View allAll Photos Tagged Threshold
Date: December 2024
Medium: Digital Photomontage
Location: Mexico and Santa Cruz CA
Dimensions: 15” x 20”
© 2024 Tony DeVarco
Credit: Unknown artist/maker, daguerreotypist “Portrait of a Woman and Man” (detail), about 1850s. Place created- Mexico. Daguerreotype Image: 14 × 10.8 cm (5 1/2 × 4 1/4 in.), Closed: 15 × 12 × 1.8 cm. Downloaded from the Getty Open Content portal: www.getty.edu/art/collection/object/109KEE
Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance. Always, I am on the threshold.
~W. Eugene Smith
Read about a hero: W. Eugene Smith
None of my photos may be reproduced and/or used in any form of publication, print or the internet without my written permission. Please contact me if you would like to use one of my images.
Best viewed with someone you can grow with.
For some reason, I always find doors and photograph them in a way that makes them kinda creepy when I'm in Rogers at night 🤔
📷 PowerShot G11
Nikon FM2 - Nikkor 50 1.4 AI - Ilford HP5+ @ 1600 - semi-stand develop - Rodinal 5+350 - agitate every 15 - dslr scan
Il peccato originale consiste nel limitare l’Essere. Non lo commettere.
Richard Bach
DO NOT use my pictures without my written permission, these images are under copyright. Contact me if you want to buy or use them. CarloAlessio77© All rights reserved
I was trying for something like the cover of a Philip K. Dick novel here. And I wanted to use some fireworks shots I took last weekend.
Sanaz Mazinani (b. Tehran, Iran, 1978). Threshold. 2015/2024
Acrylic mirror, silicone, wood, steel, paint, digital video & sound file.
Sound Composition by Mani Mazinani. Courtesy of the artist, Stephen Bulger Galtery, and Edward and Marla Schwartz.
“Mirrors are often regarded as offering a transparent and unbiased view of reality. In Threshold, mirrors are used to situate the viewer between reality and distorted images, encouraging self-reflection and self-awareness.
Sanaz Mazinani’s work uses intricate laser-cut mirror panels inspired by Islamic architecture. These mirrors reflect images of the viewer and intermingle them with video projections - a coming together within a fractured dimension. The video is created using multiple scenes of explosions taken from Hollywood movies, evoking Mazinani’s childhood experiences of war and conflict.
By mirroring and multiplying these scenes, Mazinani transforms the shocking explosions into kaleidoscopic compositions that captivate the visitor’s attention. Her artwork questions the over exposure and manipulation of conflict in the media industry and the distorted reality that these images create.
Sanaz Mazinani is an artist, academic, and educator based in Toronto. She works across the disciplines of photography, sculpture, and large-scale multimedia installations. Mazinani creates informational objects that invite us to rethink how we see. Her work has been shown internationally and is held in public collections including the Art Gallery of Ontario and the Aga Khan Museum.”
La parola soglia non significa soltanto la linea di passaggio tra la strada e l'interno della casa, ma viene utilizzata anche in senso metaforico, per indicare un confine tra l'interno, quello che pensiamo, quello che vediamo, quello che possiamo vedere, quello che dobbiamo vedere e quello che invece vediamo nella realtà e che determina un'osservazione comune, cioè tra il nostro interno e l'osservazione del mondo. Questo punto di equilibrio tra mondo interno e mondo esterno in fotografia io penso di averlo identificato con l'inquadratura. Ci troviamo di fronte a un problema fondamentale, a una delle basi della fotografia. Il rapporto tra quello che devo rappresentare e quello che voglio lasciare fuori dalla rappresentazione.
Luigi Ghirri - Lezioni di fotografia