PHILOSOPHY /// PHOTOphilosophy ™
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Love’s Philosophy
By Percy Bysshe Shelley
The fountains mingle with the river
And the rivers with the ocean,
The winds of heaven mix for ever
With a sweet emotion;
Nothing in the world is single;
All things by a law divine
In one spirit meet and mingle.
Why not I with thine?—
See the mountains kiss high heaven
And the waves clasp one another;
No sister-flower would be forgiven
If it disdained its brother;
And the sunlight clasps the earth
And the moonbeams kiss the sea:
What is all this sweet work worth
If thou kiss not me?
Tracks vanishing in the mist have a strange symbolism. Like to never take a train to some other world as master Miyazaki had portayed. The train would be full of spooky strangers anyway. Only ghosts could travel to such a mist. And yet, the hope lingers. Or is it a fear of that actually happening one day? To fly away or to become a ghost, there is no difference...
Die gefährlichste aller Weltanschauungen ist die Weltanschauung der Leute, welche die Welt nicht angeschaut haben.
Alexander von Humboldt
The most dangerous of all philosophies is the belief of the people who have not looked at the world .
Alexander von Humboldt
No,he is not jealous.
He comes from there,where many others ,are on the
Way to go.
He got his Place,
his believe ins,
and his Visions two.
But big Happiness,he can not find,as long the World is in Trouble.
Anyway,he got his Joy in the little,he sees the Wonder in the
everyday Things.So he lives on and he singing his Song.
( Landscape on the River Isar)
Led Zeppelin-Swan Song
www.youtube.com/watch?v=rwyV5qGFOYE
Avengers Endgame-Dear Mr.Fantasy :-)
“Just because you pretend the universe doesn't have teeth doesn't mean you won't get eaten in the end.”
― Paul Russell, The Coming Storm
Paul Russell is a professor in philosophy at Lund University, where he is Director of the Lund/Gothenburg Responsibility Project [LGRP]. Paul Russell is also a professor in philosophy at the University of British Columbia, where he has been teaching since 1987.
The Philosopher, Heraclitus said that you cannot step in the same river twice. Although this is the sea, it is my portrayal of that notion.
1. Tranquility, 2. All we see or seem, is but a dream within a dream, 3. Lonely bed, 4. Is there anybody out there?
Created with fd's Flickr Toys.
I hope that this photograph answers the question that was posed on the internet: "I'm looking for a compact camera and I am looking at the Lumix DMC-TZ80. Now reading reviews online are giving me mixed feelings. I see a lot of comments about how it takes bad pictures... So the question is, is it the camera or just the way people are using it?"
This is an uncropped zoom shot from the Lumix DMC-TZ80. I doubt I could have achieved a better result even with my 45.7 MP Nikon D850. And this compact camera has 18 MP. So you see, it's not about the sensor size or the specs of a particular camera. It is all about the light and composition.
The word “chronos”refers to measured, ticking, quantitative time. Chronos is the personification of time in pre-Socratic philosophy, Greek Mythology and later literature. He is the symbol of the eternal passage of time.
My warmest greetings for the New Year! Wishing you lots of love, happiness and champagne. Will be a pause in the gallery in 2025 but the journey is never ending. ...
Thank you very much for making 2024 an exciting year with your faves, comments and friendship. Wishing you a year full of blessings and happiness.
and big thanks to my dearest and kind friend 🌷Isa🌻 www.flickr.com/photos/evaevaevaeva/
for this wonderful poem that I will treasure and keep in time
To Foteini, Weaver of Light and Time
In the realm where Cronos bends the fleeting hour,
Foteini wields her camera, a boundless power.
Like the Titan shaping destinies unseen,
She captures life in frames, both raw and serene.
The gods whisper secrets to her nimble hand,
And mortal moments glow, divinely planned.
O artist of the cosmos, fearless and bright,
You tame the infinite, crafting worlds from light.
Where myths and muses blend, your visions soar,
Beyond Olympus, through time’s eternal door.
Foteini, your art, a hymn to life’s design,
Transforms the transient into the divine.
꧁Isa꧂
The Japanese Garden in the Missouri Botanical Garden, recreated in the tradition and philosophy of a “garden of pure, clear harmony and peace.”
