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Jökulsárlón is a visual dream if you like landscapes or even if you don't....:) The sunset was extremely spectacular that evening and although the wind was too fierce for cool sunset reflection shots, it was still a real nice photographic moment...
"Your vision will become clear only when you look into your heart ... Who looks outside, dreams. Who looks inside, awakens."
-- Carl Gustav Jung
© John Phillips, USA. All rights reserved.
I'd like to share this panorama today to try and have a small break from some haunting images of Syrian refugees that I cannot get out of my head. The sunrise in this little village of Jamnik, Slovenia was mesmeraising and I hope it can provide a little rest to your thoughts.
Hoy me gustaria compartir este panorama para darle un breve descanso a mi mente que no deja de traerme imágenes desgarradoras de los refugiados sirios. El amanecer en la pequeña aldea de Jamnik, Eslovenia, fue cautivador y espero que os pueda dar un pequeño respiro visual y emocional.
Prints, workshops and more
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Model: Natalia
Location: St.Albert
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All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission.
© VanveenJF Photography
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HIT THE 'L' KEY FOR A BETTER VIEW! Thanks for the favs and comments. Much Appreciated.
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All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission.
© VanveenJF Photography
A visual dialogue between eras in the heart of the Eternal City.
This frame captures a young man on an electric scooter passing in front of a modern corten steel installation.
The perforated "ROMA" lettering acts as a contemporary filter, while the historic domes of the churches of Santa Maria di Loreto and Santissimo Nome di Maria rise majestically in the background.
This shot is a testament to the "human comedy" on the stage of daily life, where ancient architecture and modern urban mobility coexist under the dramatic Roman sky.
Documented during my ongoing exploration of Rome's street and documentary photography.
page five.
materials: printed card stock, blank paper ripped from a vintage book, masking tape, illustrations torn from vintage books, and a nameplate that came with a package of assorted sheets of printed card stock.
words: "boats and birds," by gregory and the hawk.
Dato che non penseremo mai nello stesso modo e vedremo la verità per frammenti e da diversi angoli di visuale, la regola della nostra condotta è la tolleranza
reciproca.
(Gandhi)
I convey my poetry visually because I'm so poor at in a written form. This was sunset from week ago which was truly epic. More to come from this outing.
“So, I said, when does the enchantment start? We were sitting side by side, facing the mountains. "It started when the earth was born." Her eyes were closed. Her face was golden in the setting sun. "It never stops. It is, always. It's just here.”
― Jerry Spinelli, Stargirl
As I told you before and in the last post , I do everyday one little illustration . Here you can see the starlings I saw today in front of my window, some flowers and that yellow girl is my vision of Amanda Gorman, the United States' first-ever youth poet laureate. She recited a powerful poem at the inauguration of President Joe Biden and Vice President Kamala Harris.
Here are some of her words.:
"When day comes we step out of the shade,
aflame and unafraid,
the new dawn blooms as we free it.
For there is always light,
if only we're brave enough to see it.
If only we're brave enough to be it."
I love that message of hope.
thank you www.flickr.com/photos/colorfulexpressions/ for making me pay attention to this moment.
Contacte visual Los encuentros con la fauna salvaje son siempre mágicos, pero cuando establecen contacto visual y además se muestran confiados y no huyen…Eso ya es lo máximo para nosotros como fotógrafos, y más con una lechuza campestre.
Les trobades amb la fauna salvatge són sempre màgics, però quan estableixen contacte visual i a més es mostren confiats i no fugen…Això ja és el màxim per a nosaltres com a fotògrafs, i més amb un mussol marí.
The encounters with wild animals are always magical, but when they make eye contact and also show confidence and don’t flee… That’s already the ultimate for us as photographers, especially with a short eared owl.
#nikonsD500 #sigma150600contemporary #nikonistas #svo #seobirdlife #natgeoyourshot #devesalbuferafoto #birding #albuferadevalencia @nikoneurope @nikonistas @sigmaphotospain @devesalbuferafoto @seobirdlife.cvalenciana @svornitologia
National Museum, Oslo – Cast Hall
Visitors to the new National Museum in Oslo may be surprised—and perhaps moved—to find a dedicated hall of plaster casts among the sleek, modern galleries. The presence of these replicas pays homage to a formative chapter in art education and museum history: a time before commercial travel, digital media, and visual saturation, when even well-educated Europeans could rarely, if ever, encounter the originals of world art.
In 1904, when painter Ivar Lund depicted the Interior of the National Gallery, cast halls served both pedagogical and cultural missions. They democratized access to Greco-Roman antiquity and Renaissance masterworks, offering a surrogate form of aesthetic communion. These casts were not dismissed as mere imitations; rather, they were prized as tools of knowledge—objects to be studied, copied, and internalized.
Importantly, many casts were made using molds taken directly from the originals. Classical sculptures in major European collections—such as the Louvre, the Vatican Museums, and the British Museum—were at times permitted to serve as sources for plaster molds, particularly in the 19th century. If viewers knew or believed that a cast had been taken from such a mold, that knowledge was often sufficient to establish the object’s authenticity in their eyes. Few would have fixated on the missing aura of the original.
Even today, in an era obsessed with provenance, attribution, and originality, the authenticity of so-called “originals” is far from guaranteed. In the murky world of dealers, restorers, and curators, forgeries and misattributions remain a known hazard. A museum label, even in the British Museum or the Met, is not a metaphysical guarantee of truth. What casts offer—paradoxically—is clarity: a frank acknowledgment of derivation and replication that frees the viewer to engage directly with the sculpture’s visual and formal language.
As Jeannine’s pencil drawing of the Nike of Samothrace (a cast of the Louvre original) reminds us, to draw is still to see. The museum provides paper and pencils and invites the public to try their hand at sketching under the motto "to draw is to see." The replication of the ancient masterpiece, no less than the act of sketching it, forms a bridge between observer and observed. It demands attention, patience, and fidelity—not to provenance, but to form.
The very presence of casts in a 21st-century museum affirms a deeper philosophy: that art’s value lies not only in originality but in transmission. That touchstones of cultural memory must remain physically accessible, even in duplicate. That learning still begins with looking—long and hard—and that beauty survives translation.
This text is a collaboration with Chat GPT.
Steel bends creating wondertul curves, repetition and pathways that lead me to the heart of this photograph. Mirrored ceilings pick and choose among elements to reflect and, in doing so, create a brilliant canvas of shape and color and lines. As hues morph across the frame, warm joins cool and firey hot to add a kick of high energy. Staring through my viewfinder, I was lost in this world for awhile.
www.roxanneoverton.com – where you will find more photography and information on my instructional and travel series photography books.
These are the ones! 6200 photo submissions to the OC Visual Arts Competition. I entered only a few this year because I traveled less due to moving, and some personal fitness goals. Feeling so privileged that these three made the cut . Can't wait to complete my 2016 photography / travel goals 😃