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Cliché réalisé dans la forêt au pied de la Dalle des Chéserys dans le massif des Aiguilles Rouges (Haute-Savoie).
Soon there will be nothing left other than frames and concrete foundation of this old abandoned greenhouse. The nature reclaims.
timber . pastoral . abyss
[Hasselblad 500 c/m / 150mm Sonnar / Ortho 25 / Adonal stand dev / January 2016]
"Mad Max"
-8000x3333 (Windowed Borderless Gaming Hotsampling)
-Duncan Harris' CE Table (FOV, aspect ratio)
-In-game Photomode
At an art exhibition I noticed an older gentleman who definitely seemed to be the life of the party. He constantly was surrounded by adoring and beautiful young women and seemed to be a fair replacement for Dos Equis.
Rajko Radovanovic was born in Yugoslavia behind the Iron Curtain of the Cold War. He studied art in Zagreb Croatia and Brighton UK where he attained his BA in fine art. He has shown his work in galleries and museums across Europe and the United States. Today, he resides in New Orleans Louisiana and has recently become a US citizen.
Rajko's work spans the range from video, performance, installation, photography, painting and sculpture. In Yugoslavia he was known for taking the symbols of State oppression, the hammer and sickle, and for incorporating them into provocative work. It's a process Rajko calls deconstruction. In the United States he does the same using police batons, guns and crosses.
After talking with Rajko a while, I chose to photograph him beside his work "Angry American Artist (a study towards greater anger)". The piece appeared from a distance to be an orthodox religious cross, but on closer examination it had police batons incorporated into it's framework. I took a couple of conventional shots, with my strobe to the left, but Rajko's hat and posing did not give me what I wanted. I moved my strobe on a stick to the right lower and fired it up into Rajko's eyes, generating a menacing shadow behind him. Yes. That was the shot I desired.
Once I had my 100 Strangers shot of Rajko, I invited him to the studio for a couple of beers and a studio shoot once the gallery closed for the night. Rajko happily accepted.
Later, at the studio Rajko, my wife and I visited and became fast friends. I shot a series of portraits of Rajko and showed him some of my own work. He encouraged me to have my thirty year old drawings and paintings framed and shown. I explained I didn't have time for that, that I was still producing at a furious pace and if somebody else was interested they could do it. "I will be dead soon," I said, "and I want to use my time to produce, not enshrine past work." We talked about how the world has changed since we were young. Rajko is from a country that no longer exists. I am from a country that is changing rapidly too. And the way that artists communicate, show their work, and reach their audience has totally changed in the last twenty years as well. The old paradigm is gone. A new era has arrived.
Thank you Rajko for being the 181st stranger in my 100 Strangers project. Find out more about the project and see pictures taken by other photographers at the flickr group page.
Strobist: SB400 camera right, low. Triggered by Nikon SC-17.
Framework
©Copyright 2018 Karlton Huber Photography - all rights reserved.
A short drive from my office in Irvine, CA I found this interesting bit of architectural detail.
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En 1999, Dani Karavan, sculpteur israélien né en 1930 à Tel Aviv et vivant entre Tel Aviv, Paris et Florence, y termine l’aménagement du Jardin du souvenir, dans la zone du « port intérieur », dans le cadre d’un projet urbain dont l’architecte en chef est Norman Foster. Karavan est connu pour avoir réalisé entre autres le Monument du Negev2 (1963-1968) et l’Axe majeur de Cergy-Pontoise (1980- ). Il a réalisé des sculptures environnementales (site specific) symboliques, dans une démarche et une pensée optimistes quant à leur impact social et politique potentiel.
Certains jardins contemporains sont conçus comme des « jardins philosophiques ». Pour le Jardin du souvenir (1999) à Duisburg, Dani Karavan a ancré son travail sur le thème de la mémoire, comme dans plusieurs de ses projets. Cette signification latente, par les symboles utilisés, s’allie au niveau perceptif, dans le cas de l’une des sculptures, à de multiples cadres sur l’environnement. Le sens de ces cadres peut être rapproché de la philosophie de l’histoire de Walter Benjamin, qui est une référence profonde de Dani Karavan.
Les « ruines » déposées par Karavan recréent un paysage familier de la fin de la Seconde Guerre mondiale, reconstitué « artificiellement », en particulier devant la maison de retraite, dans un geste quelque peu provocateur. Ces restes s’apparentent aux « rebus de l’histoire » dont parle Walter Benjamin. Les ruines sont entreposées dans une des zones cadrées au sol par les chemins et également au fond d’une impasse, celle du Philosophenweg, comme si Karavan avait fait un tri, sur le modèle de la méthode d’historien de Benjamin : « D’un côté se trouve la partie "féconde", "pleine d’avenir", "vivante", "positive", de l’autre la partie inutile, arriérée et morte de cette époque. »
In 1999, Dani Karavan, an Israeli sculptor born in 1930 in Tel Aviv and living between Tel Aviv, Paris and Florence, completed the development of the Garden of Remembrance there, in the "inner port" area, as part of a project urban whose chief architect is Norman Foster. Karavan is known for having produced, among other things, the Negev2 Monument (1963-1968) and the Cergy-Pontoise Major Axis (1980- ). He has produced symbolic environmental sculptures (site specific), with an optimistic approach and thought regarding their potential social and political impact.
