View allAll Photos Tagged introspective
Elliott Smith was a Portland, Ore. musician "whose dark, introspective songs won him critical acclaim and an Academy Award nomination," according to the Seattle P-I. He apparently committed suicide in October 2003. In this photo he can be seen performing at the Bumbershoot music festival in 2000 in Seattle, Wash. He will likely be remembered for his song "Miss Misery," which was nominated for an Academy Award when it appeared in Gus Van Sant's "Good Will Hunting." His obituary can be found online within the Seattle P-I. seattlepi.nwsource.com/pop/144987_elliottobit23.html
Acrylic,alkyd paint,plain wood, used corrugated cardboard
Kitajima Hirofumi ___contemporary art Contemporary Art CONTEMPORARY ART Cool Japan Mountain
As the spring evening unfolds, Granton Harbour takes centre stage in a tableau of quiet elegance. The East Breakwater stretches purposefully into the Firth of Forth, its angular silhouette a bold contrast against the soft amber glow of the horizon. The lighthouse, a steadfast sentinel at the water’s edge, casts a commanding shadow, while two figures walk along the harbour wall, their presence adding a human connection to the vast, reflective expanse.
Above, the scene is framed by a rich tapestry of modern and historic architecture: the Queensferry Crossing towers in the distance, its cables delicately tracing the fading light, while the iconic Forth Rail Bridge offers a timeless silhouette against the dusky sky. Cramond Island’s treeline weaves natural beauty into this layered narrative, its dark forms melding seamlessly with the tranquil atmosphere.
The sky, painted in burnt orange and golden yellows, reflects in the calm waters below, where the subtle ripple of the Firth echoes the serenity of the moment. Shadows play across the scene, their depth and texture grounding the image in an earthy reality that contrasts the ethereal quality of the light.
The palette—warm, rich, and immersive—evokes a sense of peace and introspection, drawing viewers into a moment that feels both eternal and fleeting. This is more than a harbour at sunset; it is a place where the past meets the present, where structure meets nature, and where the quiet beauty of the evening invites you to linger and reflect.
___
This scene is a poetic maritime landscape, blending minimalist architecture with timeless natural beauty. The warm palette of burnt orange, golden yellows, and deep shadows evokes a tranquil and introspective mood. It resonates with photographers seeking atmospheric compositions, nature enthusiasts drawn to coastal serenity, and romantics captivated by harmonious contrasts of light and shadow.
"Fame" Series 1/3
He exhaled his filthy thoughts into his red balloon. He took those thoughts to the cleaners.
Prints / Products of this Photo: bit.ly/1SyPidR
— — — —
► Facebook | Twitter | Instagram
► My Gear
The introspective cat...
...For Fluffy there seems no end in sight to this year's winter!
i created this, and the previous photo, one year ago, approximately, if not exactly. the moody and introspective quality of these photos reminds me of the work i used to create and post here on flickr. i haven't posted here in ages. i am currently, sporadically, posting on instagram. handle is @eltaff, btdubs. holla!
it's interesting how the content has shifted (and remained similar) and so has the terrain. besides the way i was compelled to create art and share, what i miss about this platform while using instagram, is the depth of conversation, relationship, and critique. maybe they are entangled.
just observing the ebbs and flows.
He doesn’t pose. He just stands there—quiet, unflinching, as if the world around him doesn’t need to know what he’s thinking.
There’s a storm somewhere behind those eyes, or maybe just the stillness of a summer afternoon, the kind where time slows down and a boy becomes something more than a boy—a story waiting to be told.
In Havana's classroom, a girl's introspective moment is interrupted as she turns, meeting the camera's gaze with a curious and contemplative expression
221A5455-Edit-2
The young man's introspective expression suggests he is deeply immersed in self-reflection, pondering personal matters or engaging in internal dialogue. The color grading scheme and dramatic lighting further emphasize the pensive and serious mood, inviting the viewer to wonder about the complex inner world and unspoken feelings behind his thoughtful eyes.
All these things and more go into being a woman, which is one reason I believe my mind is more female-oriented than male
Lightbox here: www.flickr.com/photos/brancusi/8392925927/in/photostream/...
then, to go deeper click Fullscreen at top right.
“I have the choice of being constantly active and happy or introspectively passive and sad. Or I can go mad by ricocheting in between.”
