View allAll Photos Tagged evoque
Here's some shots from a session I did some weeks ago on the lovely Evoque. Hope you like it! If you do, make sure to like me on fb aswell. :) www.facebook.com/pages/Bilbilderse/142263349196706
So its been ages since I have photographed any road cars. I was shooting some clips for a upcoming video review and I figured I should sneak a still in. Its kind of a special shot for me since its located on my old farm that I grew up on. I spent countless years playing hide and go seek in these fields and even built a treehouse in the forest in the background. I am pretty happy that I have had a chance to do at least one half decent photo there before it becomes just another housing development.
Land Rover #Evoque
Big thanks to Brian Makse and the lovely people at BHG Media Fleet.
Car : Range Rover Evoque
Location : Bucharest downtown
Camera: Canon Eos 40d
Lens : 17-85 USM F4
Facebook fan page : www.facebook.com/#!/pages/Ciprian-Mihai-Photography/16551...
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Range Rover Evoque
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Belgrade, Serbia
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Nikon D90
Nikkor 18-200VR
Yeah so I built the entire car on an angle to get that sweet rising beltline.
No really a 6-wide was a better build. So many more working features and complex techniques. A lot more time invested as well. And in LDD! Here I am building with limited pieces like a nerd. I AM NOT SALTY.
Here's some shots from a session I did some weeks ago on the lovely Evoque. Hope you like it! If you do, make sure to like me on fb aswell. :) www.facebook.com/pages/Bilbilderse/142263349196706
Don't use without permission of Bas Fransen
Twiter: @bas_fransen
Contact: info@basfransen.com
Website: www.basfransen.com
Avenue du Musée des beaux-arts de Montréal, ouest
"Building IV, est emblématique des principaux champs de tension qui irriguent l’œuvre d’Antony Gormley. Sa force naît de l’oscillation entre une forme qui évoque ces corps futuristes décomposés sur ordinateur, et une pose qui rappelle cette grande tradition sculpturale de la forme en éveil. En effet, dans cette figure d’un homme s’éveillant à sa condition d’homme, les genoux encore en flexion, le visage tourné vers le haut, Gormley se réclame d’une tradition qui court des esclaves du tombeau de Jules II de Michel-Ange au jeune homme de l’Âge de bronze de Rodin. Tradition que l’on retrouve chez un autre grand artiste d’aujourd’hui, dont l’œuvre est également informée par l’histoire de l’art, Bill Viola, qui dans The Crossing montre la naissance d’un homme hors de l’eau.
Cet homme numérique s’élevant vers sa condition d’humain, ce corps métallique disloqué en une multitude de blocs (ou de pixels) semble vouloir finalement renvoyer au spectateur sa propre image, le réfléchir. Comme l’a écrit Gormley : » My proposition is that we are part of a world constructed from the earth, in which everything is interchangeable. My hope is that the old formula of a ‘subject who looks’ at an object which is ‘looked at’ can be transmuted into us looking at ourselves. The place of my body is offered as yours and the space and actions of your body are reflected in the works, what they are made of and how they are made. Nothing is revealed that is not already there – including you. » (extrait du catalogue de l’exposition Still Moving : Works 1975-1996, à Tokyo, in Antony Gormley, Phaidon, p.152)."