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I spied the little fella yesterday as I was cleaning out a flower bed, noted his beauty, and since then at length have considered his lesson. This morning as I set out for another day of yard clean-up, I carried my camera down the stairs with me for I was remembering from yesterday this little creation.
He is trying to be a tree.
He was ordained to be a tree, and somehow in his “guts” he knows he is destined to be such a living thing. It is in his genes, his DNA. Even so, it has not been easy for him. Blog post continues writenow.wordpress.com/2017/05/19/trying-to-be-a-tree/
A powerful cascade of whitewater thunders down a rocky cliffside in Yellowstone National Park. Sunlight glints off the rushing current as it churns past jagged rocks and fallen logs, framed by rich textures of stone and forest. Captured during a memorable vacation with my son, this moment represents both the awe-inspiring force of nature and the joy of shared exploration.
Requested for publication by Mark Batty Publisher
for "Everyman’s JOYCE" of "W. Terrence Gordon, Eri Hamaji & Jacob Albert”
“Picasso merely shrugged and declined the invitation to illustrate an edition of Ulysses, dismissing Joyce as an obscure writer that all the world can understand ... Can, not does.”
Through the power of illustration the Everyman’s Series illuminates complex bodies of work by some of the 20th century’s most vital thinkers. Picasso’s assessment of James Joyce as a writer that “all the world can understand” speaks to how a perspective that favors the visual can see through dense texts, allowing meaning to take shape. W. Terrence Gordon’s examination of the James Joyce canon and its impact on the world, both in terms of literature and culture at large, provides accessible and singular evaluations of why Joyce, no matter how impenetrable his books may seem on the surface, continues to attract readers today. In Everyman's Joyce, Gordon’s close readings and biographical insight gel with contemporary visual cues that usher Joyce into the 21st century.
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Etude du jour:
La bêtise et le cynisme sont-ils les derniers noms d'Entropie ?
En Birmanie ? En Chine ? En Tchétchénie ? A Guantanamo ? A Gaza & Cisjordanie ? . .
Study of the day:
Are silliness and cynicism the last names of Entropy ?
In Burma ? In China ? In Tchétchénie ? In Guantanamo ? In Gaza & West-Bank ?. .
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Camera: Zero 2000 Pinhole
Film: Kodak Ektar 100
Exposure Time: 2 minutes
Location: Japanese Garden, Washington Park Arboretum – Seattle, Washington
I sat down Sunday evening with the intention of writing about my struggle to transform my photography from the negative/scanned image into a print. Twice I got several paragraphs in only to find it long winded and wandering upon rereading it. Frustrated I decided to scrap them and instead let the thoughts flow free and open, and yes I admit it’s still rather long. The short version of the story is I lack confidence in my work when it’s in print form.
Over the past year or so my ability, knowledge and photography style has grown exponentially, more so than the previous four years combined. I feel at ease holding a camera, no longer struggling to comprehend its dials and settings, this has allowed me to slow down and concentrate my efforts in creating the image itself. Sure I still make mistakes…. ok a lot of mistakes, but I no longer see them as failures but rather learning experiences. This attitude has resulted in the best work I’ve ever produced. Nothing makes me happier than getting film back from the lab and realizing I nailed an exposure. One great image negates a roll filled with bad ones in my opinion.
I am still often surprised when viewing some of my better photographs that I actually made them and not someone else. I’ve never considered myself a talented or artistic person. I’m not musically inclined, or possess a natural ability to draw or paint. Heck my drawing skills have failed me more than one during a game of Pictionary. Film for me is a labor of love. Where I lack natural talent I strive to make up for it with patience and persistence.
I think about photography on a daily… almost hourly basis. I am obsessed with it, never in my life have I found something that has interested me so much as film photography. I yearn to hold a camera in my hands peaking at the world through its view finder, hearing the ca-chunk of it’s shutter, and the sound of it advancing the film. But still my photographic process is lacking, where I have grown confident in my ability to create an image with a camera, and satisfaction with my scanning skills, I still lack faith in my work when printed.
I’ve struggled with this for nearly a year now, my inability to make hard copies of my photography. A mental block of sorts that I have come to equate as being similar to what it must feel like to have writers block. It must seem silly to my family and friends who praise a given photograph and suggest I print and frame it, only to have me shrug them off and say I am not ready. What does it mean to be ready anyway? Its strange I can look at one of my photographs, like the one above, on a computer screen and marvel at it, beaming with self-pride. Yet I still can’t bring myself to make a print of it.
I think part of my issue is I have this feeling that to print and frame something is to makes it real. Viewing it on the computer screen is one thing, but on the wall? Now that is something completely different. Its more concrete set in stone if you will. Real things are more open for judgment and ridicule, which is where my lack of self-confidence comes in. I still don’t think on some level that any of my work is worthy of being printed and displayed. And it eats me up inside.
I’ve made a few prints in the past. Most of which have turned out darker than they appear on the computer screen. This is of course an issue everyone deals with as LCD screens display things more vividly than a printer can. There seems to be no easy fix to it, aside from fiddling in postproduction or obtaining various forms of expensive software, which calibrate your screen. Postproduction as a whole is not something I’d say I am overly interested in as it is, so the prospect of having to do more of it has deterred me from making prints.