― Sylvia Plath, The Unabridged Journals of Sylvia Plath
All Saints, Holbrook, Suffolk
The Shotley Peninsula is a pastoral scattering of gentle hamlets along high hedged lanes which thread over hills and through woodlands. Other settlements line the Orwell estuary, the full drama of the wide water and forests beyond constantly on show. The road along the northern shore is a busy one, as is the Ipswich to Manningtree road which cuts the Peninsula off from the rest of Suffolk, but otherwise this is an introspective, secretive landscape, especially on the southern side. No wonder people long to live there.
The Peninsula has only two places of any real size; broad functional Shotley itself, at the eastern tip, and Holbrook to the west, a rather more prosperous proposition. Holbrook is home to the famous Royal Hospital School, a vast 1930s neo-classical confection designed for the sons and daughters of the Navy. Its campanile tower is a landmark for miles around; you can see it from tower blocks in the centre of Ipswich. The school inhabits a large campus to the south of the village, and injects lifeblood into the local economy.
So here we still have jobs, and shops, a high school and a couple of pubs. Oh, and a pretty village church, behind a high hedge. The village is rather a suburban one; such an economy generates and thrives on traffic, and all the peninsula comes here to stock up.
At first sight, the arrangement of the church is a bit odd. This is one of the 14th Century south-east towers commonly found in the Ipswich area, and the nave to the north of it was probably contemporary with it. But a small, low south aisle was built a century later, running eastwards of it, and the effect now is of a tiny church with a huge north aisle. In fact, there is a 19th century north aisle beyond the nave, the work of Diocesan architect Richard Phipson; it has a rather awkward juxtaposition with the nave at the west end, with an angled doorway. The nave west window appears to be made of terracotta. The best feature of the exterior is the clerestory, somewhat hidden by the south aisle, but picked out beautifully in red brick.
The interior is almost entirely Victorian, again the work of Richard Phipson. Although it now has a fairly rustic and simple Low Church feel to it, which is very pleasant, a glance at the chancel shows that Phipson fitted it out for the kind of mystical, incense-led 19th Century High Church worship which he loved, and for which his St Mary le Tower in Ipswich is the crowning moment in Suffolk. Most of the fittings are now gone, but the sense of the past remains.
Holbrook church contains one major pre-Victorian survival. This is the monument to one of the arch-villains of the English Reformation. It is a huge memorial at the east end of the south aisle. Sir John Clenche is the figure above his daughter-in-law on the huge memorial in the south aisle. Clenche was High Sheriff of Suffolk, but is more famous, and more notorious, for being the judge who sentenced Saint Margaret Clitherow to death.
In 1586, Margaret Clitherow, the middle-class wife of a York butcher, was accused of treason against the state. This was a catch-all charge designed to root out Catholicism; she was told, as all martyrs of the time were, that the charges would be dropped if she renounced Catholicism, and conformed to the Anglican church. This she refused to do, and also refused to enter a plea, saying that "having made no offence, I need no trial". Failure to make a plea was a capital crime in itself, of course, and Clenche's sentence was that you shall return to the place from whence you came, and in the lower part of the prison be stripped naked, laid down upon the ground, and so much weight laid upon you as you are able to bear, and thus you shall continue for three days; the third day you shall have a sharp stone laid under your back, and your hands and feet shall be tied to posts that, more weight being laid upon you, you may be pressed to death.
Popular Catholic martyrology has it that Clitherow's only problem with her sentence was the bit about being stripped naked; the night before she was crushed, she supposedly made a shift to wear. This was not allowed her, but it was placed over the lower part of her body to preserve her modesty from the paying spectators. The final sentence was carried out on the 25th of March 1586. Brennan's Martyrs of the English Reformation recalls that a stone the size of a man's fist was placed under her back, her arms were stretched out and tied with cords provided; a door was placed upon her, and stones piled upon it by some beggars hired for the purpose. Her last words were 'Jesu have mercy upon me!' and when her chest was crushed her ribs protruded, and she was left in this postion for six hours.
