions, pas de créativité sans engagement social. A ce jeu-là, on n'agit que dans les possibles, choisissant de respecter ou non des règles morales et/ou éthiques. A ce jeu-là, être c'est devenir ensemble, c'est conjuguer sans cesse la direction sans connaître la destination, dé-re-choisir, nous dé-re-territorialiser nous-mêmes le long de nos lignes de fuite. Nous ne sommes pas individuellement créatifs lorsque nous désirons une reconnaissance sociale. Nous sommes socialement engagés à être créatifs ou non, en essayant sérendipitueusement de contrôler le processus de transformation de ce qui existe. (...)
(...) While playing the Game, to play is to win. Nothing is more transcendant than rhizoming together this desperately joyful party, whatever we are exchanging, whenever. Only the end of the Game is virtual and definitively without any concrete significance.
There is no differences without repetitions, no creativities without social engagements. While playing the Game, we only act among the possibles, choosing to respect or not moral and/or ethical rules. While playing the Game, to be is to become together, incessantly choosing a direction without knowing our destination, dis-re-choosing, dis-re-territorializing ourselves along our chosen vanishing lines. We are not individually creative when desiring social recognition. We are socially engaged to be creative or not, trying serendipitously to control the process transforming what exists. (...)
(...) Mientras juguemos al Juego, jugar es ganar. Nada es más trascendental que rizomar juntos esta fiesta desesperadamente dichosa, Lo que fuere que estemos intercambiando, cuando fuere, como fuere. Sólo el final del Juego es virtual y definitivamente sin ningún significado concreto.
No hay diferencias sin repetición, no hay creatividad sin compromiso social. Mientras jugamos el Juego, sólo actuamos entre los posibles, eligiendo respetar o nó las reglas morales y/o éticas. Mientras jugamos el Juego, ser es hacerse juntos, eligiendo incesantemente una dirección sin conocer nuestro destino, des-re-eligiendo, des-re- territorializándonos a lo largo de las líneas de fuga que elegimos. No somos individualmente creativos cuando deseamos el reconocimiento social. Estamos socialmente comprometidos a ser creativos o no, intentando serendipiamente controlar el proceso que transforma lo que existe. (...)
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
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Windlight: Specter essence PBR
I spied the little fella yesterday as I was cleaning out a flower bed, noted his beauty, and since then at length have considered his lesson. This morning as I set out for another day of yard clean-up, I carried my camera down the stairs with me for I was remembering from yesterday this little creation.
He is trying to be a tree.
He was ordained to be a tree, and somehow in his “guts” he knows he is destined to be such a living thing. It is in his genes, his DNA. Even so, it has not been easy for him. Blog post continues writenow.wordpress.com/2017/05/19/trying-to-be-a-tree/
Persistence of time reflected on sea waves. Taken in Mirasol Beach in Chile. Joint project with Ximena de Toro.
In 2023 I'm using as many of my half-frame cameras as I can. This was taken with the new Kodak Ektar 35H half frame camera. Stylistically it's based on the Kodak Instamatic cameras from the 1960s and 70s.
The film is Kentmere ISO 100 developed in Rodinal 1:50 for 15mins at 20 degrees.
Giant replica of Salvador Dali's 'Persistence of Time' sculpture in Piazza San Francesco, with the church of San Francesco d'Assisi in the background.
Matera, Italy
IMG_1256-2
Hi everyone!
Vincent Van Gogh is my personal hero. I admire his courage and persistence to become the artist he envisioned himself to be. However troubled his life was, he kept on painting and drawing. In many ways his life relates to mine. The quote I picked for today is a good one. It reveals...
For the entire post go to www.danielnovotnyart.com/?p=1995.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
On s'assoit sur une dune de sable. On ne voit rien. On n'entend rien. Et cependant quelque chose rayonne en silence (...) Ce qui embellit le désert c'est qu'il cache un puits quelque part.
One sits on a sand dune. One sees nothing. One hears nothing. And yet something shines in silence (...) What embellishes the desert is that it hides a well somewhere.
