View allAll Photos Tagged existential
Hi, everybody! It's been a while. I took a creative break from photography for the summer and have only now been slowly getting back into it.
For the past couple of weeks, I've been experimenting with intentional camera movement, something I've always found fascinating but haven't done much myself. The results so far are exciting; especially when combined with still subjects the scene becomes very dreamlike and esoteric. The picture you see here is essentially a double exposure – the person and the surroundings were shot in the same location but with vastly different techniques. It's like street photography taken to a whole new, existential level.
Tell me what you think, or just say hello in the comments, and I'll make sure to catch up on your latest photos!
All rights reserved. Please send me a private message if you wish to use this photo. Adding to Flickr galleries is fine without permission.
"The capacity to be alone is the capacity to love. It may look paradoxical to you, but it's not.
It is an existential truth: only those people who are capable of being alone are capable of love, of sharing, of going into the deepest core of another person - without possessing the other, without becoming dependent on the other, without reducing the other to a thing, and without becoming addicted to the other.
They allow the other absolute freedom, because they know that if the other leaves, they will be as happy as they are now. Their happiness cannot be taken by the other, because it is not given by the other." -Osho
Artist: Vlassis Caniaris (1928-2011).
One has to situate the work within the context of Caniaris’ wider practice and his preoccupation with the phenomenon of Greek emigration of his time, a population movement fraught with existential, social and political upheaval. After all, one can not ignore the facts of Caniaris’ personal biography and his emigration to Western Europe. As such, the The Big Swing encapsulates a brave move forward (ergo the victorious reference) but nevertheless a dangerous move into the unknown (ergo the threat of the scaffold). The socio-political conditions of Greek society of the time provide a source spring for the enunciation of that most elemental human condition: a sentient being caught at the cusp of a balancing act between stasis and progress, between safety and danger. The emigrant’s plight is situated in the hardships of their home country that compel him/her to uproot themselves in a deeply challenging existential twist, in the hope of a better future abroad in the unknown. The theatrical curtain falls on the home country of the emigrant who is leaping into uncharted territory.
(From the booklet "Flying over the Abyss")
Το Τhe Big Swing, 1974, περιλαμβάνει μια από τις εμβληματικές κούκλες του Κανιάρη αλλά εξελίσσεται σε μεγάλης κλίμακας εγκατάσταση. Η κούκλα πλαισιώνεται, εννοιολογικά και μορφοπλαστικά, από μια ξύλινη κατασκευή που δίνει την αίσθηση ενός άλματος από την κούνια. Το πλαίσιο με την κουρτίνα στο πίσω μέρος δίνει έναν έντονα θεατρικό χαρακτήρα, μια πλαισιωμένη παρουσίαση της κούκλας. Ταυτόχρονα, η ξύλινη κατασκευή είναι μια κάπως απειλητική παρουσία, σαν να έρχεται ο θεατής
αντιμέτωπος με ένα ικρίωμα απαγχονισμού. Η ίδια η φιγούρα με την προς τα εμπρός ανοδική κίνησημπορεί να ιδωθεί ως αναφορά στο περίφημο άγαλμα της Νίκης της Σαμοθράκης, ιδιαίτερα με την παρουσία των φτερών.
Πρέπει κανείς να δει το έργο στο πλαίσιο της ευρύτερης πρακτικής του Κανιάρη και της εμμονής του με το φαινόμενο της ελληνικής μετανάστευσης της εποχής του· μιας πληθυσμιακής μετακίνησης με στοιχεία υπαρξιακής, κοινωνικής και πολιτικής αναταραχής. Άλλωστε, δεν μπορούμε να αγνοήσουμε τα γεγονότα της ζωής του ίδιου και τη μετανάστευσή του στη Δυτική Ευρώπη. Έτσι, το The Big Swing σηματοδοτεί μια γενναία φυγή προς τα εμπρός (εξ ου και η αναφορά στη νίκη) αλλά και μια ριψοκίνδυνη στροφή προς το άγνωστο (η απειλή της αγχόνης).