I described a pure natural garden yesterday, and here's another example. Not a plant out of place up in the mountains.
We walk past the rear of the old railway workshop buildings. One of the tracks is still in place. This is all now part of the museum complex at Inveresk.
So here is my black and white re-edit of the 2019 Palais Theatre RAW file. Two things commended monochrome to me here. The first is the fact that the image was always sharp as a tack (you can easily read the enlarged signs on the theatre entrance). That wasn't the problem, colour was and it is why I now need a compelling reason to process a night shot in colour (the reverse of daytime photographs).
The second issue is that black and white to some degree can mask some of those artefacts I talked about in the "Just for fun" re-edit. That "fake" looking palm tree on the left (in the colour version) doesn't look so bad in black and white.
Finally, although I am nowhere near as satisfied with the outcome of this monochrome as "The National Theatre" I posted yesterday (there are just too many problems to solve in this RAW image), my own preference is for the monochrome version over the colour re-edit.
One of the photographs which changed my whole outlook on black and white night photography is this wonderful photograph from Hollywood in 1949 by Max Yavno, "Premiere at Carthey Circle, LA". It is in the Peter Fetterman collection and can be seen on the cover of his superb book, The Power of Photography (ACC Art Books, 2022). www.peterfetterman.com/artists/30-max-yavno/works/57953-m...
I always wonder why birds stay in the same place
When they can fly anywhere on the earth
Then I ask myself the same question
Today I am using Zen philosophy with my camera. It's a kind of therapy to be sure, but as the great photographer Dorothea Lange put it:
“The camera is an instrument that teaches people how to see without a camera.”
What a sage she was!
In Buddhist practice there is a lot of emphasis placed on lineage. That is, tracing the influences of teachers back through the generations. I try to do this as much as possible with my photography. I genuinely give thanks for those photographers who have influenced me and taught me through their own work. I'm slowing down, taking far fewer photographs, but making each one count (film has taught me that). In the process I am learning about the process of life itself.
How easily we miss the really important things to see because we are desperate to get "the killer shot". The recently departed and very dear photographer, Sebastião Salgado, once said that we don't take a photograph, we earn a photograph. I won't unpack that enormous statement today, except to say that it mirrors the fact that life is a gift, and that seeing life that way enables us to capture the eternal moment when it really reveals itself to us.
So what is the lineage of this photograph (and the others I have posted today)? Well, I've mentioned David Ulrich before (see the link below), and his wonderful book, Zen Camera: Creative Awakening with a Daily Practice in Photography. It was one of the first photography books I bought, when I took up using a camera seriously again after many years. One of David's teachers was Minor White (1908-1976), who was influenced and encouraged in his photography by the most influential American photographer ever, Alfred Stieglitz (1864-1946). We all stand on the shoulders of giants, but in the end we must make our own way in the world.
And as the famous Japanese koan reminds us, "If you meet the Buddha on the road, kill him." The eternal moment, must become our moment, and we must see it with our own eyes.
Camera: Rolleiflex 3.5B TLR Zenar 75mm f3.5 1954
Film: Lomochrome Purple 120 Color Negative Film XR 100-400
Scanned by Walkens House of Film, Melbourne, Australia
The sunlight is barely breaking through the mist at the top of this ridge, and the false colour Lomochrome Purple film turns the vegetation a dark shade of purple.
These are genuine film effects. No digital alterations were made here.
... as I showed Lean the raw version of this photo:
[14:47] Mara Telling: :-)
[14:47] Lean: it is hopper'esque
[14:47] Mara Telling: *loooool*
[14:47] Lean: dont you think?
[14:47] Mara Telling: THANK YOU!
:-D
Location: maps.secondlife.com/secondlife/Mobile/102/188/23
Grauland
www.christoph-schmich.de/farbenrausch-photography/ This photograph is copyrighted and may not be used anywhere, including blogs, without my express permission.
Please contact me for licensing requests. Thank you for watching!
Athens, sometimes between 412 - 323 BC
(Currently the translation "I am looking for honest man." is being used to make meaning more clear and to avoid possible double meaning.