The body was thrown on a dunghill on the outskirts of the city, but was rescued after six weeks by local Catholics, who found it 'free of putrefaction'. In May 1970 she was canonised as one of the martyrs of England and Wales by Pope Paul VI. There are images of her at Holy Family church in Kesgrave, a few miles off, and at Our Lady Star of the Sea in Wells in Norfolk, and the story of her martyrdom can be seen in stained glass just across the border at the church of Our Lady and the English Martyrs in Cambridge.
I'm feeling more introspective today getting my bearings with the end result hopefully as usual feeling how lucky I am. Here is and old photo in a little black string bikini from 2015 and it is a bit depressing as I know we can't go back in time but I was obviously in tip top shape then.
I am not sad these days, but when I took this things were a bit different. Frankly, my skin drives me crazy on this shot, but I decided to stop editing and post as is. I almost entitled this "Imperfect Girl" or "Sad Imperfect Girl", but decided against it, as sometimes less is more.
If you like my work, please check out my Facebook page. I truly appreciate your support! www.facebook.com/monsharicreations
Part of the Sophie Ryder exhibition at Salisbury Cathedral
An introspective sculture - the vulnerability of the pose is highlighted as the wire structure allows the viewer to look through and glimpse the small hare within
I know I have an 'easy' job relative to most people, but It's been a tough week working on my own. I'm tired and in need of some rest, company and hugs. I haven't had time to take photos all week, or do much for myself, but I haven't stopped 'seeing' and the fact that I couldn't capture any of it has frustrated me. Still a busy day, even on a Sunday, but I have found some camera time with some beautiful raindrops on a hosta.
My emotional state has been a little like these raindrops lately - tentatively hanging on in there, trying not to get knocked into the void.
Inspired by Sugimoto and the search for beauty in its most simple form, a world free from clutter, free from any distinct visual suggestions. I find the beauty in this style of work is that one can gaze into such an image and find their own meaning.
West-German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. FK 4491. Photo: Marszalek / Kurt Ulrich-Film Deutschen Film Hansa. Erik Schumann in So angelt man keinen Mann/That's No Way to Land a Man (Hans Deppe, 1959).
Erik Schumann (1925-2007) was an intense, dark-haired leading actor of post-war German cinema, who often specialised in playing introspective or psychologically damaged characters. He appeared regularly on stage in Berlin, Frankfurt, Stuttgart and Munich from 1943. He was at the peak of his popularity, both in films and on television, during the 1950s and 1960s. A prolific voice-over artist, Schumann also provided the German voice for stars like Peter O'Toole, Marcello Mastroianni, Christopher Lee and Roger Moore.
Erich Heinz Schumann was born in 1925 in Grechwitz (now Grimma-Grechwitz), Germany. In addition to his musical training in piano and trombone, he took acting lessons at the Dresden Conservatory. Afterwards, he got his first engagements at the Staatstheater Dresden, at the Berlin Schloßparktheater as well as in Frankfurt am Main, in Stuttgart and in Munich from 1943. As a youth, he appeared in the Nazi Propaganda film Himmelhunde/Sky dogs (Roger von Norman, 1942) about young Germans at a Hitler Youth camp who engage in a program to learn how to build and fly gliders. His first film role as an adult was as a corps student in the DEFA film Semmelweis - Retter der Mütter/Dr. Semmelweis (Georg C. Klaren, 1950) starring Karl Paryla. In 1954 he played his first role in a Federal Republic film, in Konsul Strotthoff/Melody Beyond Love (Erich Engel, 1954). opposite Willy Birgel and Inge Egger. His breakthrough came with the East-West love drama Himmel ohne Sterne/Sky Without Stars (Helmut Käutner, 1955). From then on he appeared in various roles alongside Heinz Erhardt, Bernhard Wicki, Hansjörg Felmy, Ulla Jacobsson, Sonja Ziemann and Gunnar Möller among others. In 1960 he appeared in Fabrik der Offiziere/Operation Terror (Frank Wisbar, 1960) alongside Helmut Griem and Horst Frank.
