Archetypes
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You are my inspiration, my dreamer, my personal storyteller.....
Always behind the camera, I do not recall a single day of my childhood (1990's) that my mother was more than an arm's length from her camera. Award-winning photographer and accomplished writer. All love begins and ends here.
Graduation with Bachelors in Psychology...
Mother hands me a Nikon ($2,ooo camera) "I'm so proud of you my Bella, a psychology degree is a great backup plan! Now go do something you absolutely love. " So I did.
Thanks, Lawrence for inviting me to join
La rue est plein de surprises, certaines graves, tristes, sérieuses. D'autres plus enjouées.
Telle celle-ci.
Un peu de psychologie de rue face à une librairie aux rayonnages remplis de nourriture pour l'imaginaire... ou l'intellect... ou le bonheur... Ou tout ce qui peut passer à travers des pages en fait.
Si la psychologie peut être -dans ses formes les plus discutables tel le développement personnel- un frein aux actions collectives et donc au bien-être de tous, force est de reconnaître que sans nos amis les psys, le monde serait certainement encore plus froid et glaçant, été comme hiver.
Alors faisons comme cette dame : sourions !
In behavioral terms, the old woman pushing an empty stroller
is not mourning but repeating —
a learned rhythm of movement,
once rewarded by presence,
However,
the truth is that it is most likely rheumatism.
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carl zeiss contax-100mm-
kentmxre100-
Held at City North Campus by the Division of Psychology on 02/03/11
For more on Psychology at BCU www.bcu.ac.uk/elss/school-of-social-sciences/psychology
In the interviews for my research on Flickr, (see The CyberPsychology of Flickr ), some people mentioned shots that were “eye candy” – those crowd-pleasers that are colorful and pretty to look at, that may even skillfully employ the rules of eye-catching composition, but don’t contain any artistic depth. These people seemed frustrated by the fact that such images often receive more attention in flickr than other images that are more subtle, unconventional, or provocative in ways that seem socially unacceptable.
"Psychology"
a schema describes patterns of thinking and behavior that people use to interpret the world. We use schemas because they allow us to take shortcuts in interpreting the vast amount of information that is available in our environment.
Theorist Jean Piaget introduced the term schema, and its use was popularized through his work. According to his theory of cognitive development, children go through a series of stages of intellectual growth.
In Piaget's theory, a schema is both the category of knowledge as well as the process of acquiring that knowledge. He believed that people are constantly adapting to the environment as they take in new information and learn new things.
quote
Everything which distinguishes man from the animals depends upon this ability to volatilize perceptual metaphors in a schema, and thus to dissolve an image into a concept.
Friedrich Nietzsche
Western philosophy
This sport takes back ancestral traditions which allowed the Inuits to survive in the big Arctic deserts and represent the link with the nature.
Fast, exciting, well trained sled dog teams are the result of careful behind the scenes planning and hard work. Successful mushers are knowledgeable in such diverse areas as kennel management, canine behavior, nutrition, veterinary care, psychology, physical conditioning, housing and transportation. Wise mushers soon learn that success or failure in any of these areas affects performance dramatically. Considering this fact it is obvious that the welfare of the dogs is of paramount importance.
Team and driver develop a close, trusting relationship because of the amount of time they spend together. To betray that trust by not meeting all of the dog’s needs runs counter to the goal of having a happy, healthy, highly motivated team.
What you see at a race is the result of long hours of work and planning to ensure that the team is prepared to test its abilities against the trail and the competition.
I lost a button today and desided to play with it before I found the needle...
Highest position in explore: 483 on Sunday, February 24, 2008
Read now: www.yumpu.com/user/360.gradi.magazine
My works on Pag. 144 to 151
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We talk about two ideal destinations for photography in this new issue: Soul of Dreams and Lost Lagoon.
In psychology, we talk about Consciousness by addressing critical issues related to what it is and how it allows us to identify ourselves.
In photography, we talk about Arnoo Planer and his ability to improvise in capturing "stolen shots."
In the area dedicated to art, we speak of Ciottolina Xue, an artist able to be powerfully communicative with his three-person works.
Asahra Lannok is the star of the musical sector of this number of 360 Gradi. She founded a singing school where classes are held in Second Life.
In the men's fashion sector, we talk about TMD events and some look proposals.
( chriiztophervail Resident )
Finally, we will talk about Camp Italia, an important reference point for the Italian community. An educational destination with many projects in the pipeline.
www.yumpu.com/en/document/read/65480880/360-gradi-magazin...
