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Contacte visual Los encuentros con la fauna salvaje son siempre mágicos, pero cuando establecen contacto visual y además se muestran confiados y no huyen…Eso ya es lo máximo para nosotros como fotógrafos, y más con una lechuza campestre.
Les trobades amb la fauna salvatge són sempre màgics, però quan estableixen contacte visual i a més es mostren confiats i no fugen…Això ja és el màxim per a nosaltres com a fotògrafs, i més amb un mussol marí.
The encounters with wild animals are always magical, but when they make eye contact and also show confidence and don’t flee… That’s already the ultimate for us as photographers, especially with a short eared owl.
#nikonsD500 #sigma150600contemporary #nikonistas #svo #seobirdlife #natgeoyourshot #devesalbuferafoto #birding #albuferadevalencia @nikoneurope @nikonistas @sigmaphotospain @devesalbuferafoto @seobirdlife.cvalenciana @svornitologia
Metroline DEL2162 (LK16DDY) is seen at Ruislip after the full route visual of the 331 was filmed.
331 Route Visual: www.youtube.com/watch?v=5E3mp6kIWOk
These are the ones! 6200 photo submissions to the OC Visual Arts Competition. I entered only a few this year because I traveled less due to moving, and some personal fitness goals. Feeling so privileged that these three made the cut . Can't wait to complete my 2016 photography / travel goals 😃
Simplicity is the best way to express yourself.
Who you are, for what you are.
Where being alive is struggle, showing off is luxury there. Should realise the difference between necessity and luxury
School of Art and Art History at University of Iowa in Iowa City, Iowa. Designed by New York City architect Steven Holl Architects.
These pages are made from scraps on my work table. The
challenge was to make order from waste -- & not throw away even the smallest scrap.
In this lush visual sanctuary, the viewer is drawn into the eternal, kinetic poetry of the woodland realm. The composition frames a relentless rush of white water as it surges and weaves through a chaotic scattering of ancient, weathered boulders. Above, the delicate, arching limb of a solitary tree gestures gracefully across the torrent, providing a quiet structural counterpoint to the wild, fluid energy below. Engulfed by an enveloping canopy of vibrant, heavy green, the scene becomes a sensory meditation on the enduring cycle of growth, resilience, and the unyielding pulse of the untamed world.
#FineArtNature, #VisualPoetry, #WoodlandPhotography, #AtmosphericArt, #RitsonForce, #ElementalEnergy, #LandscapeCurator, #ForestSanctuary, #WaterAndStone, #WildernessCulture, #MoodyNature, #TimelessEarth, #NatureIsArt, #CascadingWaters, #StorytellingArt
Press L to view on a black background.
You can see more on my Flickr Photostream or on my Web site.
This image is mine. You may not use it anywhere or for any project without my express permission. Rates for commercial applications are available on request.
Please contact me if you would like to arrange a commercial use, or purchase a print of this photograph.
The Origins and Purpose of Street Art and Graffiti — A Historical Essay.
Prehistoric and Ancient Beginnings (40,000 BCE – 500 CE)
Graffiti’s origins stretch back to humanity’s earliest visual culture. Prehistoric cave paintings — including hand stencils created by blowing pigment through tubes — functioned as some of the earliest “tags,” marking presence and identity. These date from 40,000–10,000 years ago.
By the classical era, graffiti was widespread across Ancient Greece and Rome, where people scratched messages, jokes, political commentary, and personal boasts into walls. The oldest known written graffito dates to around 500 BCE.
In Pompeii, graffiti served as advertising, satire, political slogans, and everyday communication, revealing the lives of ordinary people rather than elites.
Purpose in this era:
1. Marking presence (“I was here”)
2. Social commentary
3. Recording daily life
4. Religious or political expression
5. Communication by non‑elites otherwise absent from written history
Medieval to Early Modern Graffiti (500–1800 CE)
Graffiti continued through the medieval period, especially in religious and rural landscapes. In the Middle East, the Safaitic inscriptions — scratched onto rocks across Syria, Jordan, and Arabia — are the only surviving record of an ancient Arabic dialect.
In Europe, travellers, workers, and even antiquarians carved names and messages into castles, churches, and monuments. At Stonehenge, 18th‑century visitors left carved signatures, showing graffiti as a record of presence and identity.
Purpose in this era:
1. Recording travel or pilgrimage
2. Personal memorialisation
3. Folk expression by ordinary people
4. Documentation of labourers and craftsmen
The Birth of Modern Graffiti (1950s–1970s)
Modern graffiti culture emerged in Philadelphia in the 1950s, led by figures like Cornbread, who pioneered tagging as a form of self‑promotion and identity.
By the late 1960s and early 1970s, graffiti exploded in New York City, especially on subway trains. Writers such as TAKI 183 and others transformed tagging into a competitive, stylised art form.
This era marks the shift from simple inscriptions to complex lettering, murals, and large-scale public visibility.
Purpose in this era:
1. Personal identity and fame (“getting up”)
2. Reclaiming public space
3. Youth expression in marginalised communities
4. Resistance to social and economic exclusion
The Rise of Street Art (1980s–2000s)
Street art evolved from graffiti but expanded into stencils, wheat‑paste posters, stickers, installations, and murals. Artists like Keith Haring, Jean‑Michel Basquiat, and later Banksy brought street art into global consciousness.
