View allAll Photos Tagged pure_visual_
Wide eyes, Secrets
New Shirt
It's a true story
He wanted to say everything
Early spring, Desolate
Fate, Luck, Destiny, Something
Lonely Landscapes
The traffic takes it away like the waves in the ocean
Adventure story's
Warm Spring wind
The key to tenderness
Boy scout morals
Gaps in space
Gaps in time
Give me the book
Light and Sound
There can't be a trance without both
Photo Stimulation
Changing patterns
Primary opposites
He wanted to be loved
A radical oblique
Turn the camera to face surrealist space
Fleeing into that space
Melting into that space
What's the point of talking
The whole thing is about life
Torn photograph of hotel
Sit down
She had to take your place
You never picked up the tapes
No answer
It isn't possible
Sorry I must leave you
What's new Saigon Cowboy
I love to press the shutter and wind the film to the next exposure
I was in cabin 7
And then, She was wearing a red dress
Information from computers
No possibility of surviving his altered way of thinking
Reel to reel tapes turning and recording
The text was very long and I could hardly breath
She kept staring at me
I felt that remorseless voice coming into my head
All of a sudden something happened
The room was full of people turning towards me looking at me
And then....Ah yes I remember.....To go where.......
I don't know....I don't remember......
Ah yes I was running away from something
My mind a total blank
Look there's a spot on it......It looks like blood
Phone rings......Hello Hello Hello...
The dress fits
Re-arrange the photograph......Walking through the airport
I'd like to book a ticket to...Footsteps...Opening the door...
Would you drop me here please.....Thank you...
I'd like a room....Graveyard walks...
You had something to tell me
Will I see you again..
I don't know....
Piano playing Klaus Schulze pastorals
Walk up the steps...
What do you say we go together
If you like we can go for an Ice Cream....
One moment please
It's very delicate hair....
Walking fast.....Yellow dress...
It's much simpler....
Did you find her then....Who...Your friend...
It's difficult as you get older, you can't really go back anymore, you can only go that little distance that's left..
A house in the woods
I've never been here before....Never....
Jaki Libezeit Rhythms...
Oh I'm so glad you came.....He died many years ago...
Eyes staring....Blue figure...
Gasping for air...Blood flowing...
The black hat.....Yellow shoes...
Didn't you want an Ice Cream
Tell me everything
Why did I buy it
The Idea of you not knowing me
Echo's.....Running footsteps.....Come alone...
The room was full of smoke
Shape's and colours from the past...
The time spirit...
Thunderous atmosphere and history humming It's abstract beauty..
Colour flatness....The death of formalism...
Oddness into beauty....
Pure abstract art....Form and shape...
Purely visual osmosis...Pure visual pleasure
Innocence and beauty....The dream of beauty...
Translate the dream into French.....Radically beautiful...
That old dead look...Quo Vadis meaning.....The beauty within....
That's a crazy talk show, on all night from 6 till 6.....
Club Zombie......
It's a be-bop psycho cop scenario with those peeper overtones
It hurts to live...
He bewilders me even now...
A lost art...Oh she was thin....Great instinct...
It doesn't do that, Looking at something
Perspective of space
Body....Architecture and photography abstraction...
Why did you come here
Maybe the moments passed
You looked at me in a funny way, as if you knew me already..
I don't remember...
You'd never seen me before, had you...
I don't think so....Why..
Do you think we've met before...
No I've never seen you in my life, I wouldn't have forgotten you..
Do you have to leave tomorrow....No...Well stay..
One day more or less, you said it yourself..
I was waiting for you...
I'd had a feeling you'd come...
You just didn't happen to be passing
Bluebag May 2018...
An explosion of abstract contrasts where light fragments into blurred geometric shapes. The aesthetic value lies in the interplay between the luminous center and shadowed margins, where colors dance in harmonic disorder. Contrast here is soft, ethereal, and transforms reality into a chromatic dream. It is an aesthetic of uncertainty, where light defines pure visual emotion rather than objects, challenging perception through the bold use of saturated hues against a dark background.
These are all grown from bulbs.
Blue Iris, tulips and dwarf Daffodils...
The fragrance is heady (mostly from the dwarf Daffs), the sight pure visual pleasure, good for one's senses...
I prefer taking 'uplifting' images...life is tough enough, there is more than plenty of 'darkness' and 'Angst'...
I am not 'hiding' from reality, only refuse to only live with 'that', I want to show there IS still 'ANOTHER', beautiful, side to it... for those who care to look?
Hope this brings a bit of joy again, have a good day and thank you for your visit, so very much appreciated, Magda, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Spring, flowers, bouquet, "blue Iris", Iris red, tulip, mix, yellow, mini-daffodils, leaves, design, studio, black-background, colour, square, Hasselblad, "Magda indigo"
The Attention SL Summer 25 edition arrived in radiant style, offering us pure visual art. I had the privilege of featuring an incredible destination "Bleriot Plage" with an exclusive series of photographs created especially for the magazine. If you haven’t seen it yet, consider this your invitation to explore. Special thanks to Nonge and Belissima for making it all possible.
Lin in my Primfeed
These are all grown from bulbs.
Blue Anemones, Pink Ranunculus and dwarf Daffodils...
The fragrance is heady (mostly from the dwarf Daffs), the sight pure visual pleasure, good for one's senses...
Treat yourself, Take a moment, Enjoy!View LARGE and On Black
I prefer taking 'uplifting' images...life is tough enough, there is more than plenty of 'darkness' and 'Angst'...
I am not 'hiding' from reality, only refuse to only live with 'that', I want to show there IS still 'ANOTHER', beautiful, side to it... for those who care to look?
Giving my flowers SOUL? My Soul Flowers on youtube and Studio Flowers 2011
Hope this brings a bit of joy again, have a good day and thanx for your visit, so very much appreciated, Magda, (*_*)
For more of my other work visit here: www.indigo2photography.co.uk
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
The splendor of St. Lucia is accentuated by the dramatic finale of an intense rainbow, gracefully descending over the island. The radiant spectrum of colors arcs across the sky, culminating in a vivid and enchanting display that adds a touch of magic to the tropical landscape.
