View allAll Photos Tagged align
I had just come down from a soaked hike and was left soaking in the car. The light was oddly long, gave me enough time to reach around and grab the Holga and snap a couple of shots...
Blue Reincarnation Narcissus by Jaisini
The theme of Narcissus in Paul Jaisini’s “Blue…” may be paralleled with the problem of the two-sexes-in-one, unable to reproduce and, therefore, destined to the Narcissus-like end. Meanwhile, the Narcissus legend lasts.
In the myth of Narcissus a youth gazes into the pool. As the story goes, Narcissus came to the spring or the pool and when his form was seen by him in the water, he drowned among the water-nymphs because he desired to make love to his own image.
Maybe the new Narcissus, as in “Blue Reincarnation,” is destined to survive by simply changing his role from a passive man to an aggressive woman and so on. To this can be added that, eventually, a man creates a woman whom he loves out of himself or a woman creates a man and loves her own image but in the male form. The theme of narcissism recreates the ‘lost object of desire.’ “Blue” also raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity.
There is another story about Narcissus’ fall which said that he had a twin sister and they were exactly alike in appearance. Narcissus fell in love with his sister and, when the girl died, would go to the spring finding some relief for his love in imagining that he saw not his own reflection but the likeness of his sister. “Blue” creates a remarkable and complex psychopathology of the lost, the desired, and the imagined. Instead of the self, Narcissus loves and becomes a heterogeneous sublimation of the self. Unlike the Roman paintings of Narcissus which show him alone with his reflection by the pool, the key dynamic in the Jaisini’s “Blue” is the circulation of the legend that does not end and is reincarnated in transformation when auto-eroticism is not permanent and is not single by the definition.
In “Blue,” we risk being lost in the double reflection of a mirror and never being able to define on which side of the mirror Narcissus is. The picture’s color is not a true color of spring water. This kind of color is a perception of a deep seated human belief in the concept of eternity, the rich saturated cobalt blue.
The ultra-hot, hyper-real red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Paul Jaisini realizes the harmony in the most exotic colors combination. While looking at “Blue,” we can recall the spectacular color of night sky deranged by a vision of some fierce fire ball. The disturbance of colors create some powerful and awe-inspiring beauty.
In the picture’s background, we find the animals’ silhouettes which could be a memory reflection or dream fragments. In the story, Narcissus has been hunting - an activity that was itself a figure for sexual desire in antiquity. Captivated by his own beauty, the hunter sheds a radiance that, one presumes, reflects to haunt and foster his desire. The flaming color of the picture’s Narcissus alludes to the erotic implications of the story and its unresolved problem of the one who desires himself and is trapped in the erotic delirium. The concept can be applied to an ontological difference between the artist’s imitations and their objects. In effect, The Jaisini’s Narcissus could epitomize artistic aspiration to the control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype.
Paul Jaisini’s “Blue” is a unique work that adjoins the reflection to reality without any instrumentality. “Blue” is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of the desire between Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes, but not for the purpose of creating a hermaphrodite. The case of multiple deceptions in “Blue” seems to be vital to the cycle of desire. Somehow it reminds one of the fate of the artists and their desperate attempts to evoke and invent the nonexistent.
“Blue” is a completely alien picture to Jaisini’s “Reincarnation” series. The pictures of the series are painted on a plain ground of canvas that produces the effect of free space filled with air. “Blue,” to the contrary, is reminiscent of an underwater lack of air; the symbolic meanings of this picture’s texture and color contributes to the mirage of reincarnation.
“Blue Reincarnation” (Oil painting) by Paul Jaisini
New York 2002, Text Copyright: Yustas Kotz-Gottlieb
ALL RIGHTS RESERVED
Definition: border, mark
Synonyms: abut, adjoin, align, bound, crease, cut, delineate, draw, edge, group, join, outline
*Have a peek on black ...I especially like the lines within his glasses
.... better be !!!! .....
Nineteen Eighty-Four ....?
in my citylife Series ...
Taken Sept 5, 2017
Thanks for your visits, faves, invites and comments ... (c)rebfoto
Photo of oil droplets from the oil & water macro abstract photography assignment captured via Minolta MD Macro Rokkor-X 100mm F/4 lens. Inside the creative halls of the 494 ∞ Labs. Early December 2020.
