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sketch to inks... finished colors can be seen here: steamcommunity.com/sharedfiles/filedetails/?id=246977555
This was one of many terrible exposures taken with my now-long-gone 18-55 f/3.5-5.6 IS lens. The original isn't worth sharing, but I tried to breathe a little bit of artistic life back into it with Topaz Adjust and some other enhancements.
Taken in front of Trumbull College at Yale University.
Professor Jose Faria and students in the Construction Process Lab of FIU's OHL School of Construction.
Snapseed BW conversion from a Kodak 200 color film shot, Exa-1a, Primotar 3.5/50mm lens film shot at 160
Hi all
I wasn't happy with the previous image processing so had another go! .. It would be nice to know which you prefer?
The shot was taken through a special Ha (hydrogen Alpha) Solar filter and scope. The shot was taken in mono and colourized in photoshop. I'm looking forward to more attempts at this and yes it really is the Sun. Shot taken 09/09/10
Thanks for looking .. :-)
Steve
Little recoding. Trying to figure out why the particles got so spastic when near the shell of the central orb in older builds. Think I fixed it and to show the stability, threw a couple hundred particles into the space to see what architectural forms they would create.
I thought I got there too late. My feet were placed squarely on the blacktop parking lot at one of my favorite soul places, a space I have been to recently but haven’t been to, ever, to simply be and write.
Sam and I used to come here during his home school day to collect wood and explore and we still come here so he can ride on the tire swing and we can throw rocks into the river. We have explored the area fully and know it pretty well from those moments, but I wanted to come to know this place intimately by connecting to it quietly, with my body connected to its body, my soul connected mindfully to its center.
The autumn-colored leaves I would kick away from the foot path were long gone, returned to the Earth. Their crunchy selves had surrendered completely and I had missed that process.
Then I stepped into a spot off the path, by a small stream to sit and write and I realized I hadn’t missed the process at all. I stepped onto what looked like Earth and instead, I was stepping into a pile of leaves that was choosing to merge with the soil. My choice to take a moment or two or sixty to be in a space of quiet soulfulness was graciously allowing me to become a part of the process, too.
I discovered how deeply they had piled themselves up, creating a soft sofa and pillows just for me so that I could sit upon them and experience them, their luscious returning-to-dirt-scent. They seemed to giggle as I sat down with my paper and pink notepaper and trusty black mirado warrior and started to move it, contentedly, along the page.
In that moment it was as if the leaves hugged me, welcoming my reality to rise up and meet my longing, leftover from months ago when I was in a time of profound sadness, a time when I wasn’t able to settle into their crackly, crisp newly fallen selves. Instead, I got to sit upon their softened not quite moist selves.
It was then that I heard the unsurrendered leaves, the ones still on the trees that pushed against one another, applauding my return. It is like those leaves held on, bravely, past their amber-golden time to their withered crusty selves so I could hear my message.
Divinity says, “Be with me. Trust. Follow my lead. Don’t try so hard, but do know the strategy that works best, beloved one.”
I felt an exclamation point rise up as two trucks rumbled past and the wind blew and suddenly I was aware that my stomach was telling me of its hunger.
The exclamation was part celebration as I heard the words “Beloved one!” and knew Divinity meant me.
I sat, still, for a moment, just being with the leaves and the trees and the water. I heard a frog singing her song. I smiled in gratitude.
I wrote:
Sometimes surrender comes quickly and sometimes the holding on, like the crusty withered leaves held on, is the surrender. It is in the unknowing of whether or not its right or wrong and being ok with it no matter which way the judgment or comparison lands that holds the power of truth.
Today, do I go deeper? I asked. Do I go further on the path, closer to the larger parts of the river, or did I get what I was supposed to get here, on my leaves-turning-to-dirt sofa.
I smelled the leaves below me, supporting me. I heard the wind play my ears like a drum and the grass and leaves pirouetting and doing a grande jete or many grande jetes. I watched a plane use the air as a mattress. A man with a grey covered hood covering his head and speckled deck shoes covering his feet walked silently behind my surrendered leaf throne.
SUVs and pick up trucks a stone’s throw away rumbled past, separated by steel from all this wonder right here, oh so close.
Did any of the drivers or passengers capture the bright pink of my shirt out of the corner of their eye, strikingly out of context in this place I sat, deeply entrenched in awe?
It doesn’t matter whether they do or do not, but I prayed for each of them anyway.
I realized then that although I hadn’t gone deeper on the path, I had gone deeper.
My heart was swollen with joy.
I wasn’t too late. I was right on time.
Shannon Slane: Processed
An Exploration of modern food through new sculpture. Sculpture, Senior Exhibition.
The Granite Room
211 Peters St SW
Atlanta, GA 30313
My current work addresses the production of food in modern American society. From factory farming to locally raised produce, I seek to explore what may be one of the most pressing issues of our time in a lighthearted and approachable manner. It is widely acknowledged that the industrialization of food manufacturing has transformed the lives, habits, and bodies of Americans, as well as alerted the way that most of our society thinks-or doesn’t think-about where food comes from and what food is. I create digitally fabricated representations of animals that are engineered and produced, and may have more in common with products or raw materials than other living creatures. These animals, which are designed, fabricated and then placed on assembly lines that guide their existence from inception to processing, include chickens, cows, pigs, and fish. My work is also concerned with edible plants and their role in our lives both historically and presently. Plants as well as animals are now being generated inside laboratories, and travel unimaginable distances to reach our supermarkets and tables. This is a marvel of human technology and global society as well as a complex system that may need re-working if humanity is to move toward a sustainable future.
I hope that I can put what goes onto your plate into your thoughts as well.
Set from another engine built with processing from processing.org. This engine essencially rotates some geometry in 3D space while painting with particles at it's vertices.
Part of our Flickr group weekly challenge. To process and/or manipulate a picture supplied by the previous winner in the group.
Original picture is Here:
www.flickr.com/photos/24506073@N06/5156608487/
Decided to do a slightly different crop, Mainly cause those lights are so cool.
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Using Peter Kirkeskov Rasmussen's photo 'return the cart' as the source [ www.flickr.com/photos/peterras/15732813631 ] & a bit of Processing code to swaps blocks of pixels inside the image continually . . . the little app creates decay in the image. I'm continuing a series of works meditating on forgetting, recognition, loss, avoidance, etc.