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Copyright © by John Russell – All Rights Reserved
Kinetic Photograph made with one single long exposure shot. See more in: "The Best of Drawing with Light"
. . . Boston Common, Boston, Massachusetts. Reminds me of the cover from Steely Dan's "Pretzel Logic" album, only with nuts.
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It only makes sense if you don't try to make sense of it...
And since a few have asked, not to keep it a mystery, tilt your head right... Streetlights lining the street, red lights at the street end, and the headlights of the on-coming car (on the right when you tilt). And actually, this is the same counter as seen in this picture, nearly a year ago (I'll put the actually pic in a comment below, but here is a link):
111/365: Cosmo still has no idea how to take a bath, she just sat there and started drinking the water. So we usually have to give her a warm shower with a spray bottle instead.
Everything in Nature has an elegant, efficient and well-planned logic behind it. Both butterflies and hummingbirds need each to consume an enormous amount of daily food, relative to their body sizes, to survive. And one theory about why both these species are attracted to red flowers so often is that bees generally stay away from red flowers.
So, less competition for a flower means more nectar remains on those flowers, which means there's more available food per landing for the hummingbirds and butterflies. :)
Our MacBook Pro served us well for seven years, processing thousands of photographs, but recently the screen stopped working, and it was time to get a new computer. Before recycling it we took a picture of the MacBook's logic board, which was still surprisingly clean, with hardly any dust on it.
Europe, Netherlands, Rotterdam, Circuit board, Macro
The old electronic circuit board of a defunct sound amplifier.
It is a NAD design, it must be its logic that makes it look like a le Corbusier-type functionalist urban design maquette.
Playing with a 10 mm macro extension tube, which converts the good old Lumix 25 f/1,7 to a macro lens. Great fun.
A silent street where the night stretches, where the artificial glow of a streetlight flickers like a dying breath. The building stands, a cage of illuminated glass, a beacon of shadows where the interior light struggles against the surrounding darkness. The structure, both mundane and unsettling, seems to harbor a secret that only the eye dares to touch.
Around it, the air is saturated with anomalies. Black, flat, drifting forms move through space, defying gravity itself. They are mute presences, specters of an elusive matter, or perhaps reflections of another place infiltrating this nocturnal scene. Their absurd and silent dance challenges the logic of space, as if the city itself wavered between two realities, oscillating between mundane routine and an impending cosmic rupture.
The shadows stretch and expand, devouring the contours of the buildings. The eye loses itself in this play of illusions, trying to discern the tangible from the unreal, presence from absence. A deaf tension radiates from the composition, a vague premonition, a suspended anticipation. Is this an invasion? A collective hallucination? A fracture in time that no one dares to name?
Silence weighs heavy, suffocating. Something has broken in the linearity of the world. Here, in this night where the inexplicable has taken root, reality wavers on its own threshold.