Erik Schumann began dubbing in 1949 and till 2004 he lent his voice to 600 films and TV productions. He dubbed actors such as Tony Curtis in Manche mögen's heiß/Some Like it Hot (Billy Wilder, 1959), Cary Grant in Leopards Don't Kiss/Bringing Up Baby (Howard Hawks, 1938), and Jack Nicholson in Die Ehre der Prizzis/Prizzi's Honor (John Huston, 1985). His distinctive voice was also in great demand for radio drama productions, and in 1968 he voiced Dr. Watson in six Sherlock Holmes stories for Bayerischer Rundfunk. Erik Schumann was also heard in roles in numerous television series, such as for Martin Landau in the first dubbing phase of Kobra, übernehmen Sie/Mission: Impossible (1967-1973), for Pernell Roberts in Hawkins (1973-1974). or for Jack Klugman in Du schon wieder/You again? (1986). On the series Eine schrecklich nette Familie/Married... with Children (1987-1997), he dubbed and was heard as the voice of Buck the dog. In the Brazilian telenovela Sinhá Moça - Die Tochter des Sklavenhalters/Sinha Moça (1986-1987), he lent his voice to the Latin-American star Rubens de Falco as Colonel Ferreira. In 1987, he was the first Jedermann (Everyman) at the Berlin Jedermann Festival. In 2000, Schumann dubbed the role of the gold digger Stinky Pete, originally voiced by Kelsey Grammer, in the computer-animated film Toy Story 2 (John Lasseter, 1999) produced by Pixar. He also appeared in numerous television productions and made guest appearances in the popular Krimi series Der Kommissar/The Commissioner (1969-1975) and Derrick (1983). His work as an investigator in the television series Tatort/Crime Scene was limited to one episode in 1981. In the 1980s he appeared in the cinema in two Fassbinder classics, Lili Marleen (Rainer Werner Fassbinder, 1981) with Hanna Schygulla and Die Sehnsucht der Veronika Voss/Veronika Voss (Rainer Werner Fassbinder, 1982) with Rosel Zech. He also appeared in the Italian film L'inchiesta /The Inquiry (Damiano Damiani, 1987) starring Keith Carradine and Harvey Keitel. His last role was in the crime film Mörderischer Plan/Murderous Plan (Raoul W. Heimrich, 2003). Erik Schumann was married twice (in his first marriage to the actress Erika Dannhoff) and had two children. He last lived in Straßlach near Munich, where he succumbed to cancer in 2007 at the age of 82 and was buried there.
Sources: Deutsche Synchron-kartei (German), Wikipedia (German and English) and IMDb.
And, please check out our blog European Film Star Postcards.
West-German postcard by Ufa/Film-Foto, no. FK 1918. Photo: Gabriele / NDF / Europa-Film.
Erik Schumann (1925-2007) was an intense, dark-haired leading actor of post-war German cinema, who often specialised in playing introspective or psychologically damaged characters. He appeared regularly on stage in Berlin, Frankfurt, Stuttgart and Munich from 1943. He was at the peak of his popularity, both in films and on television, during the 1950s and 1960s. A prolific voice-over artist, Schumann also provided the German voice for stars like Peter O'Toole, Marcello Mastroianni, Christopher Lee and Roger Moore.
Erich Heinz Schumann was born in 1925 in Grechwitz (now Grimma-Grechwitz), Germany. In addition to his musical training in piano and trombone, he took acting lessons at the Dresden Conservatory. Afterwards, he got his first engagements at the Staatstheater Dresden, at the Berlin Schloßparktheater as well as in Frankfurt am Main, in Stuttgart and in Munich from 1943. As a youth, he appeared in the Nazi Propaganda film Himmelhunde/Sky dogs (Roger von Norman, 1942) about young Germans at a Hitler Youth camp who engage in a program to learn how to build and fly gliders. His first film role as an adult was as a corps student in the DEFA film Semmelweis - Retter der Mütter/Dr. Semmelweis (Georg C. Klaren, 1950) starring Karl Paryla. In 1954 he played his first role in a Federal Republic film, in Konsul Strotthoff/Melody Beyond Love (Erich Engel, 1954). opposite Willy Birgel and Inge Egger. His breakthrough came with the East-West love drama Himmel ohne Sterne/Sky Without Stars (Helmut Käutner, 1955). From then on he appeared in various roles alongside Heinz Erhardt, Bernhard Wicki, Hansjörg Felmy, Ulla Jacobsson, Sonja Ziemann and Gunnar Möller among others. In 1960 he appeared in Fabrik der Offiziere/Operation Terror (Frank Wisbar, 1960) alongside Helmut Griem and Horst Frank.