As the rainbow gracefully reaches its end, the scene unfolds with a charming view of colorful houses along the shore. The vibrant hues of the houses, juxtaposed against the deep blue waters, create a picturesque waterfront that reflects the lively and tropical spirit of St. Lucia. Fishing boats dot the shoreline, adding a touch of authenticity to the coastal scene.
This photograph captures the harmonious blend of natural beauty and vibrant human settlements on the island. It encapsulates the essence of St. Lucia's coastal charm, where the convergence of a mesmerizing rainbow, colorful architecture, and the serene presence of fishing boats creates a scene of pure visual delight.
Available in the gallery HERE - james-insogna.pixels.com/featured/the-splendor-of-st-luci...
and
HERE - boinsogna.com/953751/The%20Splendor%20of%20St.%20Lucia%20...
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Lady Liberty Of The Sidewalk. © Copyright 2020 G Dan Mitchell - all rights reserved.
A familiar statue in a perhaps-metaphorical location on a Manhattan sidewalk.
As I have described before, we like to walk when we visit New York... and by "walk" I mean that we only use the subway or other forms of Manhattan urban transportation if walking will do. As Manhattanites know, New York City is mostly a very walkable place, and it lots of circumstances it is the better way to get around. From our perspective, as visitors and as photographers, walking has even more pluses. I almost always have a camera out (attached via a wrist strap) or close at hand when I'm there, and I try to grab little quick vignette like this one while I'm on the move.
As with so many such photographs, there are many ways that you could consider this one. I would understand if you took a quick look and asked, "Why would Dan want to make a photograph of a scene like that?," especially if you mostly think of me as someone who likes to photograph beautiful landscapes. This is not that!. If you like to look for meaning beyond the pure visual quality (which may actually reveal something about the visual quality that you would otherwise miss), I think there are quite a few possibilities here. Do you like metaphors? Have at it! :-)
G Dan Mitchell is a California photographer and visual opportunist. His book, "California's Fall Color: A Photographer's Guide to Autumn in the Sierra" is available from Heyday Books and Amazon.
Blog | About | Flickr | Facebook | Email
Links to Articles, Sales and Licensing, my Sierra Nevada Fall Color book, Contact Information.
It's about the pure visual stimulation of it, not some deep dark social commentary, that's what writing is for.
Rather than attempting to blend the colors in some interesting way, I decided to add a bit of separation and depth to each stroke. The result is a bit more fibrous.
I've been to NYC a handful of times but somehow was never able to swing a stop at the Googy to snap some pics. My excitement level was high this particular morning and although EVERY shot is blurry, grainy, horribly coloured and distorted, I still love them. The lobby is just pure visual pleasure. Obviously, I'm not doing her justice, but should you get the chance, you have to go check out her curves!!
In creating this kaleidoscopic transformation of the Hilton Bordeaux façade, I wanted to reveal how architectural elements can transcend their utilitarian origins to become pure visual poetry. What fascinated me was how the simple act of mirroring and rotating segments of this modern building could create such a mesmerizing pattern that seems to pull the viewer toward an infinite center.
The process began with capturing the hotel's distinctive geometric panels, but I was looking beyond documentation toward abstraction. By applying kaleidoscopic techniques, I watched as the straight lines and right angles of the architecture reorganized themselves into this crystalline mandala pattern. The clean white surfaces and blue shadows of the original building translated perfectly into this ethereal, almost meditative composition.
I deliberately enhanced the cool blue tones to evoke a sense of mathematical precision and crystalline purity. The resulting image no longer reads as a building but as a portal or a tunnel leading somewhere beyond ordinary perception.
In my ongoing quest for lines, I see lines EVERYWHERE! 😄 They follow me, they haunt me, they inspire me - whether I'm walking downtown, having coffee, or even trying to sleep! This obsession has turned everyday buildings into geometric playgrounds. The Hilton never stood a chance once I spotted its pristine geometric façade - it was destined to become another victim of my line-hunting adventures!
i came across some old rolls that i forgot about. this was my second time at salvation mountain. aside from religious nature of it, i am still overwhelmed by the pure visual joy of the place and leonard himself. he's one of the most amazing people i have met, and i like to think that this place is his heart & soul manifested into real life. despite my strong distaste for religion and most religious leaders, leonard may be one of the few that i fully respect. he may have the most pure interpretation of christianity that i have encountered.
we stayed a bit and helped him set some bails of hay on the top of the dome he's been building for a few years, and fastened them in with adobe from the hill. he gave us a short tour of slab city and a nearby hot spring.
My husband and I met some new friends this weekend in Cades Cove, Tennesse (Norman and Nancy from Pennsylvania) and had a grand time discussing photographic journeys we'd taken over the years. They were such interesting people who SAIL all over the place. Oh, the places they've seen! When I got home, I started looking back through all of my old photos and realized that I have taken thousands of them that I have never shared with my friends here on Flickr. Now's the time.......
In 2005, my husband, daughter and I set off from North Carolina to travel "Out West". We wanted to see the usual places like... Yellowstone, The Grand Canyon, Mount Rushmore. But we found SO much more along the way.
We had a leisurely 3 weeks to travel, so when we saw a sign that tweaked our interest, we went exploring. It was amazing to watch the landscapes change right before our eyes as we sped along. Like children, we were wide-eyed taking it all in and I captured as I could with my camera.
We traveled on Interstate 40 from NC all the way to Flagstaff, Arizona and then turned north to explore Utah, Wyoming, Montana and then headed back east across the upper states, stopping in South Dakota to see Mt. Rushmore. America is such a diverse, gorgeous country! What a blessing to live in such a place!
Simply put, it was the BEST VACATION ...ever. Three weeks of pure visual bliss! I can't wait to go back and see it all over again. Over the next days I will be sharing photos from our trek. They will not necessarily be in order, however. I hope you will enjoy them.
This photo is a scene from the Grand Canyon.