(Aπό το φυλλάδιο της έκθεσης «Η υπέρβαση της άβυσσος»)
the modern man taken by an attack of existential angst
Image distortion due to the mirror itself/
Saturation due to Photoshop tools/
I am not broken. I am weathered.
The wind didn’t shatter me -it shaped me.
And in the hollow, I echo louder than ever.
Feeling disconnected? It might be time to find an alien.
Image imagined in MidJourney AI and finished with Topaz Studio 2.0 and Lightroom Classic.
Straight out of the Camera. A camera is a receptacle of light. A photographer is a gatherer of light. A camera can capture infinite attributes and hues of light. Attributes and hues which can be manipulated but (perhaps) never enhanced by post processing on a computer. Personally I believe that a mild tweaking of exposure or white balance may be necessary at times but extensive processing sucks out the meditative and emotionally charged component of an image leaving behind something which is unreal and lifeless. To PP or not to PP? An existential dilemma which every photographer has to solve for him-her-self.
Faith47 is inspired by everything she sees when travelling the world: broken cars, faces filled with emotions, old factories, dusty roads and so much more. Essentially, she is inspired by everything that tells an authentic story about human experiences in different environments.
Faith47 touches upon themes of dreams and human vanity and fragility. She is humble regarding the destructive and creative forces of human life, and for that reason, her art is both metaphorical and full of meaning, always with a touch of greater existential considerations.
The mural in Aalborg depicts a young man, working at the railway in Aalborg during the 19th century, that Faith47 found in an old photograph and the mural helps draw lines between a distant past and today.
This mural is part of the Out in the Open project by Gallery Kirk.
www.youtube.com/watch?v=Eo2ZsAOlvEM
"Let us be lovers, we'll marry our fortunes together
I've got some real estate here in my bag
So we bought a pack of cigarettes and Mrs. Wagner's pies
And we walked off to look for America
Cathy, I said as we boarded a Greyhound in Pittsburgh
Michigan seems like a dream to me now
It took me four days to hitchhike from Saginaw
I've gone to look for America
Laughing on the bus, playing games with the faces
She said the man in the gabardine suit was a spy
I said, be careful, his bowtie is really a camera
Toss me a cigarette, I think there's one in my raincoat
We smoked the last one an hour ago
So I looked at the scenery
She read her magazine
And the moon rose over an open field
Cathy, I'm lost, I said though I knew she was sleeping
And I'm empty and aching and I don't know why
Counting the cars on the New Jersey Turnpike
They've all come to look for America
All come to look for America
All come to look for America"
Simon and Garfunkel 1968
An aluminum pirate statue in Golden Gate Park, San Francisco. Seriously bad ass, no?
So, existential question. How do Pirates know they exist?
A: They think, therefore they Arrrrr!
I'm perplexed when encouraged by full-time transwomen to be my "true self." What? To do so would mean that everything I've been before now isn't true. Crazy! It also presupposes I'll not change in the future. How can anyone say who their "true self" is when there is still lots of life to experience?
Do you agree we need to get away from popular language of authenticity and simply understand we are all works-in-progress and be happy, if not excited, about it?
I am tired of being made to feel less than authentic because I fail to meet expectations of others. I’m still me, regardless, and pretty happy about it.
When the comic character Popeye famously said “I am what I am, and that’s all that I am” didn’t he insist others accept his state of being, regardless of what that may be?
Popeye, after all, was a one-eyed, lantern-jawed, vegetarian, sailor, with mutant-sized forearms and fists, yet no biceps, who wore the very same outfit every day for decades. However, he breaks out of his largely imagined life situation prison and asserts his “true self” – whatever that needs to be at the moment.
Shouldn't we be the same?
Nora
This photo was taken by Cassandra Storm at a strip mall while on a shopping trip and photo safari with girlfriend Alex Forbes. The chair just happened to be there so I thought a seated pose would be different. Also different are my regular eyeglasses. They are rimless so not immediately obvious. I no longer need spectacles. Instead, I've become one. Ha ha ha!
