View allAll Photos Tagged pathos
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The Shanghai skyline as seen from the top of the Pearl Tower. The resulting photographs were an interesting mistake of camera shake while zooming in on sections of the heavily smog filled city. They gave me a sense of a long forsaken metropolis so I named this series – Vestige.
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I was only a couple hours from Everest Base Camp when my driver suddenly stopped the car and motioned for me to get out. I looked around and surmised that this was probably not an ambush so I took my camera with me and climbed a nearby hill. When I got to the top, I was greeted by this view of Lady Everest. I took a few quick photos and got back in the car before I froze my nose off, not knowing how lucky I was to get this unusually clear shot of the peak.
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Hmm, not much to say about this one. Let me see ... it is your standard brick corner complete with arches, located at one of the most prestigious Universities in the US. It comes complete with long hallways leading to equally good educational prospects. While you are considering which direction to take, you can enjoy a refreshing drink at the nice little water fountain. Come by and join me for a pensive good time at the Stanford University corner.
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I just got back from two weeks of exhausting travel through China and I am pretty sure that I am REM-ing as I type this with one eye open and the other shut … and drooping a little …
I took this picture of San Francisco’s Legion of Honor a few weeks ago during a late-night photo run with a friend. This fine art museum is situated on a fantastic vista point overlooking the Golden Gate Bridge. On a good day you can see the sailboats dotting the water through the treeline. On a bad day you just stand there hugging yourself in the cold, staring at a fog bank.
We spent a while there freezing our butts off and trying to squeeze through the security gates in vain. The clouds had a cool wispy look from the wind and there was a single blue star in the top of the frame. The lights caused a bit of lens flare but I liked the effect so I left it in there. Just inside the gate is a large courtyard housing a replica of Rodin’s “The Thinker”. The guy is the epitome of concentration because he is sitting butt naked in good old San Francisco weather in the middle of the night without even flinching. I sure hope he figures out what he is trying to solve so he can put on his clothes and get home before his wife wonders where he has been. Hmm … how did he manage to squeeze through the security gate to get inside?
Image © Jim Gormley.
Award winning comedian Nina Gilligan presents 'Rescued'
A darkly comic 'tail' follows the journey of a woman spinning out of control.
Alice has waited and waited for life to happen but is frustrated, dispondent and ultimately desperate.
Can a bull terrier called 'Dog', rescued from a shelter from John - aka The Wolf Man - change her perceptions as Alice is finally forced to confront the question:
What does it mean to be Rescued?
Rescued explores themes of Love,Loss and Salvation
Nina Gilligan leads a professional cast in this fast paced, pathos filled, doggy 'romp' com.
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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The East Coast thinks it has a monopoly on leaves changing colors, but there are documented cases of this phenomena occurring in over parts of the world. I know this may be hard to believe, so I went out with my camera to grab some proof. I found this bridge near my home and low and behold I did, in fact, find leaves changing colors. How you like them apples?
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I wish I visited the zoo more often. I mean, it is full of furry beasts that could take you apart without any warning, but they are so much more agreeable than humans. Take this pile of flamingos for example; unlike humans, who often get testy about being photographed, these sweet sweet birds just stood there as I took pictures of them. Not a single wry look or confrontational gesture. The baboons were a little less accommodating, but all you need to do it throw some fruit in their general direction and they chill out. Anyway, animals are way cooler than humans.
"'Asta Nielsen' means the power to speak of pathos, to see pain, and to find the middle path between Baudelaire's flower of evil and the sick rose of which Blake sang." -M. S. Fonseca in 'The International Dictionary of Films And Filmmakers: Actors and Actresses', 1988.
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I wanted to get a picture of the iconic Golden Gate Bridge at night to show off it's sheer sexiness, so one night my friend and I drove out to the city. It was well past midnight when we parked next to a dark construction site at the end of Crissy Fields. It's usually not a good idea to hang out at a place where a seedy character can jump you with a 2x4 and dump your body in the ocean without going out of his way, but I had Mr. Wang for protection, so all was good. The entire place was pitch dark but I had my pocket flashlight which gave us about ten feet of visibility. We got to the end of the construction site and ducked under a barrier to finally get to this vantage point. Our spidey-senses were at their max because we could not see anyone coming down the path and there was a huge hill overlooking us.
As I carefully setup for the shot, I looked back and saw Mr. Wang waving his extended tripod in a semicircle to ward off any attacks. As I was taking my final long exposure (about 30 seconds), we heard voices coming up from the construction site. When they were about twenty feet away we saw two huge shapes walking towards us but we could not make out if they were friend or foe. I had already mentally played out a scenario in my mind where Mr. Wang, Nikki (my beloved camera) and I ran away in terror but the two big shapes turned out to be a couple taking a romantic walk ... who the hell takes a romantic walk through a construction site in the dark past midnight?! Well, after that we just got a few more quick shots and made our way back to safety.
Instruction #46: "Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
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I like photography because it has so much to do with chance. I was thinking of this little castle in the clouds I saw from the top of Kumbum Stupa in Gyantse. The clouds were perfect, there was a bit of blue and the light was just right to give it a fantastical effect. How was it that I was there at that precise moment when all the elements came together? I think back on that day and all the random little detours and choices that were necessary to get me there. I love floating around with my camera, ready to capture whatever life has planed out for me.
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I imagine that one of the most pertinent questions to ask as part of the human experience is, "what happens when I die?" I don't know. It is one of those mysteries that have engrossed us since the beginning and, I suspect, will continue to do so until the end. I guess each of us would be inclined to have different expectations based on our beliefs and our comportment. I was reminded of this everlasting question when I was standing in front of Oakland's Cathedral of Christ the Light this weekend. My right brain saw it enshrouded in a white, ethereal glow like a futuristic version of Saint Peter's pearly gates, while my left brain considered it's precise architecture.