Street art differed from graffiti by focusing less on lettering and more on imagery, political messages, and public commentary.
According to The Art Story, street art grew from the belief that art should be:
1. Accessible to everyone
2. Outside traditional institutions
3. Democratic and empowering
4. A counter‑attack against advertising and corporate messaging
5. Purpose in this era:
6. Political protest
7. Social commentary
8. Challenging authority and capitalism
9. Beautification and community identity
Artistic experimentation outside galleries
Contemporary Street Art and Graffiti (2000s–Present)
Today, graffiti and street art occupy a complex space between vandalism, public art, activism, and cultural heritage.
Graffiti remains illegal in many contexts, yet it is also recognised as a vital form of urban storytelling, especially for marginalised voices.
Street art, meanwhile, is often commissioned by cities, festivals, and cultural institutions, blurring the line between rebellion and acceptance.
Current purposes:
1. Urban regeneration
2. Tourism and cultural branding
3. Community identity
4. Political resistance
5. Artistic innovation
Street art and graffiti are not modern inventions — they are part of a 40,000‑year human tradition of marking presence, expressing identity, and challenging power. From Roman jokes to New York subway tags to global street murals, they remain one of the most democratic and immediate forms of public expression.
Typical landscape of Beauce, the granary of France.
Grain fields as far as the eye can see…
* * *
Paysage typique de la Beauce, le grenier à grains de la France.
Des champs de céréales à perte de vue…
Fotos realizadas durante el 2º. Festival Europeo de la Magia y de lo Visual en Santander entre los dias 29 de Abril y 1 de Mayo de 2011
Santander
Cantabria
Each of these, in its own way is like a visual haiku to me.
"Winter is that time of year, when so much has been taken away, that what is left is even more beautiful."
Garrison Keillor - Prairie Home Companion
My first piece of Visual Art - from Grindelwald in Switzerland. The scenery there was just amazing while I had to wait for my train to Interlaken. I had 15minutes to wait so it was clear to take some long exposure shots!
For more check out my website (www.mscgerber.com) or my Instagram (@mscgerber)
A series of assemblages and mixed media paintings by Chiew Sien Kuan (Singapore) displayed along the Esplanade Tunnel during A Little Love Story in Singapore.
A new visual journal -- courtesy the talented Norma Lydon -- that I just began, having completed the other.
With the weather turned grey and the spring flowers just starting to poke through, it is nice to view again some fall blooming flowers from a lovely front porch garden in Neskowin, Oregon.
the bedspread, the wardrobe, the uniform, the fringe... oh the hell of boarding school... no freaken wonder i'm pulling that face
GRAFFITI
Entendida como una de las expresiones de arte urbano más populares y características de la actualidad, el graffiti no es más que un dibujo o una obra de arte pictórica realizadas en las pares y muros de la calle. Así, el graffiti no se mueve o muestra dentro de círculos intelectuales o privados de arte sino que se caracteriza por ser expuesto de manera pública para que todos lo vean y disfruten día a día. El graffiti es por lo general anónimo y puede tener diferentes objetivos en lo que respecta a la razón de su realización: mientras algunos son meramente artísticos, otros son formulaciones políticas, otros de protesta y muchos otros son simples mensajes sin mayores pretensiones.
La palabra graffiti proviene del italiano y se relaciona con la idea de grafito o de expresión gráfica. Justamente, uno de los elementos más característicos del graffiti es que se realiza siempre de manera gráfica y visual. Por lo general, el graffiti no sigue reglas artísticas más que la misma libertad de expresión del autor, y es por eso que mientras algunos son realmente complejos y verdaderas obras de arte, otros son simples frases escritas con cierta violencia en las paredes o puertas de negocios.
Se estima que los graffitis son siempre realizados por las generaciones más jóvenes que se encuentran opuestas al mundo conservador e institucionalizado de los adultos. En este sentido, en muchos países el graffiti es un delito ya que es considerado suciedad o daño de la propiedad privada. Sin embargo, en diversos lugares el graffiti ya está integrado al tejido urbano y es considerado una verdadera e importante forma de expresión cultural y popular.
Hoy en día, los graffitis se han revigorizado en muchas ciudades ya que se utilizan stencils de gran complejidad e infinitos diseños para establecer ideas o puntos de vista. Algunos de ellos son graciosos, otros cuentan con una importante ironía, pero todos lo hacen desde un lado artístico que debe tenerse en cuenta más allá del hecho en sí del graffiti.
Hasselblad 503CX with Carl Zeiss Sonnar 180mm F4 T*
Film: Ektar 100
It's too much, isn't it?
It blocks our breath.
(highly amazed by the Sonnar Lens. More great resolution pics to come. :) )
Communicating through images today is fast & easy — with your smart phone you can tell the world where you are, what you’re doing & what you’re eating with just a few button presses. But has that cost us something?
Does the sheer amount of mundane images we see make good photos matter less?
Read more on my blog.