Photograph published in News Junkie Post on 5/30/2020
newsjunkiepost.com/2020/05/30/climate-crisispandemics-and...
Also photograph published in The Duran on 5/31/2020
theduran.com/climate-crisis-pandemics-and-bad-governance-...
Straight out of the Camera. A camera is a receptacle of light. A photographer is a gatherer of light. A camera can capture infinite attributes and hues of light. Attributes and hues which can be manipulated but (perhaps) never enhanced by post processing on a computer. Personally I believe that a mild tweaking of exposure or white balance may be necessary at times but extensive processing sucks out the meditative and emotionally charged component of an image leaving behind something which is unreal and lifeless. To PP or not to PP? An existential dilemma which every photographer has to solve for him-her-self.
Starring into the abyss of another Black Friday.
Image imagined in MidJourney AI and finished with Topaz Studio and Lightroom Classic.
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“The Cross is not a Roman pole, but the wood on which God wrote his gospel”.
“La Croce non è un palo dei romani, ma il legno su cui Dio ha scritto il suo vangelo.
(Alda Merini)
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www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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Good Friday is an anniversary which in Sicily acquires a cathartic meaning for those who are searching, not only photographically, for popular traditions (we find them widespread throughout Sicily), which are nothing other than a social, cultural event, which merge into a single past and present; from the web "popular traditions are a historical memory linked to customs and rituals that have given shape to the values and beliefs of that culture". Easter in Sicily can be a source of research, it can appear not without contradictions, citing the thoughts of that great Sicilian thinker Leonardo Sciascia, for him Sicily cannot be called Christian referring to the Sicilian festivals, at most it is only in appearance, in those properly pagan explosions tolerated by the Church; Sciascia addresses the topic as an introductory essay in the book "Religious celebrations in Sicily", illustrated with photographs of a young and still unknown Ferdinando Scianna, a book that did not fail to raise some controversy due to the Sicilian thinker's introductory note, thus being in open controversy with the sacredness of that popular Sicilian devotion (the book was criticized by the Holy See newspaper, the Osservatore Romano), Sciascia writes: “what is a religious festival in Sicily? It would be easy to answer that it is anything but a religious holiday. It is, first of all, an existential explosion; the explosion of the collective id, where the collectivity exists only at the level of the id. Since it is only during the celebration that the Sicilian emerges from his condition of a single man, which is the condition of his vigilant and painful superego, to find himself part of a class, of a class, of a city". Another Sicilian thinker, writer and poet, Gesualdo Bufalino, provides interesting indications on the meaning that Sicilians give to these traditional popular events, he says "during Easter every Sicilian feels not only a spectator, but an actor, first sorrowful and then exultant , for a Mystery that is its very existence. The time of the event is that of Spring, the season of metamorphosis, just as the very nature of the rite is metamorphic in which, as in a story from the Puppet Opera, the battle of Good against Evil is fought. Deception, Pain and Triumph, Passion, Death and Resurrection of Christ are present."