This glass, wood and stone beauty is such a contrast to the classical old-world churches I am used to seeing. I was ecstatic when I walked in and found the inside just as geometrically and aesthetically pleasing that I almost forgot it was a house of worship. I paid my respects and then floated from place to place taking pictures of all the interesting spaces, shapes and textures held inside. To my surprise, no one gave me a hard time which just helped make me feel more welcome. I did get a few curious looks as I pointed my camera up to the ceiling but a wink and a nod was enough to quell their suspicions (or add to them, either way it was cool). If you are ever in Oakland and find yourself with some free time, I suggest you visit this beautiful cathedral at the edge of Lake Merit and take some time to ask yourself, "what happens next?"
About This Photo
This started out as an HDR photo with three exposures (-2,0,+2) to capture all the light in the highlights and shadows. I then desaturated all the colors except for the glass structure to draw the viewers attention to it and give the scene a sense of simplicity. I wanted to make it ethereal, like something you would find up in the clouds so I applied a bit of glow with Nik's Color Efex and intentionally made it bright so that it almost hurts to look at to add to the feeling of holiness. The final touch was to remove a couple of buildings on the sides and some trash cans that ruined the ethereal feel of the photo.
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I am not really into portraits, but every so often, I find someone who looks interesting enough for me to stop them, pay them some RMB and ask them to stand still for a tick so that I may capture their awesomeness. I was hiking around the little mountain villages in the Longsheng rice terraces area of China, when I happened across this fine gentleman. We did not share a common language so I proceeded to pantomime my intentions to take his picture. He tilted his head and raised one bushy eyebrow in consideration before he accepted my offer. I released my inner paparazzi on him for a few seconds and when he was done, he simply turned around and whent about his day as if nothing had happened. I wonder what he thought of the whole experience?
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This collection of photographs was the result of a happy mistake while walking through the Hakone Garden's bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.
©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
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Not so long ago, I decided to send out my beloved Nikki (Nikon D90 given to me by my wife as an engagement gift) to get modified to only capture infrared light. This decision caused me much distress, but my curiosity won out in the end and I eagerly awaited her return. Would she come back an unrecognizable franken-camera? Would she resent me for adjusting her delicate sensor? When I finally got her back, she didn’t look or feel any different but when I took the first picture I realized she was no longer the Nikki I had learned to shoot with. She was now a highly refined instrument of beauty.
It took me a while to figure out how to work with the raw image, but this is my first infrared photo taken in front of Grace Cathedral in San Francisco. It took me much much longer to process partly because of the new software needed to correct the white balance, and partly because I decided to make my first infrared experiment a night HDR (I am a masochist). Alas, now that I have infrared capabilities you will be seeing more of my crazy experiments in the near future.
Quello che vedo non è mio. Mentre quello che sento in ciò che vedo è mio: la sensazione, il sentimento, l'emozione, l'armonia, il pathos, la ragione, il racconto, l'attimo. Dunque, ciò che fotografo non è mio, mentre è mio ciò che sento in quello che fotografo. È questo "sentire" che voglio comunicare agli altri, condividere, e sarebbe assurdo rinchiuderlo in qualche stupida rivendicazione di proprietà, materiale, commerciale o intellettuale che sia. Con le mie foto non sto vendendo, lucrando, guadagnando; sto parlando, per essere ascoltato e non per essere comprato. E il mio parlare non ha copyright. Buona visione. E buon ascolto
Questi sono alcuni degli scatti realizzati al mercato nei pressi del Castello medievale di Bran, comune della storia regione della Transilvania, dimora dimora, secondo la leggenda, del sanguinario conte Dracula, personaggio ispirato alla figura del principe Vlad III che nel XV secolo fece parlare di sè per la ferocia e la crudeltà del suo animo .
La fortezza tuttavia, non è il vero maniero appartenuto all'imperatore Vlad ma era utilizzato dal sovrano come residenza di caccia. Curioso è l'aver appreso che i rumeni sono venuti a conoscenza di Dracula e di tutta la leggenda ad esso annessa ai primi anni '90, dopo che l'ex dittatore comunista Ceacescu è stato destituito dei suoi poteri.
Sapere questo ha suscitato curiosità prima e riflessione poi: mi trovavo li, in mezzo alla popolazione locale portatrice di tradizioni in parte costruite e piegate al consumismo frenetico, recitando la mia parte da turista occidentale, inconsciamente privo del reale contatto con quel mondo di genti diverse . Ero in Transilvania per vedere il castello di un vampiro? Ero in Transilvania per poi raccontare di esserci stato?
Come il pezzo di una carovana di passanti ciechi e sordi che si autocompiace perchè viaggia e conosce, che prende tutto per oro colato, che non si pone un perchè, un percome. Ecco come mi son sentito. Volutamente cieco.
La Romania non è una leggenda. Non è un vampiro.
Sono persone.
Che non conoscevo e non conosco.
Image of a young Mayan man passing time on along a side street in Chichicastenanga, Guatemala.
This town in the mountains of Quiche has been, since pre-Hispanic times, one of the largest trading centers in the Maya area.
Buffalo Bill Cody, from a facsimile of his 1888 autobiography, which included stories of his interactions with almost every famous westerner of the day.
Buffalo Bill would have loved Twitter, Instagram and Tumblr. He would be right at home in today's world of viral videos, and the famous-for-being-famous.
Buffalo Bill's Story of the Wild West, by William F. Cody, facsimile re-issue by Fall River Press, NY, (an imprint of Sterling Pubishing, Barnes & Nobles) 2013. Originally published as "Story of the Wild West and Campfire Chants," by the Historical Publishing Company, 1888.