Part of an assemblage I made last year.
24 January 2009
14 August 2007
Fireweed by Irena S.
Wonderful depth of field, color and composition. Evokes an intense emotional response, too - a sepia-toned melancholy and nostalgia.
11 July 2007
o, but grace, towards me, has not been vain, by tetheredto
Alack, there lies more peril in thine eye
Than twenty of their swords
Than twenty of their swords
09 July 2007
15 May 2007
night windmill, by narva3
I've always wanted to own a windmill. Maybe someday I'll buy a piece of land that already has one on it.
"Hours clot. Birds flap like passports. Fields explode with temper
Go look at all of tetheredto's photos; I promise you'll become a better artist in doing so.
31 January 2007
Waiting for the Sun, by Telzey
For children, the clock may as well be broken. Time for them is enormous, infinite. Summers last a lifetime. But then somewhere along the line, the clock is fixed, and the children are no longer children. They discover mortality and each and every tick goes by faster and faster. Every grain of sand drops with a thud, and they are horrified by the mindless certainty of it all. It's not fair, they think. Noone warned us. Is there nothing we can do?
04 January 2007
Revolution, by Tous les noms...
In today's Lenswork podcast, Brooks Jensen bemoans the fact that there appear to be few or no websites devoted to discussing the meaning of photographs. Tons of sites about techniques and equipment, but none playing the role of "internet docent," a tour guide to help place photographs in context. He argues that without context, our understanding of any particular photograph may be superficial. Personally, I don't believe this is always the case; some photos literally speak for themselves. But what about ones like this? How much context is necessary for a full appreciation? Do we need more than just the title? There seems to be some danger of limiting a work because it may be that too much context might become interpretation. This is a slippery slope. In the end, Jensen says that perhaps we as artists have to be our own docents, that it's up to us to place our work in a context that makes it easier to understand and appreciate.
28 December 2006
Mermaid, by Tom McFarlane
Once again, McFarlane simply rotates a capture ninety degrees clockwise and catapults the viewer into a different universe.
19 December 2006
No time like the past, by IrenaS
I love doing this kind of manipulation, and obviously a lot of other people do, too. But why? What is it about making an image look like a fifty-year-old photo that's been kicking around in somebody's dresser drawer for all that time? Part of the answer is that artists have always loved creating windows to new worlds. Personally, an image like this allows me to escape to a different time and place. I feel an emotional nostalgia for a place that never was, yet it feels as real as anything in my waking life. And that's it! Artists like IrenaS are dream makers. And to me, dreams are as essential as the air I breath.
13 December 2006
Safe-Harbor2, by Telzey
Photomanipulation collaboration by Telzey. Based on a photo by kunstkammer (Ray Fujioka).
12 December 2006
Ava and Andy, by Tom McFarlane
I'm not a fan of baby pics, but Tom has transcended the ordinary cute-baby photo. Those extraordinary eyes and the Mona Lisa smile convey a feeling of precocious intelligence, a knowing glance that says "I know that you know what I know."
11 December 2006
Between 2 jokes, by Tous les noms...
Tous les noms... is a very talented Parisian photographer who specializes in street portraiture. I appreciate his democratic approach to finding models: "Everyone is welcome. Everybody is interesting. Don't be shy."
fire bokeh, by marc_l'esperance
Strange creatures with twisted limbs of charred bark. Lots of beautiful nature photos today.
Natural Twist - Chantilly, by Marianne Le Carrour
Another common pattern in nature, reminds me of the shape of a hurricane on a weather satellite photo.
ice-crystals, by Nettan75
I used to think I wanted to be a scientist, and it always fascinated me how nature repeats the same patterns in completely different contexts. How feather-like these are.
"I'm afraid to say...", by Sandytrail
I'm surprised I don't see more shadows on flickr. This one seems especially poignant; the body language is wonderful.
07 December 2006
29 November 2006
The end is the beginning is the end, by IrenaS
Reminds me of Popeye with his huge forearms after eating spinach, but infinitely more strange and beautiful.
Dragonfly poetica, by cattycamehome
It's a rare species of bird
that refuses to be categorized.
Its song is barely audible.
It is like a dragonfly in a dream--
here, then there, then here again,
low-flying amber-wing darting upward
then out of sight.
And the dream has a pain in its heart
the wonders of which are manifold,
or so the story is told.
excerpt from "Dream On" by James Tate
that refuses to be categorized.
Its song is barely audible.
It is like a dragonfly in a dream--
here, then there, then here again,
low-flying amber-wing darting upward
then out of sight.
And the dream has a pain in its heart
the wonders of which are manifold,
or so the story is told.
excerpt from "Dream On" by James Tate
Lea13M, by Sylvestre001
This is whom I imagine Type O Negative was talking about in "My Girlfriend's Girlfriend."
27 November 2006
., by akiruna
There's been a long-running debate on the Flickr blog about whether artists should be allowed to upload photos of their work. Personally, I think it's an absurd argument - images are images and pixels are pixels. To try to distinguish between what is a "real" photo and what is not in the digital world is imho a futile exercise. For example, because akiruna painted this image, it would not qualify. But if this had been a weird puddle on a sidewalk and she snapped a photo, it would be kosher. Thus - my lack of concern for the origins of a particular work. The image in itself is what matters most.
26 November 2006
THOUGHTS OF YOUR FUTURE, by kwerfeldein
As long as I'm dwelling on my mortality... Something bothered me about it until I realized that it was the perfect symmetry - the bridge is a composite of the same image flipped. Very nice photomanipulation.
Grandpa 6, by EvilxElf
Expressive, heartwrenching candid portrait. Hard to look at this and not think that this might be me someday.
Bound for Distant Lands, by Telzey
Wonderfully textured manipulation that could easily be on the cover of an enya CD. Be sure to take a look at the original photo.
24 November 2006
. Dreaming Of The Winter Ships - Hibernation ., by 3amfromkyoto
One of the most beautiful self-portraits I've ever seen online (male or female), by Cambridge photographer Stuart Lee.
20 November 2006
Grand Ma, by Matsuo
A vintage photo captured by mistubako's grandfather. The entire set, Grand Pa Matsuo his Utopia, is worth the time to look at, as are mistubako's own photos.
winter, by gaubitsa
A wonderfully moody image that feels like it's 150 years old. Captured with a Holga toy camera.
15 November 2006
where's my (mind) ?, by POOR IMPULSE CONTROL
Erotic noir image. The focus on a lone glass on an empty table gives this composition a wonderful poignancy.
Vertical, by A. N.
Great color, composition, and bokeh. The emotional power of this image grows the longer I look at it.
life and death, by Fack to Bront
I've seen a lot of photos like this (all of which evoke the archetypal power of the tree), but this is one of the most beautiful.
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