In short, Easter in Sicily is a deeply felt anniversary throughout the island since ancient times, it has always had as its fulcrum the emotional participation of the people, with representations and processions which have become rites and traditions which unequivocally characterize numerous Sicilian centres, which they recall the most salient moments narrated in the Gospels and which recall the Passion, Death and Resurrection of Jesus Christ, with processions formed by the various brotherhoods (sometimes with theatrical re-enactments) which have within them contents and symbols often coming from the Spanish domination, which took place in Sicily between the 16th and 17th centuries. This year, on the occasion of Good Friday I went to the pretty town of Licodia Eubea (in the province of Catania), I'll start by saying that in this procession a unique character comes to life in statue form that cannot be found anywhere else place in Sicily, it is called "Ciurciddu" (translated "Circello"), he pulls Christ with a rope tied around his neck while he carries the Cross, this bad character has a profound symbolic-allegorical meaning, he represents "the Evil that exists in the world, the refusal towards the Truth announced by Christ", causing him suffering by pulling him with the rope tied around his neck. The boys and men "carriers of the floats" gather together, preparing for the moment when, once the procession has begun, the "'a Giunta" will take place around 10:00 a.m., or rather the very painful "encounter" between Christ ( who carries the Cross, linked to Ciurciddu) and His Mother of Sorrows (with her heart pierced by a sword, an iconic image of Spanish origin), during the meeting "the bow or greeting takes place" between the two floats, it is the Greeting that Mother and Son do in one of the most characteristic moments of this procession. While the two vares are brought to an ancient church, another event takes place which strongly characterizes this tradition, the "auction of the Cross" takes place, the ability to carry the Cross, weighing 70 kg, on one's shoulder, up to Churc of Calvary (a long uphill journey to reach the upper part of the town), is put up for auction, the highest bidder wins this possibility, after which an extraordinary event occurs: the devotee who wins the auction is embraced by numerous villagers, with great transport and affection, this is because those who participate in the auction certainly do so out of devotion but also possibly because they have had someone in their family with more or less serious health problems, and this is why people hug them and encourage them by showing their closeness . In the afternoon the procession resumes, now the Christ is dead, he is in the vara with the Urn, and is called "'u Signuri' a cascia" (by which term means "the Lord in the coffin"), the two vare (the dead Christ and His Mother of Sorrows) are carried in procession up to the Church of Calvary, where the heavy and ancient Cross carried on the shoulder by the devotee was hoisted; here, even if Christ is dead, the Crucifixion takes place , the mystical moment is accompanied by ancient songs-lamentations by the singers of the SS association. Crucifix; subsequently Christ is placed from the Cross in the urn, and descends back into the center of the town, where in the church of the Capuchin Fathers the devout people "make peace with the Lord", an act of reconciliation and request for forgiveness before the figure of Christ Died. Subsequently, late in the evening, Christ and his Mother are led into the Mother Church.
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Il Venerdì Santo è una ricorrenza che in Sicilia acquista un significato catartico per chi è alla ricerca, non solo fotografica, delle tradizioni popolari (le troviamo diffuse in tutta la Sicilia), che altro non sono che un evento sociale, culturale, che fondono in un tutt’uno passato e presente; dal web “le tradizioni popolari sono una memoria storica legata ad usanze e ritualità che hanno dato forma ai valori e alle credenze di quella cultura”. La Pasqua in Sicilia può essere fonte di ricerca, essa può apparire non priva di contraddizioni, citando il pensiero di quel grande pensatore Siciliano che fu Leonardo Sciascia, per lui la Sicilia non può dirsi cristiana riferendosi alle feste Siciliane, al massimo lo è solo in apparenza, in quelle esplosioni propriamente pagane, tollerate dalla Chiesa; Sciascia affronta l’argomento come saggio introduttivo nel libro “Feste religiose in Sicilia”, illustrato con fotografie di un giovane ed ancora sconosciuto Ferdinando Scianna, libro che non mancò di sollevare qualche polemica per la nota introduttiva del pensatore Siciliano, essendo così in aperta polemica con la sacralità di quella devozione popolare Siciliana (il libro fu oggetto di una stroncatura da parte del quotidiano della Santa Sede, l’Osservatore Romano), Sciascia scrive: “che cos’ è una festa religiosa in Sicilia? Sarebbe facile rispondere che è tutto, tranne che una festa religiosa. E’, innanzi tutto, un’esplosione esistenziale; l’esplosione dell’es collettivo, dove la collettività esiste soltanto a livello dell’es. Poiché e soltanto nella festa che il siciliano esce dalla sua condizione di uomo solo, che è poi la condizione del suo vigile e doloroso super io, per ritrovarsi parte di un ceto, di una classe, di una città ”. Altro pensatore, scrittore e poeta Siciliano, Gesualdo Bufalino, fornisce indicazioni interessanti sul senso che i Siciliani danno a questi eventi popolari tradizionali, egli dice “durante la Pasqua ogni siciliano si sente non solo uno spettatore, ma un attore, prima dolente e poi esultante, per un Mistero che è la sua stessa esistenza. Il tempo dell’evento è quello della Primavera, la stagione della metamorfosi, così come metamorfica è la natura stessa del rito nel quale, come in un racconto dell’Opera dei Pupi, si combatte la lotta del Bene contro il Male. Sono presenti l’Inganno, il Dolore e il Trionfo, la Passione, la Morte e la Resurrezione di Cristo”.
