View allAll Photos Tagged Persistence
This image is an example of obsessive persistence despite the odds! Three days before I'd used my mono CMOS planetary camera through a Herschel wedge on the Sun and had some trouble processing the images. I realised the camera I was using had a particular issue so determined to use my colour planetary camera yesterday, as it didn't have the same issue with solar images. I managed to line up on a nice Sun in the brief period that it clears obstructions from my location and fired away, only to discover that due to a technical issue nothing I had taken had been recorded. I switched to another camera but cloud rolled in and that was that. I then spent the rest of the day changing and updating files in two of my image capture applications until at the nth attempt I got the camera to record properly. I was determined to have a go this morning but the Sun was shrouded in mist and barely showing. I waited and waited, then with just five minutes before it was obstructed, I could make it out enough to take one short slow video with the camera that had taken such nice unrecorded views. It isn't what I intended but I like the effect and it is a different view of the Sun!
Peter
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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Etude du jour:
La bêtise et le cynisme sont-ils les derniers noms d'Entropie ?
En Birmanie ? En Chine ? En Tchétchénie ? A Guantanamo ? A Gaza & Cisjordanie ? . .
Study of the day:
Are silliness and cynicism the last names of Entropy ?
In Burma ? In China ? In Tchétchénie ? In Guantanamo ? In Gaza & West-Bank ?. .
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I have been wanting to get a decent composition of this 'pothole' in addition with having some nice light in the sky, and having the tide out so that it is uncovered.
Previous attempts, over the last four years have always resulted in one or more of the conditions being unfavourable.
Last night, however, the elements all came together, with the result as you see before you.
Just goes to show that persistence pays off.
© Andrew Fuller. This image remains the property of Andrew Fuller, and as such, may not be used or reproduced in any form, in part or in whole, without my prior, express permission.
Karen wears...
River Island babydoll top, my EL sunglasses which I bought at the seaside and my M&S watch from a charity shop (the AI rendered it properly this time with a bit of persistence). This shot was a kind of out-take really, but it's so nice I had to include it. Again, the scene is a butterfly house, something like the one in Portsmouth natural history museum or the very gorgeous one in Melbourne Zoo.
Vingt-et-un-an après avoir peint « La persistance de la mémoire », Dali crée cette toile qui s’en inspire en y intégrant la nature corpusculaire de la matière et les principes quantiques énoncés par Einstein ou Hawking quelques années auparavant. Depuis les premières explosions de bombe atomique d'août 1945, Dalí s'intéresse de près à la physique nucléaire et décrit l'atome comme "son sujet de prédilection". Reconnaissant que la matière est composée d'atomes qui ne se touchent pas, il a cherché à reproduire cela avec des objets suspendus n'interagissant pas entre eux. Pour Dalí, cette image était symbolique de la nouvelle physique : le monde quantique qui existe à la fois comme des particules et des ondes. L'imagerie de la persistance originelle de la mémoire peut être lue comme une représentation de la théorie de la relativité d'Einstein, symbolisant la relativité du temps et de l'espace. Dans ce nouveau travail, la mécanique quantique est symbolisée par la "numérisation" de l'ancienne image.
Dans cette peinture, le paysage aride de « La persistance de la mémoire » a été inondé, même si la peau de l'eau est accrochée par la branche sans feuilles à l'arrière-plan. La désintégration décrit ce qui se passe au-dessus et au-dessous de la surface de l'eau. Le paysage de Cadaqués plane maintenant au-dessus de l'eau. Le plan et le bloc de l'original sont maintenant divisés en formes en forme de briques qui flottent les unes par rapport aux autres, sans que rien ne les lie. Ceux-ci représentent la décomposition de la matière en atomes, révélation de l'âge de la mécanique quantique. Derrière les briques, les cornes qui se retirent symbolisent les missiles atomiques, soulignant que malgré l'ordre cosmique, l'humanité pourrait provoquer sa propre destruction. L'olivier mort auquel est suspendue la montre douce a également commencé à se briser. Les aiguilles des montres flottent au-dessus de leurs cadrans et plusieurs objets coniques flottent dans des formations parallèles entourant les montres. Une quatrième montre a coulé sous la couche de briques, laissant des débris derrière. Le visage humain déformé de la peinture originale commence à se transformer en un autre poisson étrange flottant au-dessus (pour Dalí le poisson était un symbole de la vie).