Erik Schumann began dubbing in 1949 and till 2004 he lent his voice to 600 films and TV productions. He dubbed actors such as Tony Curtis in Manche mögen's heiß/Some Like it Hot (Billy Wilder, 1959), Cary Grant in Leopards Don't Kiss/Bringing Up Baby (Howard Hawks, 1938), and Jack Nicholson in Die Ehre der Prizzis/Prizzi's Honor (John Huston, 1985). His distinctive voice was also in great demand for radio drama productions, and in 1968 he voiced Dr. Watson in six Sherlock Holmes stories for Bayerischer Rundfunk. Erik Schumann was also heard in roles in numerous television series, such as for Martin Landau in the first dubbing phase of Kobra, übernehmen Sie/Mission: Impossible (1967-1973), for Pernell Roberts in Hawkins (1973-1974). or for Jack Klugman in Du schon wieder/You again? (1986). On the series Eine schrecklich nette Familie/Married... with Children (1987-1997), he dubbed and was heard as the voice of Buck the dog. In the Brazilian telenovela Sinhá Moça - Die Tochter des Sklavenhalters/Sinha Moça (1986-1987), he lent his voice to the Latin-American star Rubens de Falco as Colonel Ferreira. In 1987, he was the first Jedermann (Everyman) at the Berlin Jedermann Festival. In 2000, Schumann dubbed the role of the gold digger Stinky Pete, originally voiced by Kelsey Grammer, in the computer-animated film Toy Story 2 (John Lasseter, 1999) produced by Pixar. He also appeared in numerous television productions and made guest appearances in the popular Krimi series Der Kommissar/The Commissioner (1969-1975) and Derrick (1983). His work as an investigator in the television series Tatort/Crime Scene was limited to one episode in 1981. In the 1980s he appeared in the cinema in two Fassbinder classics, Lili Marleen (Rainer Werner Fassbinder, 1981) with Hanna Schygulla and Die Sehnsucht der Veronika Voss/Veronika Voss (Rainer Werner Fassbinder, 1982) with Rosel Zech. He also appeared in the Italian film L'inchiesta /The Inquiry (Damiano Damiani, 1987) starring Keith Carradine and Harvey Keitel. His last role was in the crime film Mörderischer Plan/Murderous Plan (Raoul W. Heimrich, 2003). Erik Schumann was married twice (in his first marriage to the actress Erika Dannhoff) and had two children. He last lived in Straßlach near Munich, where he succumbed to cancer in 2007 at the age of 82 and was buried there.
Sources: Deutsche Synchron-kartei (German), Wikipedia (German and English) and IMDb.
And, please check out our blog European Film Star Postcards.
she was playing with her other friends by the beach,
the were happy and didn't have a care in the world,
she noticed i was taking their picture,
she became introspective if only for a minute,
but immediately returned to her gleeful and care free self,
she deserves better, like her little friends,
and reminded me to do my share,
I gave them candies, i knew it was not enough.
It was my turn to be introspective.
Her movement at the edge of the crowd
Was quiet and introspective
While the world around her was loud
Her self love was her breath of life.
- a fragment
#BreakFreeWithOMSystem, #Buffalo, #buffalove, #dance, #dancer, #hoop, #DxOFilmPack, #DxOLabs, #DxOPhotoLab, #flow, #flowartist, #flowarts, #igersbuffalo, #inthebuff, #m43ftw, #microfourthirdsgallery, #NikCollection, #night, #om-d, #street, #streetperformers, #streetphotography, Summer, #OriginalWork
#CCwelcome
Introspective #2. ©Copyright 2017 Karlton Huber Photography - all rights reserved.
Night Photography. Introspective Art Gallery on Pacific Coast Highway in Laguna Beach, CA.
I noticed this gallery last time I was in town, but I had other plans with a stronger pull so I made a mental note to return.
Now in the wee hours of a damp, breezy and cool morning I found myself standing in front of this location taking it all in and trying to identify the potential photographs. I made several images here and now that I am processing and studying my efforts I see the potential for even more photographs here.
Thanks for stopping by and for your comments. You can also find me at:
Portfolio: stoyanovskyphoto.com
Inst: instagram.com/stoyanovskyphoto
500px: 500px.com/stoyanovskyphoto
Behance: behance.net/stoyanovskyphoto