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I suppose you would call these baffles (the crashpad part on the mooring). There was an array of them for the ferry to moor between. It looked kind of like a cheerful robot to me. We were crossing the Bay to help my parents move into their new place in Point Lonsdale.
A few years ago, I bought this ceramic object in El Rastro and I don´t know its function. I thought it was a salt shaker but it can´t be opened. It´s pretty!
Hace unos años, compré este objeto de cerámica en El Rastro pensando que era un salero, pero no tiene aperturas por ningún lado por lo que no sé cuál es su función. ¡Pero es bonito!
This came second in the current Found Objects Exhibition at the Decagon Gallery www.decagongallery.com/found-objects
I made the faces from clay & cast them in plaster. They were burnt black in the studio fire in 2019, so I left them outside in the rain which has cleaned them up nicely.
Different Objects of the same Colour in Silver
Shell, TeaHouse, Flower, Star and Angel
A CrAzY Collection for the Month of June - but it is CrAzY TuEsDaY, isn't it ?
[Dedicated to CRA (ILYWAMHASAM)]
Uploaded for the group
CrAzY Tuesday #DifferentObjectsSameColour
GigaSet GS290
ƒ/2.0
3.5 mm
1/33 Sec
ISO 404
Weekly Theme Challenge ~ Household Objects
Stay safe and well everyone.
Thank you to everyone who pauses long enough to look at my photo. Any comments or Faves are very much appreciated
Fuji X-E2 plus Helios 44M-7 at F11. I tend to think that I learn best (most thorough, that is) when I have to struggle with the matter. If the matter in hand does not put up resistance to understanding, there is nothing to learn. Can this relationship be transferred to photography? If it can, are those photos best where the photographer had to struggle with the resistance of the subject matter? Would this then exclude the "snapshot" - something that (quite unintentionally) might turn out as pretty good. It is at this stage that the issue of objectification pops up. Turning something or someone into a camera object means that photographers force their will upon a subject - breaking its resistance. Photography then becomes a oneway street and there is no communication or dialogue between photographer and subject. The result could be sentimental, even Kitsch, the proliferation of cliches and the like. Should we then apply a golden rule to photography, namely to treat our subject the same way we ourselves would like to be treated?
“The object of art is not to reproduce reality, but to create a reality of the same intensity”
- Alberto Giacometti
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This shot was taken in San Diego Museum of Art, California
en.wikipedia.org/wiki/San_Diego_Museum_of_Art
Thanks to all for 20,000.000+ views, visits and kind comments...!!
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Light coming from the outside plus an LED light from the inside; shot with the 7Artisans manual lens at F1.2 and as close as I could get (about 35cm).
Сrystals of acetylsalicylic acid in polarization. Cнято с объективом ЛОМО ОКС1-40-1 F=40 f2.5 в реверсном положении. Масштаб съёмки 4:1
I couldn't think of anything to draw.I should be ashamed of myself of course cause there's plenty to draw.Here are a few examples:-)
Can you guess what it is?
Answer: it's a vintage flower frog (see a more recognizable photo in the comments).
I found this withered anemone branch last year while cleaning up the garden and thought it made a good subject for stacking. At that time I was very busy trying out different approaches to stacking. I have now arrived at a method that gives me the best results. This was one of my first pictures with it.
Camera control: qDSLR dash-board app
Software: Zerene stacker
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