I apologize for being behind on comments. Happy Wednesday to you all ♥
[ES] - Este fin de semana ha sido el segundo encuentro fotográfico de fotografía nocturna y larga exposición Ciudad de Albarracín. Un congreso muy bien organizado por el grupo Night Photography Belchite, que se quedó corto en días, pues se me ha pasado volando el fin de semana! Un placer conocer a fotógrafos que comparten tu misma pasión por el linterneo nocturno y ponerles cara a muchos otros con los que tenía contacto a través de redes sociales. El viernes, al llegar a Albarracín, aparcamos y subimos corriendo a las murallas para echar un par de fotos del atardecer -que ya no llegamos- y de la hora azul. Cuando nos íbamos a ir, solté mi típica frase de "una más y nos vamos" y me subí a la parte más alta de las murallas a disparar desde allí. Cuando ya bajaba de la torre, pensé en hacer una panorámica, pero lo que no esperaba era encontrarme con esto al montarla en Lightroom... Había captado la Vía Láctea, parte de su centro galáctico, con una luna al 48% que no sólo estaba en plano, sino justo al lado de la vía!!! Puro orgasmo visual, pensaba que nunca podría captar la VL con luna! Y encima con la composición final que esperaba, ya que por las prisas y hacer las 15 fotos a ojo, pensaba que no habría atinado. Espero que os guste tanto como a mí!
[EN] - This weekend has been the second photographic meeting of night photography and long exposure Ciudad de Albarracín. A group of conferences and activities very well organized by the group Night Photography Belchite, which finally was short in days. It's been a pleasure to meet photographers who share your same passion for nocturnal lanterning and to face on many others with whom you had contact through social networks. On Friday, when we arrived in Albarracín, we parked and ran up to the walls to take a couple of photos of the sunset -we hadn't arrived on time- and the golden hour. When we were going to leave, I told my typical phrase of "one more and let's go" and I climbed to the highest part of the walls to shoot from there. When I was coming down from the tower, I thought I would take a look, but what I did not expect was to find this when I mounted it in Lightroom ... I had captured the Milky Way, part of its galactic center, with a moon at 48% it was flat, but right next to the stars path!!! Pure visual orgasm, I thought I could never catch the VL with the moon! And over with the final composition I was hoping for, because of the rush and making the 15 photos by eye, I thought I would not have noticed. I hope you like it as much as me!
These are all grown from bulbs.
Blue Hyacinth, Blue Dutch Iris, orange and yellow Ranunculus and dwarf Daffodils...
The fragrance is heady (mostly the Hyacinths), the sight pure visual pleasure, good for one's senses...
I don't talk to flowers, they talk to me and I gladly listen!
These ALL wanted to be in the picture, virtually fighting for the light... paahh, bunch of divas! LOL
Hope this brings a bit of joy again, have a good day and thank you for your visit, so very much appreciated, Magda, (*_*)
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
bulbs, Blue-Hyacinths Blue, Dutch, Iris, orange, yellow, Ranunculus, dwarf, Daffodils, tête-à-tête, tulip, flowers, bouquet, studio, design, black-background, colour, square, NIKOND7000, "Magda Indigo"
The garden and parks are fast displaying colour and beauty now, pure visual joy and pleasure!
Lead and enjoy a good life, do and say things that enrich... and do not forget to tell the people close to you, how much you love them!
With love to you and thanK you for ALL your faves and comment on my winning image, M, (* _ *)
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
WHAT PART of DO NOT USE is it that you DO NOT UNDERSTAND?
I find my images on numerous blogs and websites EVERY DAY, without my permission!!!!!!!!!!!!!!!
Why not view the set as a slide-show?
Also I often upload more than one image at the same time, I see a tendency to only view the last uploaded...
#abfav_spring
ALL MY IMAGES BETTER SEEN ON BLACK, (yours too)
These are all grown from bulbs.
Blue Anemones, Pink Ranunculus and dwarf Daffodils...
The fragrance is heady (mostly from the dwarf Daffs), the sight pure visual pleasure, good for all one's senses...
I prefer taking 'uplifting' images... life is tough enough, there is more than plenty of 'darkness' and 'Angst'...
I am not 'hiding' from reality, only refuse to only live with only ’that', I want to show there IS still 'ANOTHER' beautiful side to it... for those who care to look?
Hope this brings a bit of joy again, have a good day and thank you for your visit, so very much appreciated, Magda, (*_*)
For more of my work visit here: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
*Explore/Interestingness*
ceiling display at the Franklin Conservatory in Columbus, Ohio. it took me many trial and error shots to capture this art the way i saw it....pure, visual delight.
Rather that lavish this month's disposable income on Kestrel and scratch cards I chose to invest in myself and the 2-day fashion editorial course at the Garage Studios, Brighton. My achievements wall already has a certificate from their studio lighting course and since then I have deployed the skills they gave me to work as a part-time photographer London. So, my thinking was that this course would take me to 'the next level' and not give me heartburn.
Including myself there were two people on the course that ran over 2 days from 10 - 6pm and between us we shot 6 x completely different set-ups. We were each teamed-up with our own stylist (Stevi Jelbart & Emma Sandham-King) and had full use of a lighting assistant (Natasha Alipour-Faridani), set builder (Matt Halls), MUA (Ciara McCarthy) and model (Sally Reynolds) - all of this was overseen by the resident photographer, Kevin Mason.
The two days played out perfectly. We were quickly sworn in as honorary members of the Garage Studios team and I worked with my stylist to create and develop three, killer ideas. Just like in the real world, I was encouraged to make lighting, set, hair and make-up choices before switching the model through a series of poses. At every stage I was offered the support and advice I needed to smash-up the stabilisers, take control and make sure my camera struck pure, visual gold. For value for money, fun and everything else I would give it 5 x Shields (using my 1 to 5 shield rating system).
Seriously, you need to get on board before they realise what they have got and put the price up: www.garage-studios.co.uk
Oh and I get a nosebleed when I look at my images!!
__________________________________________________________________________________________
All of the people above have pedigree...