This digital print print is derived out of my original graphic drawing from series "Eternity". 2023
Link to original work: nataliantonovich.com/painting/ln/eng/gallery-image/16969?...
The original work is a miniature.
I had a desire to experiment a bit with the drawing: enlarge it and add color. Thanks to this, the work acquired a unique image. A change in color of the work changed the impression and mood...
Camera: Minolta SRT Super with MC Rokkor-PF 50mm f/1.7 lens.
Film: CineStill 400D 35mm Colour.
Processing: Walkens House of Film, Melbourne, Australia.
The still waters of Kanamaluka, the confluence of three rivers in the heart of Launceston.
Philosophy from a street artist expressed on a wall at an abandoned water park in the Mojave Desert. Sometimes well known mural artists come to this place, paint over a section of wall and create their own masterpieces.
Roshi is a black woman artist based in Austin, TX. For more information about Roshi: www.colormeroshi.com/walls
Happy Saturated Saturday!
This landscape seems like any other at first sight. But in fact it is the result of a conscious decision to go out into conditions that often deter photographers – what we think is bad light and rain. What prompted me to do this? Well I can be very specific here, and point to two absolutely brilliant video presentations that I had watched as the rain poured down earlier in the day. The first is by English artist and photographer Justin Jones, “On Landscape” www.youtube.com/watch?v=ZBT5pgFFwWo
One of Justin’s key concepts here is the notion of “visual literacy”. In just the same way as we learn to read a text, so we must also to learn to read the visual language of a photograph. This is just as important for composing as interpreting a photograph. Landscapes that survive the test of time are those we choose to return to time and again. Chocolate box images in perfect light and with plenty of Photoshop-ing give us a “sugar hit”, but it doesn’t last. That’s why we keep returning to the realist landscapes of Ansel Adams, Robert Adams and Fay Godwin and not to those that dominate the Google pages.
The second inspiring video was an interview with the Danish photographer Per Bak Jensen, “It isn't the camera. It's life itself unfolding.” www.youtube.com/watch?v=X1L-UmKwZHQ&t=506s
I assure you that this is 38 minutes very well spent if you are concerned with making your photography count. If there is one quote that sums up Jensen’s perspective it is this:
“...I sense something in our midst. Among us is something that wants to be in contact with us… That something wants to tell me something. I often feel I am very close to knowing or being told something – that can increase my knowledge of being a human being. My photographs are an attempt to search for the presence of that something, that can teach me about myself and about life.”
Jensen then concludes a lifetime’s photographic observation with this key:
“The photos I take aren’t photos I take myself. It’s a cooperation between me and something else that makes me take the pictures. I’d rather claim that the fundamental value of art is the spirit. And the spirit wants to contact us, but it’s invisible… But somehow it gives us an odd desire. It gives us courage. And it gives us a life force… If that’s the case, traces of that spirit can be seen in our images. I think that everyone working with images hopes so. That one can find a life force and spirituality in one’s work.”
The important thing for me when taking “Being Present in the World” was to immerse myself in the scene. To allow my subconscious understanding of “being in the landscape” to take over the decisions I made in the composition. When this happens you become part of the flow of life – you feel the breeze, smell the water in the wetlands, taste the air, observe every swan, react to the subtle changes in colour from green through to straw-yellows. And you also feel the Presence.
For me the trigger for that was the cloud cover that sat like a cushion overhead. I made my settings and clicked the shutter button. In that fraction of a second the landscape and I were inseparable. In Buddhist philosophy this is known as non-duality. There is simply no way to distinguish subject from object. The landscape was taking me in as much as I was photographing it. You can’t describe this feeling (like most mystical experiences), except that when it happens you KNOW it is real.
When you come to process the image your rational mind begins to take over again. Observation of the landscape tells you things you hadn’t seen before. In this case the most interesting discovery was to see how my subconscious had noted the way that in the upper third of the photograph the darker clouds mirror the grass formations next to the river in the bottom third, with the brightest luminescence across the middle. I was not operating on some conscious level to obey the rule of thirds (most of those rules are intended to be broken anyway).
There are many ways to make a photograph. This is just another one of them.
www.youtube.com/watch?v=84Tq-eAJIk4
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