Photo of the day

@Helveticum - evening H. - Malaga I think - my take on the letters between Abelard and Heloise - which I was reading at the time. My partner considers it faintly ridiculous that I even have a category in my mind entitled 'my favourite medieval philosophers' but Peter Abelard is high on the list. Not as good as Duns Scotus though. Leica and film.

SR-MalagaMay2014-13.jpg

Yours - I.

@Barry Giddens
 
I've been traveling and not really checking the boards. Here's my fave from yesterday in Bali. Hope you can see it.
1625a5bf0c565db2da87a73fbcc447b2.jpg

https://flic.kr/p/XuFXHk


Sent from my iPhone using Tapatalk
 
@Helveticum - evening H. - Malaga I think - my take on the letters between Abelard and Heloise - which I was reading at the time. My partner considers it faintly ridiculous that I even have a category in my mind entitled 'my favourite medieval philosophers' but Peter Abelard is high on the list. Not as good as Duns Scotus though. Leica and film.

View attachment 29095

Yours - I.

@Barry Giddens
Great image Iain. Everyone should have a favourite medieval philosopher.
 
@Helveticum - evening H. - Malaga I think - my take on the letters between Abelard and Heloise - which I was reading at the time. My partner considers it faintly ridiculous that I even have a category in my mind entitled 'my favourite medieval philosophers' but Peter Abelard is high on the list. Not as good as Duns Scotus though. Leica and film.

View attachment 29095

Yours - I.

@Barry Giddens
Fantastic!
 
@Helveticum - evening H. - After Abelard and Heloise - street photography as interpretive. A deconstructed elephant - work with me. A building site in Palma de Mallorca. I think technically I probably broke into the place. A bit of fence climbing - no bolt cutters involved. There was nobody around so it wasn't an issue. I think it was about 6 in the morning - sun up anyway. Beautiful light. Around dawn on a Sunday morning, which in any back street in any Spanish city is the quietest part of the week.


SR-PalmaMay-8.jpg

Leica and film. Yours - I.

@Barry Giddens @William Dobson
 
@Helveticum - evening H. - After Abelard and Heloise - street photography as interpretive. A deconstructed elephant - work with me. A building site in Palma de Mallorca. I think technically I probably broke into the place. A bit of fence climbing - no bolt cutters involved. There was nobody around so it wasn't an issue. I think it was about 6 in the morning - sun up anyway. Beautiful light. Around dawn on a Sunday morning, which in any back street in any Spanish city is the quietest part of the week.


View attachment 29297

Leica and film. Yours - I.

@Barry Giddens @William Dobson
That's actually a little hypnotic Iain.
 
@Helveticum - evening H. - After Abelard and Heloise - street photography as interpretive. A deconstructed elephant - work with me. A building site in Palma de Mallorca. I think technically I probably broke into the place. A bit of fence climbing - no bolt cutters involved. There was nobody around so it wasn't an issue. I think it was about 6 in the morning - sun up anyway. Beautiful light. Around dawn on a Sunday morning, which in any back street in any Spanish city is the quietest part of the week.


View attachment 29297

Leica and film. Yours - I.

@Barry Giddens @William Dobson
Far out man!
 
Yes I see it Iain. Did it strike you immediately when you were in situ?

B - no to be honest It didn't until editing the film. I obviously liked it enough to take its picture - I think the shape initially and the fact it seemed to be framed already for you. When I get my film back from the lab - the negatives are in sheets and there is a cd with scans. I start with looking at the negs on a light-box with a lupe. Upside down. This may sound odd but it's a technique I first heard mentioned by HCB. It really works if you are editing your own pictures - it breaks the link from what you saw at the time and allows you to neutrally - or as much as possible - look at the merits of composition, movement or shape - whatever. I'll attach an example. So - I have to admit that I - literally and figuratively - failed to see the elephant in the room. Haha haha.


SR-Madrid2014-5.jpg

Madrid - Have a look at this picture for a bit and then turn it through 180 degrees and look again. You'll see what I mean about looking at your negs upside down. It's a completely different picture. Yours - I.

@Helveticum
 
B - no to be honest It didn't until editing the film. I obviously liked it enough to take its picture - I think the shape initially and the fact it seemed to be framed already for you. When I get my film back from the lab - the negatives are in sheets and there is a cd with scans. I start with looking at the negs on a light-box with a lupe. Upside down. This may sound odd but it's a technique I first heard mentioned by HCB. It really works if you are editing your own pictures - it breaks the link from what you saw at the time and allows you to neutrally - or as much as possible - look at the merits of composition, movement or shape - whatever. I'll attach an example. So - I have to admit that I - literally and figuratively - failed to see the elephant in the room. Haha haha.


View attachment 29332

Madrid - Have a look at this picture for a bit and then turn it through 180 degrees and look again. You'll see what I mean about looking at your negs upside down. It's a completely different picture. Yours - I.

@Helveticum
That's very interesting Iain. And I literally see what your saying. Is it because we are somehow programmed to look at content rather than composition, say, or contrast? When I flipped the photo I certainly took more notice of the texture of the image. The shapes within shapes.
 
B - no to be honest It didn't until editing the film. I obviously liked it enough to take its picture - I think the shape initially and the fact it seemed to be framed already for you. When I get my film back from the lab - the negatives are in sheets and there is a cd with scans. I start with looking at the negs on a light-box with a lupe. Upside down. This may sound odd but it's a technique I first heard mentioned by HCB. It really works if you are editing your own pictures - it breaks the link from what you saw at the time and allows you to neutrally - or as much as possible - look at the merits of composition, movement or shape - whatever. I'll attach an example. So - I have to admit that I - literally and figuratively - failed to see the elephant in the room. Haha haha.


View attachment 29332

Madrid - Have a look at this picture for a bit and then turn it through 180 degrees and look again. You'll see what I mean about looking at your negs upside down. It's a completely different picture. Yours - I.

@Helveticum
That's really nice.
 
@Olie29 - my post inspired by yours.

SR -Madrid12-1-24.jpg

Calligraphy - much softer but much the same. A detail from Madrid - a spot that is reworked frequently. You need to check often to see what's going on. I agree completely with @William Dobson - some of the best contemporary art you are going to see can be called graffiti. Tags and calligraphy - these are co-joined concepts for me, stencils, whatever. On the right of this picture - what can you conjure with a single line? Have a look at classical Arabic calligraphy - particularly the Kufic script. The latter is angular like the work you have shown. It reads right to left. Generally it's only used for Koranic references but it's a beautiful script. Yours - I.

@Barry Giddens - another good example of a picture that only showed its value up-side down.
 
Back
Top Bottom