Stevi Jelbart and Emma Sandham-King aka Ophelia Fancy: www.opheliafancy.com
Natasha Alipour-Faridani: www.flickr.com/photos/natashaalipour-faridani/
Ciara McCarthy MUA: www.ciaramccarthy.co.uk/
Sally Reynolds: www.modelmayhem.com/743998
Kev Mason: www.darkdaze.org
__________________________________________________
Strobist: softbox (upper left) @ f5.6. Beauty Dish (upper right) @ f8 - there was a snoot but you can't see its influence in this shot.
Fishing nets on a trawler become a wonderful exploration of structure, texture and colour in a semi-abstract graphic composition.
For me, there is pure visual joy in a subject like this.
These are all grown from bulbs.
Blue Hyacinth, Blue Dutch Iris, orange and yellow Ranunculus and dwarf Daffodils, pink tulips....
The fragrance is heady (mostly the Hyacinths), the sight pure visual pleasure, good for one's senses...
I don't talk to flowers, they talk to me and I gladly listen!
These ALL wanted to be in the picture, virtually fighting for the light... paahh, bunch of divas! LOL
Hope this brings a bit of joy again, have a good day and thank you for your visit, so very much appreciated, Magda, (*_*)
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
bulbs, Blue-Hyacinths Blue, Dutch, Iris, orange, yellow, Ranunculus, dwarf, Daffodils, tête-à-tête, tulip, flowers, bouquet, studio, design, black-background, colour, square ,"Magda Indigo"
These are all grown from bulbs.
Blue Hyacinth, Blue Dutch Iris, orange and yellow Ranunculus and dwarf Daffodils...
The fragrance is heady (mostly the Hyacinths), the sight pure visual pleasure, good for one's senses...
I don't talk to flowers, they talk to me and I gladly listen!
These ALL wanted to be in the picture, virtually fighting for the light... baahh, bunch of divas! LOL
Hope this brings a bit of joy again, have a good day and thank you for your visit, so very much appreciated, Magda, (*_*)
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
bulbs, Blue-Hyacinths Blue, Dutch, Iris, orange, yellow, Ranunculus, dwarf, Daffodils, tête-à-tête, tulip, flowers, bouquet, studio, design, black-background, colour, square ,"Magda Indigo"
Eiffel Tower, Paris | France
Dear Gustav,
How did you ever dream up something so captivating as your Dame de Fer? No Iron Lady has ever looked this good, let alone after 100 years. Who knew raw metal could be this beautiful? She is pure visual sushi.
Sincerely,
Awestruck Traveler
COMPOSICION CIRCULAR: LA CREACIÓN
El círculo central es el epicentro de la composición. También del simbolismo de la obra: por pura evidencia visual.
Este círculo està ceñido por una banda con la inscripción-resumen siguiente: IN PRINCIPIO CREAVIT DEUS CELVM ET TERRAM MARE ET OMNIA QVA IN EIS SVNT. ET VIDIT DEVS CVNCTA QUE FEDERAT ET ERANT VALDEBONA (En el principio Dios crea cielo y tierra, el mar y todas las cosas que se encuentran. Y vio Dios que todo lo que había creado era bueno).
EL VERBO CREADOR
En el círculo central -perfección de perfecciones- reina la figura de Jesús, a quien suele reconocerse así en cuanto Cosmocràtor.
1. Su mano diestra, alzada, puede ser interpretada tanto en sentido bendiciente como autoritario: ambos pueden coincidir en la expresión de la acción creadora.
2. La izquierda se apoya en el libro abierto donde se verbaliza su identidad: SANCTUS DEUS, en forma abreviada. También los dos espacios disponibles a derecha e izquierda de su figura son ocupados por otras dos palabras definitorias de su majestad, entendida, naturalmente, al modo medieval: REX FORTIS.
3. El circulo de color claro que le rodea y aísla de las representaciones exteriores presenta el texto de Génesis 1, 3: DIXIT QVOQVE DEVS FIAT LVX ET FACTA EST LVX (Y dijo Dios: Sea la luz; y fue la luz.) En el tapiz, lo mismo que en el texto bíblico que lo inspira, la luz es lo primero que surge de la voluntad creadora.
4. Jesús està representado joven, imberbe, según la tradición tardorromana patente en varios otros aspectos de esta obra: un Jesús apolíneo. Que la representación del Verbo de Dios sea una figura masculina lampiña confirma la influencia paleocristiana, es decir, postclàsica que hallaremos acreditada también en la iconografía de los ríos y de los vientos, respectivamente. Como joven, es decir, en la plenitud de su vigor, se comprende su acción potentísima de crear: que ejecuta con aquel ademán de soberana sencillez.
______________
CIRCULAR COMPOSITION: THE CREATION
The central circle is the epicenter of the composition. Also of the symbolism of the work: for pure visual evidence.
This circle is encircled by a band with the following inscription-summary: IN PRINCIPIO CREAVIT DEUS CELVM ET TERRAM MARE ET OMNIA QVA IN EIS SVNT. ET VIDIT DEVS CVNCTA QUE FEDERAT ET ERANT VALDEBONA (In the beginning God creates heaven and earth, the sea and all things that are found. And God saw that all that he had created was good).
THE LOGOS CREATOR
In the central circle -perfection of perfections- reigns the figure of Jesus, who is usually recognized as a Cosmocrator.
1. His right hand, raised, can be interpreted in both a blessed and an authoritative sense: both can coincide in the expression of creative action.
2. The left hand rests on the open book where his identity is verbalized: SANCTUS DEUS, in short form. Also the two spaces available to the right and left of his figure are occupied by two other words defining his majesty, understood, of course, in the medieval way: REX PORTIS.
3. The light-colored circle that surrounds him and isolates him from the exterior representations presents the text of Genesis 1, 3: DIXIT QVOQVE DEVS FIAT LVX ET FACTA EST LVX (And God said: Let there be light; and there was light.) In the tapestry, as in the biblical text that inspires it, light is the first thing that emerges from the creative will.
4. Jesus is represented as a young man, an imbecile, according to the late Roman tradition, which is evident in several other aspects of this work: an Apollonian Jesus. The fact that the representation of the Word of God is a clean-cut male figure confirms the paleochristian influence, that is, the post-classical influence that we will find accredited also in the iconography of the rivers and the winds, respectively. As a young man, that is to say, in the fullness of his vigor, we can understand his powerful action of creation: which he performs with that gesture of sovereign simplicity.