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Italian:
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In questo nuovo numero parliamo di due destinazioni ideali per la fotografia: Soul of Dreams e Lost Lagoon.
Nel settore psicologia parliamo della Coscienza affrontando tematiche importanti relative a cosa sia e come ci permette di identificarci.
Nel settore fotografia parliamo di Arnoo Planer e della sua capacità di improvvisazione nel cogliere "scatti rubati".
Nel settore dedicato all'arte parliamo di Ciottolina Xue, artista in grado di essere fortemente comunicativa con i suoi lavori tridimansionali.
Asahra Lannok è la protagonista del settore musicale di questo numero di 360 Gradi. Ha fondato una scuola di canto dove si tengono lezioni in Second Life.
Nel settore della moda maschile, parliamo di TMD event e di alcune proposte di look.
Infine, parleremo di Camp Italia, un punto di riferimento importante per la comunità italiana. Una destinatione educational con tanti progetti in cantiere.
www.yumpu.com/it/document/read/65477264/360-gradi-magazin...
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Anima Series 5
Sitting No. 161
Lismore NSW 2018
A big thank you to Lucas Mircev-Cox for carrying my devil (Keely) for me - figuratively speaking! The next generation is a constant source of wonder and inspiration for me. These people are really going to change the world.
my good friend and his girl are opening up a new space, I was fortunate enough to take the oppurtunity to throw down on this cutty painted brick wall. I had alot of fun and laughs with the crew painting this one, and some how managed to use white in all aspects of my piece(3D, fill, outline ect.) on a white background. show up then blow up!
Making up an interesting title for an image can be an important creative aspect of photography. After all, did famous photographers ever resort to generic or bland labels for their work, or no names at all?
Actually, they often did. Real ordinary titles like “East Coast Fisherman,” “White Radish,” “Nude, Campden Hill, London, 1949,” and simply “Self-portrait.”
So how come these really creative people failed to conjure up a captivating title for some of their most famous photographs? Well, probably because it wasn’t necessary. The image itself was meaningful, powerful, revealing, all on its own. Maybe all they felt they needed to do was indicate the simple facts of where, when, and who, in order to provide a basic context. Then the image did the rest of the talking.
There are some definite advantages to straightforward or no titles at all. It lets viewers explore the image on their own without forcing any particular interpretation. It tosses the image into their lap and encourages them to project themselves into it, creating their own meaning. No title at all can be especially effective. It’s mysterious. It teases, frustrates, challenges, lures the viewer in: “Go ahead. Figure this out.” It’s a presentation of the purely visual with no pretense of words.
On the other hand, titles of some kind are useful handles. Without one, how do you refer to an image? “It’s the shot of the bicycle, not the bicycle in the playground… the other one, you know, the bicycle on the grass, shot from below, through the spokes up at the sky.”
Wouldn’t “Spoked Sky” be easier? Especially in online photo sharing communities, where there are thousands and millions of images, titles will help you organize, identify, and discuss images, as well as make it easier for search engines to find them.
And like I said at the start, titles can be an important part of the creative process. You can use a title to steer the viewer towards ideas that you really want to convey. The title can add a layer of meaning that is not immediately obvious in the photo. A title can even be playful or provocative by contradicting the qualities of the image.
Some titles might pop into your mind right away. You know what the image says for you. In other cases, however, you might have to really think about it. That process can be fascinating, and valuable. You know you like the photo, but may not be sure why. Searching your mind for a title might clarify that for you. It may help you uncover the subconscious feelings, memories, and fantasies that you associate with it. Coming up with a really good title might also help you alter and refine the photo. The title gives you a direction for post processing and image manipulation. It’s an excellent exercise in bringing composition in line with the idea you want to convey.
You’ll know when you have a really good title. It feels right. It “sticks.” Weeks, months, even years later, you’ll remember it. It’s a wedding of meaning and image.
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Please see the set description.
Also known as “multiplicity” shots, images involving clones can be comical, intriguing, and even disturbing. As highly self-aware creatures, we humans are fascinated by mirrors and reflections of ourselves, by the idea of having a twin, alter ego, doppleganger, and multiple personalities.