( Antoine de Saint Exupery - Le Petit Prince - 1943 )
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regarde bien petit
© Jacques Brel - 1968
regarde bien petit, regarde bien sur la plaine là-bas à hauteur des roseaux
entre ciel et moulins y'a un homme qui vient que je ne connais pas
regarde bien petit, regarde bien
est-ce un lointain voisin un voyageur perdu
un revenant de guerre un montreur de dentelles
est-ce un abbé porteur de ces fausses nouvelles qui aident à vieillir?
est-ce mon frère qui vient me dire qu'il est temps
d'un peu moins nous haïr ou n'est-ce que le vent
qui gonfle un peu le sable
et forme des mirages pour nous passer le temps
ce n'est pas un voisin son cheval est trop fier
pour être de ce coin pour revenir de guerre
ce n'est pas un abbé son cheval est trop pauvre pour être paroissien
ce n'est pas un marchand son cheval est trop clair
son habit est trop blanc et aucun voyageur
n'a plus passé le pont depuis la mort du père, ni ne sait nos prénoms
ce n'est pas mon frère son cheval aurait bu
non ce n'est pas mon frère il ne l'oserait plus
il n'est plus rien ici qui puisse le servir
non ce n'est pas mon frère, mon frère a pu mourir
cette ombre de midi aurait plus de tourment s'il s'agissait de lui
allons c'est bien le vent qui gonfle un peu le sable
pour nous passer le temps
regarde bien petit, regarde bien....
y'a un homme qui part que nous ne saurons pas...
il faut sécher tes larmes
y'a un homme qui part que nous ne saurons pas...
tu peux ranger les armes
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
"Time don't have nothing
To do with how high you can
Time don't got nothing
To do with how high you can count
Time and life
Life and time"
[Anthrax, "Time"]
Persistence and Patience in Prayer
Ecclesiastes 7:8; Romans 12:12; 1 Corinthians 15:58
It is not enough to begin to pray, nor to pray aright; nor is it enough to continue for a time to pray—but we must patiently, believingly continue in prayer until we obtain an answer. And further, we have not only to continue in prayer unto the end, but we have also to believe that God does hear us and will answer our prayers. Most frequently we fail in not continuing in prayer until the blessing is obtained, and in not expecting the blessing.
GEORGE MÜLLER
Elliot Ritzema and Elizabeth Vince, eds., 300 Quotations for Preachers from the Modern Church (Pastorum Series; Bellingham, WA: Lexham Press, 2013).
Hispaniola, a Caribbean island smack dab in the hurricane belt, is known as the hurricane shredder. That's because the island has five distinct mountain ranges, with Pico Duarte, at 10,128 ft (3,087 meters) above sea level, as the highest peak in the Antilles. These mountains literally reach into passing hurricanes and disrupt the system, not only slowing the system, but literally shearing and destabilizing the directional winds with their immovable presence.
The mountains of western North Carolina affect weather in much the same way... this tree from along the Craggy Pinnacle trail at Craggy Gardens gives evidence of that. I've watched from the top of Craggy Pinnacle as cold air from the west collides with warm air from the east... clouds form, swirl, and move off directly overhead of these high ridges. These mountains often divert harsh colder weather north into Virginia, which is partly why we enjoy overall temperate weather where I live in Durham, some 200 miles east of here. Often, when it snows in Durham (which isn't very often) it has already snowed further south in Atlanta, Georgia. Those frontal systems push under the Appalachian Chain, meet warm air from off the coast, and push back up into North Carolina. These kinds of frontal collisions produce wind, and in the case of where this photo was taken, that wind is quite incessant and often high speed... that, along with cold temperatures and low clouds, can create a pretty harsh environment.
Patience is a necessity for any nature photographer... here, even the most patient can become quite frustrated waiting out the combination of "just right" light and wind. This tree, however, exhibits the ultimate in patience. The trail follows the ridge for a good ways, but from about where this tree is, the ridge rises sharply with many exposed rocks dominating that rise. That's obviously of no matter to this tree as it wraps its roots around the rocks to firmly establish its place on the mountain... it persists against the harsh elements and won't be bullied by the wind as it protects the understory beneath it.