Maybe a stretch for the prompt, but something I thought about alot this past week. Thousands of quilts on display in this little town of Sisters Oregon allowing the viewer to pause for thought...private thoughts for sure...about line and color and design and just pure visual delight. cy365 'private'. This beautiful quilt was pieced by Tammy Vonderschmitt
Iceland Poppy plant is pure visual poetry.
I planted Iceland Poppies about 10 days ago because it is cool weather in Tucson, and these northern plants can usually handle our winter freezes. And, it's Miss Cecily birthday and she loves Iceland Poppies...
Sunset Magazine
Iceland poppy (Papaver nudicaule)
With their tall, leafless stems that dance in the breeze, Iceland poppies are graceful companions to many cool-season plants.
Iceland poppies grow 1 to 2 feet tall; flowers are cream, orange, pink, rose, salmon, yellow, or white. They need full sun and moderate to regular water.
In mild-winter climates, set out plants in fall or winter for months of cool-season color. Pick flowers freely to prolong the show.
These are all grown from bulbs.
Blue Hyacinth, Blue Dutch Iris, orange and yellow Ranunculus and dwarf Daffodils...
The fragrance is heady (mostly the Hyacinths), the sight pure visual pleasure, good for one's senses...
I don't talk to flowers, they talk to me and I gladly listen!
These ALL wanted to be in the picture, virtually fighting for the light... paahh, bunch of divas! LOL
Hope this brings a bit of joy again, have a good day and thank you for your visit, so very much appreciated, Magda, (*_*)
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
bulbs, Blue-Hyacinths Blue, Dutch, Iris, orange, yellow, Ranunculus, dwarf, Daffodils, tête-à-tête, tulip, flowers, bouquet, studio, design, black-background, colour, square, NIKOND7000, "Magda Indigo"
Couldn't balance all my hats on my head at once, so you only get about half of them!
For FGR - Happy Hat Friday and 30 songs in 30 days and TOTW - Lyrically inspired
"Over my head" - Sum 41
Now I'm in over my head, for something i said
Completely misread, I'm better off dead
And now I can see, how fake you can be
This hypocracy's beginning to get to
This came long before those who suffer more
I'm too awake for this to be a nightmare
What's with my disgrace I lost the human race
No one plans for it to blow up in their face
Who said it was easy to put back all these pieces
Who said it was so easy to put back all of these pieces
Now I'm in over my head, with something I said
Completely misread, I'm better off dead
And now I can see, how fake you can be
This hypocracy's beginning to get to me
Over my head, better off dead
Over my head, better off dead
ALRIGHT
Submitting this as part of Ms. Cheeky's Workshop - Week #4 Shoot what you love....
I had wanted to submit something to this workshop all week, but was completely at a loss for what the lesson this week was about. Looking back on my week's photos I finally twigged what the point was (at least as far as I am concerned....)
The pictures in my stream that I am most happy with tend to be the ones that make people chuckle or think twice about i.e. More about telling a joke than about than pure visual artistic merit. These are also the ones that get more responses from the flickr universe than most - which hopefully means that people get the humour (not that none of the rest have any artistic merit !!)
Oh... and ignore the fact that a lot of them are self portraits.... I am not a (complete) narcissist.
Art for Art’s sake? Or Art for People?...Or Art for YOURSELF only?
5 boring confessions….
1. I do not consider myself a photographer, but an artist of some sort. My intention was never to produce flawless high quality images maintaining all the rules, but just to express myself. And photography is a medium that I felt comfortable with, and also probably because I’m too lazy to paint or write.
2. Photography, to me, is not a distinct division of art, but rather a member of the larger art family. I personally like relating photographs to paintings. Art movements inspire me immensely; in particular, German Expressionism, Neo-objectivism/De Stijl, Art Nouveau, Russian Constructivism and the rest of International Avant-Garde movements.
3. If one goes through my stream, it is very easy for him/her to get confused as to what exactly this lady is up to. I know there is a lack of consistency, but I would rather not try categorizing myself or anyone else. Abstracts might be my favorite arena sometimes, but I also feel like doing geometrical compositions, street shots and have even tried landscapes (not with much success though). What is totally missing in my stream is probably flower shots and macros. I have a special weakness for alternative interpretations of reality. I am very much inspired by the minimalistic compositions of Aftab bhai, N A Y E E M ’s stories that are straight out of life, the Faith series of Arif bhai, the courageous social documentation of Shehzad Noorani and the dark street photography of Purple Wolf (account deleted).
4. My titles are usually very flat in nature and are not accompanied by any descriptions whatsoever. I would prefer ‘Wine Stains’ to ‘Memory Remains’, for example, although they might actually mean the same thing; just like Whistler called his mother’s portrait ‘Arrangement in Grey and Black’. I believe photos can be pure visual arts without having to have any kind of subject matter at all and vice versa. I do not like over-processing without reason, but do not mind radical post-processing if that helps the artist to get the message across.
5. I think every artist/photographer has the right to think of his/her artwork/photograph as his/her own personal space where he/she can express him/herself without any fear. One can be extremely partial, or completely neutral and it is expected of that we respect each other’s work even when some of it might falls outside some of our comfort zones.
Thank you for your patience.
Thanks to all of you who fill your days with a creative eye and imagination and for the many hours of pure visual enjoyment you have shared with us on Flickr.
I so appreciate and enjoy the visits from near and far and hope for you all a season filled with that perfect light!
film scanned, processed - taken somewhere between 1948 to '51
www.fashioningtech.com/profiles/blogs/kasia-molga-interview
V2_Institute for the Unstable Media hold an annual “Summer Session” in which designers and artists are invited to develop a work under one of the three current research themes at V2_Lab: Wearable Technology; Augmented Reality and Ecology. This summer five projects were developed over a six week period which explore the future of these fields. The Summer Session projects were showcased at the 17th International Symposium on Electronic Art held this year in Istanbul, September 14-21, 2011 during one of V2_’s Test_Lab events.