The Disintegration of the Persistence of Memory (1952-54) - Dali
Twenty-one years after painting "The Persistence of Memory", Dali creates this canvas inspired by it by incorporating the corpuscular nature of matter and the quantum principles enunciated by Einstein or Hawking a few years ago. Since the first atomic bomb explosions of August 1945, Dalí has taken a close interest in nuclear physics and described the atom as "his favorite subject". Recognizing that matter is composed of atoms that do not touch each other, he has tried to reproduce this with suspended objects that do not interact with each other. For Dalí, this image was symbolic of the new physics: the quantum world that exists both as particles and waves. Imagery of the original persistence of memory can be read as a representation of Einstein's theory of relativity, symbolizing the relativity of time and space. In this new work, quantum mechanics is symbolized by the "digitization" of the old image.
In this painting, the arid landscape of "The Persistence of Memory" has been flooded, even though the skin of the water is hung by the leafless branch in the background. Disintegration describes what happens above and below the surface of the water. The landscape of Cadaqués now hangs over the water. The plan and the block of the original are now divided into brick-shaped shapes that float in relation to each other, without anything binding them. These represent the decomposition of matter into atoms, the revelation of the age of quantum mechanics. Behind the bricks, the receding horns symbolize atomic missiles, pointing out that despite the cosmic order, humanity could provoke its own destruction. The dead olive tree to which the soft watch is suspended has also begun to break. The hands of the watches float above their dials and several conical objects float in parallel formations surrounding the watches. A fourth watch sank under the brick layer, leaving debris behind. The distorted human face of the original painting begins to turn into another strange fish floating above (for Dalí the fish was a symbol of life).
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…
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.
A powerful cascade of whitewater thunders down a rocky cliffside in Yellowstone National Park. Sunlight glints off the rushing current as it churns past jagged rocks and fallen logs, framed by rich textures of stone and forest. Captured during a memorable vacation with my son, this moment represents both the awe-inspiring force of nature and the joy of shared exploration.
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
A scrawny, shade-grown neighborhood impatiens, nearly smothered by late October leaves, still puts out a flower, a bright spot amidst the brown.
Maitreya Mesh Body - LaraX
LOGO M.A.B.E.L.-6 Cybernetic Head
[LANEVO] Midnight robotic parts
A&Y Cyber Queen - Rebirth - White hair
Skin: Astra from Not Found
::WD:: Dress Emery (includes panties) - **New in the Lucky Chairs--other colors are half price** Rigged for Freya, Kupra, Legacy, and Maitreya maps.secondlife.com/secondlife/Lyra/162/247/22
::WD:: Steampunk Headphones come with an extensive color change hud, and they are animated!
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Find them here: maps.secondlife.com/secondlife/Lyra/189/250/22
/Vae Victis\ - "Gregori" - Ghostly Lawn Flamingo
:LW: Bento Poses - Spring Queen, mirrored
Location: The Wastelands maps: secondlife.com/secondlife/North%20Yard/146/80/57
Windlight: Specter essence PBR
Persistence of time reflected on sea waves. Taken in Mirasol Beach in Chile. Joint project with Ximena de Toro.
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/
Taken at the north unit of Theodore Roosevelt National Park in North Dakota, USA. Taken on the buckhorn trail.
You can really just point your camera at random at Theodore Roosevelt and take an interesting picture. There's so much to see everywhere.
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.
Nikon Coolpix P510 Some photo effects fun with the windmill that is on the Nebraska State Fairgrounds.
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