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These photos were done for fun and personal use only.
Background photos and graphics on some photos are not mine and belong to their respective owners.
This is part of my One Camera Per Month project.
A couple kissing in the middle of a very crowded Jazz in the Garden event.
Camera: Yashica Electro 35 G
Film: Kodak BW400CN
"I love xmas" hanging on a rope with clothespins. A robin egg blue wainscot as background and a gift and some pinecones on a white wooden table. Vintage Style.
Exhibition of the work of the Australian artist Patricia Piccinini called: Curious Affection. Strange hybrid creatures that are life size. Amazing installations. Well worth a visit. At GoMA
Model: Umberto Giano & Dahni Ella
Place: Poetik velvets
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Picture was taken for the BOSL magazine june 09 issue Poetik SIM illustration.
“Love is what makes two people sit in the middle of a bench when there is plenty of room at both ends”
*Copyright © 2012 Lélia Valduga, all rights reserved.
@Um beijo especial para esses dois anjinhos que conheci!!!
Taken May 28, 2018.
Left-click to enlarge. Repeat to return.
Nikon D300
105 mm lens
ƒ/3; 1/20; ISO 200
Post-processing: Adobe Lightroom CC and Adobe Photoshop CC
Border added.
File ref: 20180528-DSC_1793.Border
Impressions of the Vierdaagse 2012
Check out the Vierdaagse 2012 set set for more pictures.
You can watch my short video here
"...But of all these friends and lovers
There is no one compares with you...
Though I know I'll never lose affection
For people and things that went before...
In my life I love you more"
--"In My Life" by The Beatles, written primarily by John Lennon (credited to Lennon-McCartney)
During the Jazz Age:
One day when she was getting ready to go out, Daisy Buchanan paused. Looking through a drawer, she had come across an old packet of letters from the man who--she realized too late--was the great love of her life.
Daisy often thought about Jay Gatsby going away to fight in The Great War, believing that they would be reunited when he returned. Though he survived the war, in a way, he died to Daisy since she did not wait for him to return--yet, he lived only to be killed as a result of Daisy's and her husband Tom's actions after she accidentally killed Myrtle Wilson with her car and let Gatsby take the blame, which resulted in Gatsby's being shot to death by the dead woman's husband.
War, thought Daisy, was less dangerous to Gatsby than she and Tom proved to be. Thus, Gatsby would always haunt Daisy's memory. In fact, all war observances--whether Decoration Day, Memorial Day, or Armistice Day, bring Gatsby to her mind as one of the countless soldiers whose lives were changed by war...and 'peace.'
As her mind left Gatsby, Daisy's thoughts went to a poem that she had memorized as a child in grammar school:
"In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place: and in the sky
The larks still bravely singing fly
Scarce heard amid the guns below.
We are the dead: Short days ago,
We lived, felt dawn, saw sunset glow,
Loved and were loved: and now we lie
In Flanders fields..."
--Excerpt of "In Flanders Fields" by Lieutenant Colonel John McCrae; written at the battlefront on May 3, 1915 during the second battle of Ypres, Belgium
Pinnawala is a village in Kegalle District of Sri Lanka and is around 90 km from the capital, Colombo. It is well known for its elephant orphanage.
[edit] Elephant Orphanage
The Pinnawela Elephant Orphanage is situated northwest of the town of Kegalle, halfway between the present commerciel capital Colombo and the ancient royal residence Kandy in the hills of central Sri Lanka. There are about 84 elephants under protection. The orphanage is very popular and visited daily by many Sri Lankan and foreign tourists.
This mother and son have a solemn even sad quality as they sit before a soft painted landscape background. The mother has her arm tucked under her son's arm. They both gaze off to the side as if in contemplation. Perhaps they have lost the father of the family and are photographed together in their grief.
This beauty loves dogs. In fact, she adores Bogart and Magnus equally. The only other cat in the house who shares her opinion is Vidalia. So marvelous to have two canine-loving felines under our roof.
[SOOC, f/1.4, ISO 3200, shutter speed 1/250, -1/3 EV]
Grey Atlantic seals at Angel Bay, Little Orme, North Wales; mother touching newborn pup with her flipper
Qualquer gesto, qualquer palavra, qualquer iniciativa, que venha carregada de sentimento, tem valor imensurável.