Below is an interview with Kasia Molga who participated in the V2_ Summer Sessions 2011 with the work "Oil Compass":
- Kasia Molga, "Oil Compass" -
“Oil Compass,” done in collaboration with Sey Min, is a screen-based data-visualization interface, which lets users become aware of real-time oil spills on a global scale. Through the interface we are able to search and get close up views of locations, as well as view the history and data pertinent to the events. Through these we are able to consider the impact of continuous and largely under-reported cases of oil pollution in our global waters as well as ponder solutions for the prevention and de-contamination.
Everyday each tanker and each rig releases 600 litters of oil into the sea, not mentioning that we also have a "regular" vessels which use oil as a fuel.
One of the questions that you ask as is if we can “really connect with the complex subject of oil spills and understand its environmental impact?” via a real-time data visualization. What are your conclusions after this time? How can the visualization tangibly make a difference?
Like everything in the nature—an action causes reaction or/and provoke a chain of events causing imbalance. Everyday each tanker and each rig releases 600 litters of oil into the sea, not mentioning that we also have a "regular" vessels which use oil as a fuel. Although the vastness of the water covering our planet might seems almost infinite, within those areas where spills happen the local biodiversity is affected thus affecting us. "Oil Compass" through containing past and present data, as well as live data, gives a picture of the scale of that problem, because oil spills don't happen ONLY when it is broadcasted on the news, but they happens everyday.
The crucial and most interesting features of this work, in my opinion, is a live data visualization of oil tankers—updated every 10 minutes. It is also interesting to see (although not surprising) that most of them are around Europe and North America—places where the level of energy consumption is the highest. One of the maps which I produced while working on "Oil Compass" was a visualization of Earth at Night. North America and Europe are full of light compared to the rest of the world, and obviously there are a lot of tankers and that is where the biggest spills have happened.
Places like Africa or Asia—which are heavily explored for their oil, seem very dark in comparison. Africa didn't register any huge spills except in South Africa.It was not easy to get data on the position of oil rigs and we are still working on this. But I have noticed that often rigs and platforms are planted in places which don’t seem to be so well lit-up…such as Angola for example. I don’t want to jump to false conclusions—as “Oil Compass” is ever-evolving project which demands to be constantly updated, but while working on it I couldn't help thinking how big chunks of oil are taken from places with very limited access to energy/electricity and then transported to places which use it like there is no tomorrow.
I hope that I can make people to gain a distance—to see it in its entirety—so that perhaps a bigger emotional bond can be created.
I hope that "Oil Compass" can act as an objective and easy to understand a picture of the situation. By using a tool such as Google Earth—everybody can access it and contribute to it. At the same time by using the image of the globe—our planet—giving a viewer a point of view of an "astronaut" and some control of how to navigate/spin/move that virtual sphere—I hope that with that I can make people to gain a distance—to see it in its entirety—so that perhaps a bigger emotional bond can be created. It has been an interesting experience as this object which I call "Oil Compass" had to fulfill two, quite contradictory roles—it had to be very informative and objective about all facts on the subject but at the same time it had to evoke some emotions on viewers.
"Protei" is aimed to be a low-cost device that semiautonomously sails upwind, intercepting oil going downwind.
“Oil Compass” is also a modeling too to explore the potential of another work called “Protei” an Open Source Sailing Drone also developed at V2_. Can you tell us more about the “Protei” project, and is this research recursive, can it be applied to other environmental mappings?
“Protei” is a shape-shifting sailing robot that collects pollution—and it is a brainchild of artist/designer Cesar Harada. "Protei" would operate as a fleet and is developed as open hardware. The current version is “Protei_Oil_Spill” for collecting spilled oil at sea. It is aimed to be a low-cost device that semiautonomously sails upwind, intercepting oil going downwind. “Protei” is using existing technologies in an innovative design which can be implemented in the short term to address a crisis. Being an open source project, other versions may be designed in the future for other purposes: “Protei” for the North Pacific plastic garbage patch, heavy metals in coastal areas, fishery monitoring, physical oceanography, climate change studies...
"Oil Compass" in this context has 3 functions:
1) Educational/Didactic: for everyone concerning past major oil spills as well as everyday spills (which depends on the volume of tanker vessels around the world and oil rigs). The plan is be keep updating the data with other less "famous" spills as well as information how the spills were managed and dealt with. This will also help in assessments when and where another disaster might happen.
2) Navigational: tracking the traffic of vessels and therefore spills; keeping updated maps with position of all oil rigs—so that it can become as a centralized informative hub; keeping updated maps not only with oil spills situations, but other issues/problems which waters are facing today, i.e.: plastic debris, radioactive spills etc. Ideally I also would like to be able to update all of it with currents and weather forecasts—but that is all a long shot. A better funding structure would be very needed to achieve that.
3) “Protei” Locations: based on the navigational function of "Oil Compass" we can asses where “Protei” drones are the most needed, how to navigate them around other vessels, rigs etc; obviously tracking “Protei” and informing what function drones have in what areas.
- Kasia Molga, "Oil Compass" -
Of course we are all political—whether consciousness or unconscious of it. We are all involved in some relations with other people and/or environment and nature.
When looking at eco-art I am struck by how for a number of years now we have engaged in “causes” in the arts from feminism, cultural identity, to AIDS, etc. Why do you think that artists are invested in the political? Is it endemic of society being in need of more “political” players? Or is it more of a crisis in terms of art’s role in society?
But aren't we all "political?" The concept of evolution is political. Of course we are all political—whether consciousness or unconscious of it. We are all involved in some relations with other people and/or environment and nature. We are all engaged in some kind of dialogue with our surroundings. I am not sure if the engagement in politics/social or environmental issues are the result of a crisis. Alain de Botton once said that (and I am paraphrasing not quoting) we, humans, when we are around something/some situation for a bit too long, we stop to notice it. The role of artists and what artists can do is to remind us about those forgotten/taken for granted/unnoticed things.