In breve, la Pasqua in Sicilia è una ricorrenza profondamente sentita in tutta l’isola fin dall’antichità, essa ha sempre avuto come fulcro la commossa partecipazione del popolo, con rappresentazioni e processioni divenuti riti e tradizioni che caratterizzano inequivocabilmente numerosissimi centri Siciliani, che rievocano i momenti più salienti narrati nei Vangeli e che ricordano la Passione, la Morte e la Resurrezione di Gesù Cristo, con cortei formati dalle varie confraternite (a volte con rievocazioni teatrali) che hanno in se contenuti e simbologie spesso provenienti dalla dominazione Spagnola, avvenuta in Sicilia tra il XVI ed il XVII secolo.
Quest’anno, in occasione del Venerdì Santo mi sono recato nel grazioso paese di Licodia Eubea (in provincia di Catania), inizio col dire che in questa processione prende vita, in forma statuaria, un personaggio unico che non si trova in nessun’altro luogo della Sicilia, si chiama “Ciurciddu” (tradotto “Circello”), egli tira con una corda legata al collo il Cristo mentre porta la Croce, questo tristo personaggio ha un profondo significato simbolico-allegorico, egli rappresenta “il Male che c’è nel mondo, il rifuto verso al Verità annunciata dal Cristo”, creandogli sofferenza tirandolo con la corda legata al collo. I ragazzi e gli uomini “portatori delle vare” si riuniscono tra loro, preparandosi al momento in cui, iniziata la processione, si realizzerà attorno alle ore 10:00 “ ‘a Giunta”, ovvero “l’incontro” dolorosissimo tra il Cristo (che porta la Croce, legato a Ciurciddu) e Sua Madre l’Addolorata (col cuore trafitto da una spada, immagine iconica di origine spagnola), durante l’incontro “avviene l’inchino o saluto” tra le due vare, è il Saluto che Madre e Figlio si fanno in uno dei momenti più caratteristici di questa processione. Mentre le due vare vengono portate in una antica chiesa, avviene un altro evento che caratterizza fortemente questa tradizione, ha luogo “l’asta della Croce”, il poter portare in spalla la Croce, del peso di 70 kg, fino alla Chiesa del Calvario (un lungo percorso in salita a raggiungere la parte alta del paese), viene messo all’asta, il maggiore offerente si aggiudica questa possibilità, dopodiché avviene un fatto straordinario: il devoto che si è aggiudicato l’asta viene abbracciato da numerosissimi paesani, con grande trasporto ed affetto, questo perché chi partecipa all’asta lo fa certamente per devozione ma anche possibilmente perché in famiglia ha avuto qualcuno con problemi più o meno gravi di salute, ed è per questo che le persone lo abbracciano e lo incoraggiano mostrandogli la loro vicinanza. Nel pomeriggio riprende la processione, adesso il Cristo è morto, si trova nella vara con l’Urna, ed è chiamato “ ‘ u Signuri ‘ a cascia” (col quale termine si intende “il Signore nella cassa da morto”), le due vare (il Cristo morto e Sua Madre l’Addolorata) vengono portate in processione fin sopra la Chiesa del Calvario, dove la pesante ed antica Croce portata in spalla dal devoto è stata issata, qui, anche se il Cristo è morto, avviene la Crocifissione, il mistico momento è accompagnato da antichi canti-lamentazioni ad opera dei cantori dell’associazione SS. Crocifisso; successivamente il Cristo viene deposto dalla Croce nell’urna, e ridiscende nel centro del paese, ove nella chiesa dei Padri Cappuccini il popolo dei devoti “ fa ‘ a Paci co’ Signuri”, atto di riconciliazione e richiesta di perdono innanzi la figura del Cristo Morto. Successivamente, in tarda serata, il Cristo e Sua Madre vengono condotti nella Chiesa Madre.