Baobao rushed to the door when I came back and did the customary "walking-between-my-legs" and "curling-the-tail-on-my-leg" ritual. After that, he went about with his usual habits like "staring-into-the-air, "slumping-on-the-floor-like-a-pancake" or "slouching-upright-against-the-wall" giving scant attention to whatever I did.
He shows affection in regular little trickles though. He would jump up and sit next to me on the sofa every morning before I get to work, purring louder than any other cat I know. At night, he will be next to me near my mouse when I work on the PC, like now.
He probably did not miss me but is glad I am back, I hope!
I didn't see the details of how this couple approached each other, or recognized each other -- but I got the clear impression that they had planned to meet here somewhere, and that they were greatly relieved that they had actually found each other.
The hugging went on for quite some time; if this wasn't affection, I don't know what is ...
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I am taking a wonderful two-weekend class at the International Center for Photography (ICP) in March 2014, with the title "The Creative Process: Meeting Your Muse."
After two days of very intense discussions during the first weekend of the class (Mar 15-16), we were all given individual assignments to work on during the week leading up to our second weekend gathering (Mar 22-23). Mine was to focus on the concepts of “permanence” and “transience,” and to look for (photographic) ways of expressing those concepts. And during some subsequent back-and-forth email conversations with the instructor, I was urged not to spend too much time thinking about these concepts, but rather to capture (photographically) what I felt about them.
Well... How to avoid thinking about such things? I guess one can look at anything that one comes across and observe, “this feels permanent” or “that feels transient.” But at least in my case, it’s very hard to turn my brain off; and I found it impossible not to think about what these concepts meant. After all, if you remember the old adage that “nothing lasts forever,” it reminds you that nothing is really permanent; it’s just that some things are more permanent than others — and, of course, some things are more transient than others. I have a few things that date back to my early childhood, and a bunch of knick-knacks that date back to my children’s early childhood; conversely, I can look at various gadgets in my office (especially the technological ones) and acknowledge that they probably won’t be here a year from now …
What does this have to do with photography? And specifically, how can you “capture” the concept of permanence (or transience) in a photograph? By sheer coincidence, I happened to be reading a blog posting by a street photographer named Eric Kim, titled “14 Lessons Alec Soth Has Taught Me About Street Photography” while I was working on this assignment, and I was intrigued by what Magnum photographer Soth said at one point:
“Photographs aren’t good at telling stories. Stories require a beginning, middle, and end. They require the progression of time. Photographs stop time. They are frozen. Mute. As viewers of the picture, we have no idea what those people on the waterfront are talking about.”
and the additional comment that
"Photographs can’t tell stories, but they are brilliant at suggesting stories…"
and Soth's final comment on the limitations of a single photograph, with the observation that:
"You can’t provide context in 1/500th of a second."
So … I can take a photograph of an arbitrary object, and when I look at it by myself, I can conjure up an arbitrarily detailed mental “story” about when I first saw it, how long it’s been part of my life, and why I think it’s relatively “permanent.” But if I show it to you, that same photograph might well fall flat on its face — because you won’t have the context that I have. You won’t understand (and ultimately agree with, or disagree with) my sense of the permanence/transience of that object unless I can provide the context, which will require a series of photographs in order to provide the beginning, middle, and end of whatever story I want to tell you.
And all of this seems somewhat pointless if the photograph, and the associated story, is related to any kind of familiar “tangible” object — because even if that object has survived since the day I was born, and even if it will still survive after I’m gone, it’s not really permanent. It probably wasn’t here a billion years ago, and it won’t be here a billion years from now.
Indeed, the only thing that I could imagine as being arguably “permanent” in any meaningful way is human emotion. If we all evolved from tadpoles, perhaps our ancestral tadpoles had different emotions than we do; but as long as we have been humans, we have all had emotions of love and hate, joy and sadness, and the full spectrum of what we typically call “feelings.” My parents and grandparents had them, my children and grandchildren have them, and every generation from the ancient cavemen to tomorrow’s “Star Wars" super-heroes, will also have them.
So that is what I’ve tried to capture in the photographs you’ll see in this Flickr set. All of this had to be done in the space of a week, and I had only three “chunks” of time that I could devote to actual picture-making (alas, I cannot escape the mundane requirements of paying the rent and putting food on the table). Thus, I could only manage to observe and capture a few of the emotions that I saw all around me each day; I took some 900+ images in three different NYC locations, winnowed them down to 9 keepers, and that’s what I’ve uploaded here ...