I am rather a facilitator who creates a platform for people to explore certain issues in alternative ways and learn about them and form opinion for themselves.
So I guess it is not about the crisis of art’s role. It is just that artists often can see sharper and clearer and deeper and spot alternative/forgotten/hidden situations, matters, connections and thus also respond to the zeitgeist. It is often a commentary on existing situations. On a personal level, as an artist/designer who engages often (but not always) in environmental issues, sometimes I feel that I don't create just an artwork—a subjective transformation of my opinion/view of the world. I am rather a facilitator who creates a platform for people to explore certain issues in alternative ways and learn about them and form opinion for themselves. In “Oil Compass”—I think I had a difficult task of trying to be objective about the subject—not to get carried away with too much emotions...
We often forget to perceive ourselves as a part of nature and we often make that disassociation even when we speak of "we" and "nature."
How do you relate your work to earthworks of the late 60s early 70s such as Robert Smithson’s "Spiral Jetty" which celebrated nature while also aestheticizing it? Are we now aestheticizing nature through politics instead of structural compositions?
I would turn that question around a bit to speak here about the concept of beauty—whether it lies in pure visual harmonies of colors and shape or is in fact encapsulated in the content/the emanating/the message. Both are important—the capturing of fragments of ephemeral sublime moments to convey that feeling of awe—the fact that we are part of this amazing creation as nature—we are its fruits, therefore what we do shall be integral to it. However, for some reason sometimes is not.
We often forget to perceive ourselves as a part of nature and we often make that disassociation even when we speak of "we" and "nature." While nature/environment/climate is a part of a human narrative, I think many of the earth/land artists of the late 60s and early 70s explored nature in that way. Hopefully having that in common with people such as Robert Smithson, I don't work with the landscape as such, but with its digital representation. I also often use a "bigger picture" in my work—whether it is a map of the entire city or a whole globe; or an interactive live data feed. The immediacy of time, possibility to witness concurrent events at once—that concept of liveness and presence is more important in my work…
Istanbul, September 2011
Tags: Kasia Molga, V2_, Valerie Lamontagne, environment, oil, protei
Creo que esta imagen muy Malevic transmite la momentanea espiritualidad artistica que estoy viviendo, la necesidad de comunicar ideas subjetivas que tratan de tomar una forma sin recurrir a un simbolismo particular, en pocas palabras: el sindrome de la pantalla vacia .
I think this image conveys the momentary very Malevic artistic spirituality that I'm living, the need to communicate subjective ideas trying to make a form without resorting to a particular symbolism, in a few words: the syndrome of the empty screen.
Kasimir Malevic habla de su obra en esta forma:
en el arte debe prevalecer una supremacia absoluta de la sensibilidad plàstica pura por sobre el descriptivismo naturalista y propone buscar un arte no objetivo en el que lo figurativo o representativo estè totalmente anulado; este quadro dice: no es un cuadrado vacio, un icono borrado y puesto en marco, sino una invitaciòn a percibir lo no objetivo o lo objetivo in status nascendi.
Kasimir Malevich spoke of his work thus:
In the art should prevail absolute supremacy of pure visual sensitivity over descriptivism naturalist and intends to seek a non-objective art in which the figurative or representative is fully canceled; this painting says, is not an empty box, an icon and deleted put in context, but an invitation to perceive the non-target or objective in status nascendi.
Although it is a repaint on the existing figure I love the paint app on it and the awesome box art! A pure visual feast! Also a mini reprint of the Predator comic book #1 is included. Wow!
Added to Oct MSH (17) - 'tis merely a flesh wound (video clip)
Obvious reference to the Heath Ledger film "A Knight's Tale" 'cos the only mask I had was one that the boys had made for a fancy dress party once. And paired with my father-in-law's dress sword from his army days.
And of course the only track that could go with this is "We will rock you" by Queen.
For 30 songs in 30 days, TOTW - Lyrically Inspired and TRP - Masks
Submitting this as part of Ms. Cheeky's Workshop - Week #4 Shoot what you love....
I had wanted to submit something to this workshop all week, but was completely at a loss for what the lesson this week was about. Looking back on my week's photos I finally twigged what the point was (at least as far as I am concerned....)
The pictures in my stream that I am most happy with tend to be the ones that make people chuckle or think twice about i.e. More about telling a joke than about than pure visual artistic merit. These are also the ones that get more responses from the flickr universe than most - which hopefully means that people get the humour (not that none of the rest have any artistic merit !!)
Oh... and ignore the fact that a lot of them are self portraits.... I am not a (complete) narcissist.
ANTHOLOGIE CANADIENNE / CANADIAN ANTHOLOGY.
edited by André Duhaime & Dorothy Howard.
Hull, Éditions Asticou, [december] 1985. ISBN 2-89198-o47-6.
7 x 8-7/16, 123 sheets white bond perfectbound in white bristol card wrappers, all except inside covers & 7 pp pinted black offset with 3-colour process additions to covers.
cover & interior graphics by André Couture.
85 contributors ID'd:
Eric Amann, Nick Avis, Herb Barrett, Matsuo Basho, Maurice Betz, Marianne Bluger, Célestin Bouglé, Dawnold Brackett, Jacques Brault, Chuck Brickley, Allan Brown, Catherine M.Buckaway, Jack Cain, Paul Claudel, Cécile Cloutier, Denise Coney, Allan Cooper, Paul-Louis Couchoud, André Couture, Rae Crossman, Gilbert De Voisins, Betty Drevniok, Michael Dudley, M.B.Duggan, Paul Eluard, Ochi Etsujin, Chris Faiers, Marco Fraticelli, Sandra Fuhringer, Kazue Grace Furuya, Maurice Gobin, LeRoy Gorman, Fernand Gregh, Bernadette Guilmette, Claire K.Harris, Marshall Hryciuk, W.J.Illerbrun, Chusaburo Ito, Midori Iwasaki, Osamu Kasahara, Betty Kendell, Takari Kikaku, [--?--] Kikin, John Kinsella, Elizabeth Searle Lamb, Gatien Lapointe, Michel Lemaire, Jean-Aubert Loranger, Irene G.McGuire, René Maublanc, Robert Mélançon, Bruce Meyer, Hachiro Miyazawa, Takeo Nakano, Hidetaro Nishi, Tomi Nishimura, Jean Paulhan, Alphonse Piché, Claire Pratt, Albert Ripperger, Mildred A.Rose, Simone Routier, Georges Sabiron, Gerald Saint Maur, Sukeo Sameshima, Margart Saunders, Félix-Antoine Savard, L.Pearl Schuck, Gerry Osamu Shikatani, Dorothy Cameron Smith, Jean-François Somcynsky, Keith Southward, Ruby Spriggs, Choichi Sumi, George Swede, Katsutoshi Takashima, Yasuhara Teishitsu, Joyce Turvey, Anna Vakar, Jocelyn Villeneuve, Julien Vocance, Evelyne Voldeng, Derek Wells, Rod Willmot, Jonathan Wright.
