View allAll Photos Tagged Separation

The two locos are uncoupled from each other before moving to either end of the train waiting in the other platform.

An additional view taken same day you'll find here.

This one is without sunshine but I like the geometric structures.

 

Has won the Panoramio contest 'Symmetry' in September 2013 :-)

separation of the mind and emotion.. is it possible or is it just drowning one or the other.

Coming together or growing apart, nothing lasts forever.

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Dahlias labyrinth Villa Taranto Verbania. Full resolution.

Continuing the 'Separation' theme, I think the barriers are quite self-evident in this picture.

Age Differences in Cusco, Peru

Local woods. Edit: replaced with lighter version sorry

Don't worry, she'll be right back.

Dahlias labyrinth Villa Taranto Verbania. Full resolution.

The further two are inside the restaurant, behind the window, the man and woman are sitting at a table on the street outside. So close, yet so far apart.

Meyer Goerlitz Trioplan 100 mm. lens. PP with DXO (about"Agfa Ultra Color" style), full resolution.

I hope his fortune changes for the better.

Leitz Elmarit-r Macro 100 mm. f/2.8

Dahlias labyrinth Villa Taranto Verbania. Full resolution.

... of two floors with different painting and grey railings.

Continuing my occasional series of people appearing close but separated by some barrier. Here, the man and woman are both the same side of the glass, but we can only see her reflection.

trivial things surround us

Another pair of diners, separated by a mobile/cell phone. That's the final picture in this 'Separation' series - thanks for all the positive comments and encouragement. I still have a lot to learn and will be trying street photography again soon!

Just a couple of trees that caught my eye...and a fence, and a field...

Taken in Ross and Smith Islands, Andaman and Nicobar Islands, India.

Separating the sacred (the church, to the left) from the profane (the village, to the right). All shots of this series done with the Mitakon Speedmaster at F0.95.

Meyer Goerlitz 100 mm. Trioplan.

My dentist's office displays artwork in each of the exam rooms. They consist of a single painting on the wall facing the patient. Mostly abstract and of little interest to me. One room however has a wonderfully detailed scene of quaint houses on a quiet back street. The setting is early evening and the artist did a remarkable job of conveying the moodiness of the twilight hour. There are lights on inside the homes, and smoke rising languidly from the chimneys. There's a cat out on someone's front porch. It's quite an immersive scene for me. It puts me at ease and takes my mind off of the clinical setting. I have a weird habit of imagining myself into scenes like this; of somehow interacting with the place that exists only in two dimensions. I would like to walk the cold village streets; smell the chimney smoke. Maybe pet the cat. It's always a disappointment when they put me into a different room and I don't get to experience that painting.

 

There are places in my real world that speak to me like that painting. Sometimes the reasons are obvious. But often I have no clue. It's really just a feeling. This is one of those places. I often pause here when riding my bicycle. It sits on the boundary between woodland and open meadow. This is high ground and it's always windy here. Everything is parched, bleached and drab this time of year. But that only adds to the attraction. Like the dentist's painting, it pulls me in every time.

Separating the private (the estate of Markyate Cell, to the left) from the public (the church, to the right). All shots of this series done with the Mitakon Speedmaster at F0.95.

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