Hopefully I can overcome these issues, and conquer the unknown. Two years ago I didn’t even know what medium format photography was, and now I shoot it almost exclusively so I have come along way already. I know the only true way to learn something is to dive right in and that’s my goal, right now I’m just waiting for that swift kick in the ass to get me started…
Requested for publication by Mark Batty Publisher
for "Everyman’s JOYCE" of "W. Terrence Gordon, Eri Hamaji & Jacob Albert”
“Picasso merely shrugged and declined the invitation to illustrate an edition of Ulysses, dismissing Joyce as an obscure writer that all the world can understand ... Can, not does.”
Through the power of illustration the Everyman’s Series illuminates complex bodies of work by some of the 20th century’s most vital thinkers. Picasso’s assessment of James Joyce as a writer that “all the world can understand” speaks to how a perspective that favors the visual can see through dense texts, allowing meaning to take shape. W. Terrence Gordon’s examination of the James Joyce canon and its impact on the world, both in terms of literature and culture at large, provides accessible and singular evaluations of why Joyce, no matter how impenetrable his books may seem on the surface, continues to attract readers today. In Everyman's Joyce, Gordon’s close readings and biographical insight gel with contemporary visual cues that usher Joyce into the 21st century.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Etude du jour:
(...) A ce jeu-là, on ne gagne que de jouer. Rien n'est plus transcendant que de rhizomer ensemble cette partie désespérément joyeuse, quoi que nous échangions, quand que ce soit. Seule la fin de la partie est virtuelle et définitivement sans la moindre signification.
Il n'y a pas de différences sans répétitions, pas de créativité sans engagement social. A ce jeu-là, on n'agit que dans les possibles, choisissant de respecter ou non des règles morales et/ou éthiques. A ce jeu-là, être c'est devenir ensemble, c'est conjuguer sans cesse la direction sans connaître la destination, dé-re-choisir, nous dé-re-territorialiser nous-mêmes le long de nos lignes de fuite. Nous ne sommes pas individuellement créatifs lorsque nous désirons une reconnaissance sociale. Nous sommes socialement engagés à être créatifs ou non, en essayant sérendipitueusement de contrôler le processus de transformation de ce qui existe. (...)
(...) While playing the Game, to play is to win. Nothing is more transcendant than rhizoming together this desperately joyful party, whatever we are exchanging, whenever. Only the end of the Game is virtual and definitively without any concrete significance.
There is no differences without repetitions, no creativities without social engagements. While playing the Game, we only act among the possibles, choosing to respect or not moral and/or ethical rules. While playing the Game, to be is to become together, incessantly choosing a direction without knowing our destination, dis-re-choosing, dis-re-territorializing ourselves along our chosen vanishing lines. We are not individually creative when desiring social recognition. We are socially engaged to be creative or not, trying serendipitously to control the process transforming what exists. (...)
(...) Mientras juguemos al Juego, jugar es ganar. Nada es más trascendental que rizomar juntos esta fiesta desesperadamente dichosa, Lo que fuere que estemos intercambiando, cuando fuere, como fuere. Sólo el final del Juego es virtual y definitivamente sin ningún significado concreto.
No hay diferencias sin repetición, no hay creatividad sin compromiso social. Mientras jugamos el Juego, sólo actuamos entre los posibles, eligiendo respetar o nó las reglas morales y/o éticas. Mientras jugamos el Juego, ser es hacerse juntos, eligiendo incesantemente una dirección sin conocer nuestro destino, des-re-eligiendo, des-re- territorializándonos a lo largo de las líneas de fuga que elegimos. No somos individualmente creativos cuando deseamos el reconocimiento social. Estamos socialmente comprometidos a ser creativos o no, intentando serendipiamente controlar el proceso que transforma lo que existe. (...)
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
"Ambition is the path to success.
Persistence is the vehicle you arrive in."
Bill Bradley
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Cloudy afternon in Cala S'Aguia (Blanes, Costa Brava),
a difficult but challenging location.
Haida 3.0 + CPL + Black Card
Photographers are always looking for inspiration - it can be elusive - the last couple of weeks I have not felt much inspiration - but I know this feeling comes and goes and the only remedy is to keep shooting.
This image was captured at Little Austinmer about an hour south of Sydney - I have shot this location quite a few times but without much "luck". But persistence is key and so on this day I got "lucky" and we had beautiful light and water flow. It was a terrific shoot and I got a number of keepers and was able to experiment.
Processed in PS CC and captured on my Nikon D810.
Brendan is a amateur photographer based in Sydney Australia who loves exploring and shooting sea/andscapes/nightscapes in different areas sometimes with good mates other times by himself to improve his skills. I'm always after followers so don't be afraid to follow me on my photographic adventures.