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I edited this photo so many times but never ending liking the tones. Colors are everything to me and the combination of them in a photo is one of the most important things in the aesthetics I am trying to achieve. After so many tries and start overs, I was happy with this result.
instagram: eeriecarlos
Here’s the irony!
Marjorie reminds me that we gave this plaque as a gift to my parents some years ago. I’d forgotten. (I’m terrible at remembering gifts given or received. Not sure why, it’s just the way I’m wired I suppose.) Now I shake my head, for who could possibly subscribe to such an empty promise? Do you think people ever imagine their lives ending like this? So I’m done with empty slogans about the human condition. Nor is it enough to say that living well-off in a material world will guarantee that one does not suffer. For existential suffering, the sort of mental stress that comes when your worldview is challenged to the core, is in some ways a far more damaging condition to the soul.
The fact of suffering in this world may cause us to question the kind of God we do or do not believe in. It’s often said that we come into the world with nothing and take away nothing of material importance. But for those who have been subjected to real oppression and suffering, we’d want to hope for more than that. For me the idea that bullies and tyrants and incorrigibly evil people could go into the nothingness of beyond and never have to give an account for their behavior is truly disturbing (as is the corollary that we live in an accidental and meaningless universe).
Worse still is the idea that the innocent victims of injustice will not be recompensed for all the evil done against them, and makes me believe more strongly in a moral and just universe where all wrongs will be righted, and evil destroyed once and for all. All in good time. In what the ancient Greeks called the Telos, or the fullness of time.
In the traditional Christian funeral of Queen Elizabeth II we heard these words read out to all. They are the words of Paul, once a self-confessed sinful man who hunted early followers of Jesus to the death. After his personal transformation on the way to Damascus (where he had a vivid vision of Christ) he was determined to preach a gospel filled with hope to atone for his actions. We are not promised prosperity or freedom from suffering. Everything about this world is perishing with death the final destination in this life. But this is only half the story:
“When the perishable has been clothed with the imperishable and the mortal with immortality, then the saying that is written will come to pass: ‘Death has been swallowed up in victory. Where, O Death, is your victory? Where, O Death, is your sting?’” (1 Corinthians 15:54-55).
For people of faith that’s no mere slogan or imagined future. It’s either true or there’s nothing at all to hope for!
From now on, "non-existential stores" (bar, pub, restaurant, shoe stores, clothing stores and so on) must close at 6 p.m. (18:00). And we have to stay at home from 10 p.m. (22:00) until 6 p.m. (6:00).
Energy shall be clean, inexpensive, dependable and safe. Dedicating this picture to those brave operators at the Fukushima reactor making "Existential Sacrifices" to save the world.
EXPLORE FRONT PAGE : 22-Mar-2011
"When you come to a fork in the road, take it."
--Yogi Berra
Image imagined in MidJourney AI and finished with Topaz Studio and Lightroom Classic.
20190710DE Brandenburg Germany. Sheds #9 This seems to be a shed which left off being one before it was finished. A shed with an existential problem. #merdasalvini #carolarackete #bloodshed #watershed #shedsrus #shedonist #shedsIhaveknown #shedalittlelight #shedsomefur #shedfullofsomething
The proverbial lady in waiting--but what is she waiting for?
Image imagined in MidJourney AI and finished with Topaz Studio and Lightroom Classic.
Some walls are built to keep people warm and safe, and others to keep them trapped. And when you stand at the edge, looking down, you wonder: Is this the way forward, or is this an escape from it all?