Craggy Gardens, near milepost 375 on the Blue Ridge Parkway, is so named because of the proliferation of beautiful Catawba rhododendron that grow there... but, as with many things, there are stories within stories that shouldn't be missed. Be sure to see the notes here.
In my garden I have a patch of hens and chicks. They're nestled amongst these stones at the base of an oak stump. When the tree fell the Virginia Creeper that covered it fell with it, but soon made a comeback. A week ago, I pulled it out and the roots ran so deep that I ended up dislodging my entire hens and chick family. I replanted them, and transplanted the Virginia Creeper. Today I see that it has made a comeback. Persistant little thing, isn't it? :D
31/365
this tree across the street has the most persistent leaves...i wonder if they'll ever fall?
i see them as a gentle reminder to be unwavering in my determination. especially in winter when all i want to do is curl up with a warm mug of something delicious and read....
Several of the trees hold their leaves for a long time...the Japanese maple and the oaks. Soon even these will let go.
__________________________________________
Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________
Study of the day:
"... The production of motive power is due, ... not to an actual consumption of calories, but to its transport from a warm body to a cold body, ie to restore its balance, balance assumed broken for any reason whatsoever ... it takes place not only for steam engines, but for all fire machines, ie for any machine which engine is the caloric. The heat can obviously be a movement source only under the changes in volume or form it causes to the bodies, these changes are not due to a constant temperature, but due to alternatings between heats and colds, yet to heat any substance one must have a warmer body , and to cool it, we need a colder body. ... "
( Sadi Carnot - 1824 - Thoughts about the motive power of fire and about the machineries able to develop this power. )
"... La production de la puissance motrice est donc due, ..., non à une consommation réelle du calorique, mais à son transport d’un corps chaud à un corps froid, c’est-à-dire à son rétablissement d’équilibre, équilibre supposé rompu par quelque cause que ce soit, ... cela a lieu, non seulement pour les machines à vapeur, mais aussi pour toute machine à feu, c'est-à-dire pour toute machine dont le calorique est le moteur. La chaleur ne peut évidemment être une cause de mouvement qu'en vertu des changements de volume ou de forme qu'elle fait subir aux corps ; ces changements ne sont pas dus à une constance de température, mais bien à des alternatives de chaleur et de froid : or, pour échauffer une substance quelconque il faut un corps plus chaud qu'elle; et pour la refroidir, il faut un corps plus froid. ..."
( Sadi Carnot - 1824 - Réflexions sur la puissance motrice du feu et sur les machines propres à développer cette puissance )
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A C T I O N of the day : Sign up the petition & tell your friends to do so . .
G A Z A _ : _ A R R Ê T E Z _ L E _ M A S S A C R E _ !
G A Z A _ : _ S T O P _ T H E _ B L O O D S H E D _ !
Avaaz means “Voice” in many Asian, Middle Eastern and Eastern European languages. Avaaz.org is a new global web movement with a simple democratic mission : to close the gap between the world we have, and the world most people everywhere want.
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and more . .
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La bêtise et le cynisme sont-ils les derniers noms d'Entropie ?
En Birmanie ? En Chine ? En Tchétchénie ? A Guantanamo ? A Gaza & Ashkelon ? . .
. . ou dans notre vertueuse Europe, qui donne des leçons de Droits de l'Homme . .
. . tout en méprisant, traquant et rejetant ses propres . . indésirables ?
Are silliness and cynicism the last names of Entropy ?
In Burma ? In China ? In Tchétchénie ? In Guantanamo ? In Gaza & Ashkelon ?. .
. . or in our virtuous Europe giving human rights lessons
. . while scorning, tracking and rejecting our own . . unwelcomes ?
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| . rectO-persO . | . E ≥ m.C² . | . co~errAnce . | . TiLt . |