Maitreya Mesh Body - LaraX
LOGO M.A.B.E.L.-6 Cybernetic Head
[LANEVO] Midnight robotic parts
A&Y Cyber Queen - Rebirth - White hair
Skin: Astra from Not Found
::WD:: Dress Emery (includes panties) - **New in the Lucky Chairs--other colors are half price** Rigged for Freya, Kupra, Legacy, and Maitreya maps.secondlife.com/secondlife/Lyra/162/247/22
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/Vae Victis\ - "Gregori" - Ghostly Lawn Flamingo
:LW: Bento Poses - Spring Queen, mirrored
Location: The Wastelands maps: secondlife.com/secondlife/North%20Yard/146/80/57
Windlight: Specter essence PBR
Persistence pays off. There were a couple of Long Tailed Sylph's visiting the feeders. It took me a little while to find where they were likely to perch between feeds. It took even longer to find a Sylph in a position where I could capture the entirity of the tail. Eastern Andes, Ecuador.
Persistence of time reflected on sea waves. Taken in Mirasol Beach in Chile. Joint project with Ximena de Toro.
Taken at the north unit of Theodore Roosevelt National Park in North Dakota, USA. Taken on the buckhorn trail.
You can really just point your camera at random at Theodore Roosevelt and take an interesting picture. There's so much to see everywhere.
In 2023 I'm using as many of my half-frame cameras as I can. This was taken with the new Kodak Ektar 35H half frame camera. Stylistically it's based on the Kodak Instamatic cameras from the 1960s and 70s.
The film is Kentmere ISO 100 developed in Rodinal 1:50 for 15mins at 20 degrees.
Giant replica of Salvador Dali's 'Persistence of Time' sculpture in Piazza San Francesco, with the church of San Francesco d'Assisi in the background.
Matera, Italy
IMG_1256-2
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
__________________________________________________
Study of the day:
On s'assoit sur une dune de sable. On ne voit rien. On n'entend rien. Et cependant quelque chose rayonne en silence (...) Ce qui embellit le désert c'est qu'il cache un puits quelque part.
One sits on a sand dune. One sees nothing. One hears nothing. And yet something shines in silence (...) What embellishes the desert is that it hides a well somewhere.
( Antoine de Saint Exupery - Le Petit Prince - 1943 )
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regarde bien petit
© Jacques Brel - 1968
regarde bien petit, regarde bien sur la plaine là-bas à hauteur des roseaux
entre ciel et moulins y'a un homme qui vient que je ne connais pas
regarde bien petit, regarde bien
est-ce un lointain voisin un voyageur perdu
un revenant de guerre un montreur de dentelles
est-ce un abbé porteur de ces fausses nouvelles qui aident à vieillir?
est-ce mon frère qui vient me dire qu'il est temps
d'un peu moins nous haïr ou n'est-ce que le vent
qui gonfle un peu le sable
et forme des mirages pour nous passer le temps
ce n'est pas un voisin son cheval est trop fier
pour être de ce coin pour revenir de guerre
ce n'est pas un abbé son cheval est trop pauvre pour être paroissien
ce n'est pas un marchand son cheval est trop clair
son habit est trop blanc et aucun voyageur
n'a plus passé le pont depuis la mort du père, ni ne sait nos prénoms
ce n'est pas mon frère son cheval aurait bu
non ce n'est pas mon frère il ne l'oserait plus
il n'est plus rien ici qui puisse le servir
non ce n'est pas mon frère, mon frère a pu mourir
cette ombre de midi aurait plus de tourment s'il s'agissait de lui
allons c'est bien le vent qui gonfle un peu le sable
pour nous passer le temps
regarde bien petit, regarde bien....
y'a un homme qui part que nous ne saurons pas...
il faut sécher tes larmes
y'a un homme qui part que nous ne saurons pas...
tu peux ranger les armes
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Hi everyone!
Vincent Van Gogh is my personal hero. I admire his courage and persistence to become the artist he envisioned himself to be. However troubled his life was, he kept on painting and drawing. In many ways his life relates to mine. The quote I picked for today is a good one. It reveals...
For the entire post go to www.danielnovotnyart.com/?p=1995.
31/365
this tree across the street has the most persistent leaves...i wonder if they'll ever fall?
i see them as a gentle reminder to be unwavering in my determination. especially in winter when all i want to do is curl up with a warm mug of something delicious and read....
"Time don't have nothing
To do with how high you can
Time don't got nothing
To do with how high you can count
Time and life
Life and time"
[Anthrax, "Time"]
Persistence and Patience in Prayer
Ecclesiastes 7:8; Romans 12:12; 1 Corinthians 15:58
It is not enough to begin to pray, nor to pray aright; nor is it enough to continue for a time to pray—but we must patiently, believingly continue in prayer until we obtain an answer. And further, we have not only to continue in prayer unto the end, but we have also to believe that God does hear us and will answer our prayers. Most frequently we fail in not continuing in prayer until the blessing is obtained, and in not expecting the blessing.
GEORGE MÜLLER
Elliot Ritzema and Elizabeth Vince, eds., 300 Quotations for Preachers from the Modern Church (Pastorum Series; Bellingham, WA: Lexham Press, 2013).