Some contemporary gardens are designed as “philosophical gardens”. For the Garden of Remembrance (1999) in Duisburg, Dani Karavan anchored his work on the theme of memory, as in many of his projects. This latent meaning, through the symbols used, is combined at the perceptual level, in the case of one of the sculptures, with multiple frames of the environment. The meaning of these frameworks can be compared to Walter Benjamin's philosophy of history, which is a deep reference of Dani Karavan.
The “ruins” deposited by Karavan recreate a familiar landscape of the end of the Second World War, reconstructed “artificially”, in particular in front of the retirement home, in a somewhat provocative gesture. These remains are similar to the “rebuses of history” of which Walter Benjamin speaks. The ruins are stored in one of the zones framed on the ground by the paths and also at the end of a dead end, that of the Philosophenweg, as if Karavan had made a sorting, on the model of Benjamin's method of historian: "D' one side is the "fruitful", "future", "alive", "positive" part, on the other the useless, backward and dead part of this time. »
Oberes Torhaus (in English: "Upper Gatehouse") in the village of Ickelheim, a district of the town of Bad Windsheim, Franconia (Bavaria)
Some background information:
Yes, one of the two gatehouses of Ickelheim, the lower one, to be precise, is available for purchase. However, both are almost identically constructed. Of course, you cannot buy the large building at its site, but only a small model of it for your model railway. The company Busch, a German producer of model railway equipment, has recreated the gate and offers it as a building kit for sale. So if you are the proud owner of a model railway, how about a nice little timber-framed gatehouse for your model railway layout?
With its more than 600 residents the village of Ickelheim is situated just about four km (2.5 miles) south of the district town of Bad Windsheim, in which it is incorporated. It is also located about 50 km (31 miles) west of the city of Nuremberg. Most likely, the settlement was already founded during the so-called Franconian colonisation in the 6th century. However, documented is its existence since the year 741.
In 889, Ickelheim was mentioned in a document as a Franconian royal seat. In the following centuries, the settlement evolved into a so-called Rundling (a circular village) with two gatehouses, which was surrounded by a rampart and a moat. However, the two gatehouses, which exist now, are not the original ones from medieval times. Instead, both were built in 1713 just to flag both accesses to the village. Anyway, the timber-framed gatehouses of Ickelheim are very unusual buildings and I don’t remember ever having seen any gatehouses resembling them – neither in Germany nor anywhere else.
In 1249, Pope Innocent IV put Heilsbronn Abbey and the fortified settlement of Ickelheim under his protection. However, another charter proves that in 1259, Ickelheim was already in possession of the burgraves of Nuremberg. In 1294, burgrave Conrad IV bestowed the municipal area to the German Order. Subsequently, Ickelheim became a minor administrative seat of the German Order, while the major seat of the whole area was in nearby Virnsberg Castle.
In the first half of the 16th century, the reformation in Franconia was in full swing. Many neighbouring communities had already converted to Protestantism, while Ickelheim was still under control of the Catholic German Order. In 1539, the villagers even demanded a Protestant minister, but the reformation wasn’t implemented in Ickelheim before 1565.
The Thirty Years’ War didn’t spare the community. In 1621, Ickelheim was afflicted with lootings and infringements by the Catholic Imperial forces under command of the military leader Peter Ernst, Count of Mansfeld. And in 1631, Imperial forces once again looted Ickelheim and its neighbouring communities Marktbergel and Ipsheim.
In 1806, the village was incorporated into the new Kingdom of Bavaria. In 1811, the rural community of Ickelheim was created. In 1856, a significant part of the commune was destroyed by fire. The fire was caused by arson and fanned by adverse winds. At the end of World War II, American troops tried to occupy the village. But as the resistance was rather fierce, they draw back and shelled Ickelheim with incendiary grenades. As a result, several houses were destroyed and the municipality was finally seized on 15th April 1945.
Today, Ickelheim is a beautiful little village with not less than three inns. In 1987, the commune won a gold medal in the Germany-wide competition "Unser Dorf soll schoener werden" (in English: "Our village should become more beautiful"). Ickelheim, which used to be an agricultural settlement in the past, is now mainly a village of commuters who work in the towns of Bad Windsheim or Ansbach or even in the city of Nuremberg. Only a few farms have survived. However, it’s noteworthy that at the southern slopes of Ickelheim vines are cultivated, which is quite unique in this area.
This was a bit of a test, for future refinement. 1st exp. [50mm f/5 20s] for window. Swapped to 14mm for 2nd exp. [f/5 25s] Orange flash. Capped. 3rd exp. [f/5 40s] Blue back lighting & mood lamp - MITZ6085
USB-C DisplayPort adapter from a laptop and AirPods sans charging case onna broken chair...
1) a thing that's part of a larger thing, but not attached to the thing of which it's a part.
2) a different thing that's a part of an entirely different thing, also not attached the entirely different thing.
3) onna chair.
The Witcher 3: Wild Hunt - Lanczos3 dowsampled from ~11MP | ReShade Framework 18.7 /w custom palettes | ini tweaks | Zanzer's CE table | PhotoMode2inOne, AMM, ULM, UGOM, Debug Console Extensions, Asmodean's modWorldEnvLighting_EnvOnly, &c.
A Class 390 Pendolino electric multiple unit in the fleet of Virgin Trains West Coast accelerates away from Carlisle with 1M15, the 14:40 Glasgow Central - Euston service on Thursday 20th October 2016.
On my first visit to Carlisle station for many years my initial thought was "why is it so dark?" The explanation soon became apparent: self-evidently the overall roof is being refurbished, and I'm sure it will look fantastic when it's finished, but I wouldn't want to have to pay that scaffolding bill.