When the walls keep rising, walls of stone, metal, or even the ones you build inside your mind, no matter which way you turn, there is only one way out. But is it really an exit, or just another kind of prison?
You stand there, tracing the path below, searching for signs that someone else has made it through. Have they fallen or found their way? Is down the way forward, or just proof that there was never another way?
And if you take the step, will you be falling, or finally flying?
Fragments - 03
I shot the 611 at Big Spring Mill in Elliston, VA back in 2017. My original image's framing was good, but there were things I desperately wished were different. So when I came across this the other night, I decided to try a re-edit in modern lightroom, and I am blown away by the results. I needed to remove a tree which was blocking some of the wheels and drivers, and work more of the left side of the photo in. Using an earlier frame, I was able to borrow some of the building, and I utilized the removal and some of the AI to remove the tree. The result is this admittedly altered, though absolutely stunning, image that is FAR beyond my initial frame. I make a bunch of disclosures here because I am not sure, admittedly, where the boundaries are. I'm more amazed than anything that this turned out so well, and it makes me existentially happy to have redeemed myself 8 years later with the edit that is the vision I had when I took this. Either way, nobody is happier than me that we now have the tools to achieve these outcomes, and improve older images with modern knowledge.
At some point in the past week I had a minor existential crisis/sudden-dregding-up-of-psychic-goop-crisis and determined the only solution would be to go on a walk and listen to some Very Angsty music. It worked. I also managed to get some super cool pictures of the early-summer flora. I live in a very rural area — trees and trees and plants and plants abound. I’ve always loved taking walks and seeing all the plants and animals, especially in late spring/early summer — everything seems especially magic at that time around here. The green is bright yet subdued, there are many pastely late-spring ephemerals, and the sunlight is bright yet gentle. This is a picture of a huge bed of bright green ferns that I inverted into pink & purple.
© 2022 ned walthall
Moving to a new place is exhausting in more ways than I can describe. The worst of it is confronting all your stuff and the existential question of how much of it you actually need--probably a lot less than you think--and how much of it you actually desire--more than you can admit without embarrassing yourself.
But one beautiful thing about being a photographer is observing how the light leaks into the new space in seemingly unpredictable ways--they are of course entirely predictable, to the minute, to the second on clear days if you understand the angle of the sun and the seasons--its the weather that's the wild card. But the joy of seeing it sneak in in the morning or afternoon in places you never thought it would appear is, for me, as intense as it is irrational. It's a balm to the angst of the new, because it's new--and it's not. That light was there before you moved in. It will be there when you move out.
more 'pointless photos of rust'...
(well yes - and pleasing visual rhythms, hidden eloquence, technical satisfaction and existential gratitude...or so it is to me)
A man stands alone in front of a austere motel, hat pulled low, bottle tucked in his pocket. He doesn't drink from it. Just holds it. Like it might answer something if he waits long enough.
Image imagined in MidJourney AI and finished with Topaz Studio and Lightroom Classic.
We're Here! : The Three Stooges Existential Balloon Factory
Running out of ideas for your 365 project? Join We're Here!
I wanna ask you -
Do you ever sit and wonder,
It's so strange
That we could be together for
So long, and never know, never care
What goes on in the other one's head?
Things I've felt but I've never said
You said things that I never said
So I'll say something that I should have said long ago:
(You don't know me)
You don't know me at all
(You don't know me)
You don't know me at all (at all)
You could have just propped me up on the table like a mannequin
Or a cardboard stand-up and paint me (paint me)
Any face that you wanted me
To be seen.
We're
Damned by the existential moment where
We saw the couple in the coma and
It was we were the cliché,
But we carried on anyway.
So, sure, I could just close my eyes.
Yeah, sure, trace and memorize,
But can you go back once you know
[...]
So, what I'm trying to say is
What (What?)
I'm trying to tell you
It's not gonna come out like I wanna say it cause I know you'll only change it.
(Say it.)
But can you go back once you know