The multiplicity shot is a visual representation of the fact that the psyche is not a homogenously unified entity. The human personality is made up of various parts that sometimes cooperate with each other, and sometimes not. Clone images capture the various ways these different elements of the psyche might interact - what some psychologists call “intrapsychic dynamics.” For example:
- The hidden, unconscious, or dissociated parts of ourselves that operate behind the scenes or behind our backs, without our even being aware of their existence
- The unconscious self that suddenly and unexpected appears, much to our surprise, delight, or shock (see The Unconscious)
- The self that we wish or fear to be
- The contradictions, divisions, or opposites within our psyche
- The “evil” or aggressive qualities within, that we usually suppress
- The parts of ourselves that are in conflict with each other, that oppose, thwart or resist each other (see Inside the Psyche)
- The unknown part of our psyche that acts as a “trickster” who creates unpredictability in our lives (see Prankster)
- The inner wise self that wants to help us, perhaps even the “God within”
- Self acceptance, self love, or narcissism
- Inner confusion and chaos created by ambitions, feelings, and thoughts that are at odds with each other
- The inner parts of our psyche that cooperate with each other, work in unison or in parallel with each other, perhaps aware or unaware of each other’s presence (see Biography)
- The self that is simply aware of itself, of the process of observing itself, perhaps with judgment, or, in a mystical fashion, without any judgment or evaluation (see Infinite Progression)
Multiplicity images tend to be more convincing and intriguing when the clones visibly demonstrate this awareness of and interaction with each other. Otherwise the clones appear as unrelated, somewhat uninteresting duplications of each other. Body language and line of sight can suggest a bond among them, although direct eye-to-eye contact can be difficult to simulate. Humans are exquisitely sensitive to the eyes, so if the eye connection among clones is off, even just a little, the viewer will notice and feel that the simulation is false. The most convincing clones are those that overlap, touch, or engage each other physically, although this effect requires careful planning in the shooting of the photos and skillful editing of the composite image.
One strategy for creativity multiplicity images is rather straightforward. Set the camera on a steady surface, preferably a tripod, and shoot the same scene several times over, each time with the subject in a different pose within that scene and in the spot where you want that subject to appear within the final composite image. In a photo editing program, choose one of the shots as a background, then copy just the subjects from the other shots and paste them into their position in the background photo. The tricky part will be the editing of the edges around the clones so that they blend convincingly into the background photo. Also pay close attention to the shadows cast by the clones. Inconsistent or missing shadows will result in an unrealistic final image. Scenes with even or diffuse, steady light will usually result in fewer complications. Poor edge editing, changing light sources, and problematic shadows will produce anomalous clones that look like they were just pasted into the scene.
In the image at the top of this page, which clones appear least convincing as natives of that shot, and why? Can you guess which one wasn’t cut and pasted?
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Please see the set description.
Yesterday was tee shirt weather. Today it’s cold enough outside that you can see your breath. Even so, the warm colors of spring tulips add a psychology of warmth that’s unmistakable!
A female photographer hobbyist (me) asking a model to do exactly what she wanted with a veil prop. I believe the results were quite different from the results you might get with a male photographer. The model will feel and behave differently. I was always more interested in her psychology than the pose itself.
It's usually next to impossible to get a good photo of my grandson. He can't sit still, and tends to frown at the camera. Until I tried to get a portrait of his mom for work purposes and he decided, of course, he just had to get in there.
20150307_49
Illustration for magazine Psychologies, BE// december 2011
Dossier: verleden loslaten// Lichaam bevrijden door o.a. EFT (= Emotional Freedom Techniques)
It's time for some more of The Shop's unusual vector assets : the geometrical psychology diagrams. These were originally created as an attempt to "mathematically model human consciousness through geometric forms" in the late 1880s.
There are two main groups of assets: the first one, with mainly two dimensional diagrams, and second one, of more than two dimensions, that resemble flowers and crystals. I also added some random nuggets from the rest of the collection. The diagrams have that beautiful execution of late Victorian era scientific illustration, while also presenting an undeniable organic touch. The "three dimensional" group of assets also feature shading, and color highlights.
There are forty-five (45) assets altogether, carefully digitized, organized, and share in a variety of formats, with care. I would recommend using them as background elements, color scheme inspirations, or of course as the centerpiece of the project you're working on.
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- Forty-five (45) diagrams
- Available in multiple vector and raster formats for wider compatibility range: Adobe Illustrator (CC, CS6, CS3), PDF, EPS, and PNG
- 641.60 MB archive size
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Like the textures you're seeing in the previews? They come from my Photocopy noise textures vol. 02. You must go check them out: https://crmrkt.com/13paPz
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Curious about the beautiful, aged serif typeface I used for the previews? It's Appareo, created by Kimmy Design. You can find it on Creative Market, and you ought to check it out as well: https://crmrkt.com/7QWK1X
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