includes:
i) SPECIAL CONTRIBUTORS, by André Duhaime & Dorothy Howard (p.1o; prose in 2 parts includes part
–2. David AYLWARD (prose capsule bio (in english & french) with passing reference to bpNichol))
___________________________
• despite the attempt at being somewhat exhaustive in terms of bibliographical accountabilty in this book, according to E.S.Lamb's history of english language haiku, its "experimental" deviations didn't get going until the mid-'7os with Eric Amann, LeRoy Gorman, &, later, Marco Fraticelli, completely eliding Nichol's 197o still water, in part for which he won that year's Governor General's Award, the only book of haiku to do so in the history of the awards. i'd point out, too, that its sweep includes some relatively straightforward haiku, some parody, a treatment of Basho among its concrete haiku, & some pure visual work that almost certainly led to the visual haiku of LeRoy Gorman
My drawing of Ms. Lego Harley Quinn! Completely drawn with pencils, no graphs, no outlines, just pure visual talent. I've been drawing Lego Characters for quite a while, but I finally got some confidence to add them to Flickr. I'm really proud of how far I've come on these, this one is totally my 2nd favorite!
Although it is a repaint on the existing figure I love the paint app on it and the awesome box art! A pure visual feast! Also a mini reprint of the Predator comic book #1 is included. Wow!
Vintage gumball machine with scattered colourful candies creating a playful study in primary colours and childhood nostalgia. Pure visual joy.
A surreal portrait of a woman whose head transforms into an orchestra of architecture and instruments — trumpets, pianos, and brass horns interwoven with city buildings and gears. Her bold orange lips and futuristic sunglasses echo the rhythm of creativity, while the golden sunset behind her reflects harmony between structure and soul. This striking vision embodies the fusion of music, mechanics, and imagination — a cathedral of sound and thought where emotion becomes pure, visual symphony.
For the pure visual joy of it, I made this graphically beautiful detailed study of a section of the main mast on the Mercator sailing ship in Oostende.
A lesson by an advanced student of RALPH M. PEARSON'S COURSES BY MAIL -- in original three-dimensional form design -- or designed realism. painted by Marguerite Paddock.
Date: 1960
Source Type: Postcard
Publisher, Printer, Photographer: Dexter Press (#86356)
Postmark: None
Collection: Steven R. Shook
Remark: THIS IS CREATIVE PAINTING
It interprets subject -- to get its reality (instead of merely copying surface facts) and builds all the parts into a unified design. It is designed realism instead of naturalism.
This design sense here combines the various elements of design studied separately in Mr. Pearson's PAINTING, MODELING and DRAWING COURSES by MAIL for amateurs and professionals. When once thoroughly absorbed, as in this case, design can be applied to abstract painting -- to "play pure visual music," or to semi-abstraction or designed realism. Design is the least understood element in visual art today; its age-old values have been largely forgotten. But history proves it functional and esthetic qualities are at least equally important with the vision and inspiration of the subject. On such solid foundations, a student builds his unique personal expression.
Mr. Pearson is author of the book,
THE NEW ART EDUCATION, Harper & Bros.
Bulletins describing the MAIL COURSES
by RALPH M. PEARSON are free on request.
DESIGN WORKSHOP, Nyack, N. Y.
Copyright 2012. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Although it is a repaint on the existing figure I love the paint app on it and the awesome box art! A pure visual feast! Also a mini reprint of the Predator comic book #1 is included. Wow!
White Rock’s railroad tracks bathed in sunset light and dramatic sun flares—those sun rays streaking across the rails are pure visual poetry. 🌇It's a magical moment when the sun kisses the horizon and the steel lines shimmer like fire.
From West Beach’s golden hour glow, these captures showcase the fiery brilliance that dances across Semiahmoo Bay. The sun flares streaking through the sky and bouncing off the water and rails add a cinematic touch that’s hard to beat.
Thank you for your visit and any faves or comments are always greatly appreciated! Have a great day!
~Sonja
These are all grown from bulbs.
Blue Iris, tulips and dwarf Daffodils...
The fragrance is heady (mostly from the dwarf Daffs), the sight pure visual pleasure, good for one's senses...
I prefer taking 'uplifting' images...life is tough enough, there is more than plenty of 'darkness' and 'Angst'...
I am not 'hiding' from reality, only refuse to only live with 'that', I want to show there IS still 'ANOTHER', beautiful, side to it... for those who care to look?
Hope this brings a bit of joy again, have a good day and thank you for your visit, so very much appreciated, Magda, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Flowers, bouquet, "blue Iris", Iris red, tulip, mix, yellow, mini-daffodils, leaves, design, studio, black-background, colour, square, Hasselblad, "Magda indigo"
In pure visual terms, and when appreciated in isolation, the new undercroft entrance is a great space. However, it is also unpleasantly noisy and stinks of canteen hot food which really isn't appealing, and the transition from here up to the Grand Gallery is, as Richard Murphy suggests, clumsy:
"The two staircases tempt the visitor with a hidden source of light but their timid design and apologetic location within the atrium contrasts with the magnificence of the space they reveal. The original entrance sequence gave a sense of arrival; now one is made to feel as if one is entering via the servants’ stairs."