Exposure Time: 1/8 sec. * ISO Speed: ISO-100 * Aperture: F/8 * Bracketing: None * Color Temperature: 6078 K * Film Plug-In: Fuji Velvia 50 * Adaptor: 1:1 Extension Tube
While i saw these people sitting outside a shop, I felt that the patterns on the door shutter aligned with the spiritual ash powder on their foreheads.
Follow me @ My Blog | Google+ | Twitter | Facebook | Instagram
WEEK 8 – Batesville Kroger, Set II
Thought this one turned out well: a straight shot down the rear actionway, with the aisle markers moving inward on the left of the frame and the rear wall doing the same on the right. This is typically a difficult scene to capture, given that – instead of dairy (as discussed!) – this area is usually home to some other department, most often a service counter such as meat and seafood. Even then, though, this sort of angle is just a hard one to try and get from any spot in a store: it’s hard to stand in a precise spot with your back against a wall like this and not be noticed in the process!! Thankfully, it looks like everything aligned perfectly in my favor this visit :)
(c) 2019 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Une mouche sur une tige de graminée
doucement, se laisse aller, bercer
quand soudain, le Mistral
d'un grand souffle fatal
l'envoya valdinguer
tout en bas dans le pré
Moralité:
Se croire en sécurité
n'est souvent qu'illusion!!!!!!!
Liliane
atelier ying, nyc.
A while back the photography magazine, "The Inspired Eye" ran a camera design contest, here is the third and last winning design done by me. This one is the most intricate and extreme as it expands three different scales, something I like to do for much of my work.
Concept by Marke Blue :
My very favorite-est thing about taking pictures is the act of looking through a viewfinder. So I want a camera with some attributes of Transformers toys, and iPad horizontal/vertical orientation changes. There would be hidden “wings” that can fold out for a good grip on the sides (but can remain closed up for portability), and a viewfinder that rotates around the edges so you can use either eye or turn it 90 degrees and you won’t end up with your nose smooshed, or smears on the back of the camera.
David’s Vision “This is 2065″ Camera & Chapel:
Mr. Marke Blue speaks about the joys of looking through a viewfinder. I quite agree with him. He also speaks of transformer toys of the current generation and a camera having some flexibility. I looked to a ‘futuristic’ TV series of a former generation in starting this design, the Thunderbirds program from 1965, which leads to the eccentric title of this design.
The legendary architect John Hejduk also informs this camera design. His structures and dreams were way ahead of his time.
The design is both a camera and an outdoor chapel.
Hejduk’s iconic light wells become 10 viewfinders of the Polaroid-style (the 1965 swinger), more than enough for a small handy 5″ x 5″ square format digital camera. Four repeating shutter buttons all basically connected to the same circuitry operate from the sides of this all-black cube. The viewfinders swivel in an x-y direction to a small degree as they are all angled between 10 to 20 degrees to align with the shooting distance. The tunnel effect of the Polaroid viewfinders each using different lenses, indirectly recall the cinematic look of old films of the 1960′s, like the original 1968 “Thomas Crowne Affair”, relaying nine-views of the subject from different angles, the famed “multi-dynamic image technique”.
Ironically, Hejduk did not eschew the nine-square architectural strategy in most of his work.
As a chapel, the northern light well rotates up to provide an accent on the cross which is embedded inside and floating between two walls. The camera body comes in three matte finishes: black, anthracite grey and a 1960′s celery green. The cross is of dark mahogany wood. The ideal way to operate this camera would be to place the SD-card in the traditional film plate area, after removing a three screws and a metal plate from the back with a matching metal screwdriver. A soft mahogany-colored leather strap is meant to sling the camera shoulder style low to the waist just like a Hasselblad SWC. Finally, a metal film canister of communion wafers is also provided with the presentation kit.
Design, text and drawing are copyright 2014 by David Lo.
When all the elements align, our back deck is a handy spot to grab sunset photographs.
That cluster of tall trees really make the framing easy. The right combination of clouds, the angle of the setting sun and my just happening to be there with camera in hand. Everything came together on this night.
The beauty of nature sparks a sense of immense awe in me.
There's much of this world that inspires and uplifts. Sunsets are but one of an infinite array of beauty that gives me comfort.
Even on a cold winter's evening.