I rarely, very rarely, do any still life photography. Today is a rare exception. My wife has a distinctive collection of antique stone fruits in an old woven wire bowl. Here is a low light, closeup view of it. The nice colors are the result of Fujifilm’s fine color science.
This photograph is of a runner who has briefly paused her workout to stretch. She’s looking back the way she came as if someone or something is following her. I find the image to be an easy illustration of what we all currently feel about the virus. Things will of course eventually get better but, for now, the fear persists.
Currently there is a wonderful exhibit of Turner artwork at the Mystic Museum in Connecticut, USA. I was busily wandering around taking photographs of the show when I stumbled upon this lady leaning idly against a couch near the entrance. The juxtaposition of her yawn and the Turner information was too good to miss.
Standing at the door of death isn’t pleasant. It’s filled with pain, regret and an uneasy feeling you’d rather not be there. Everyone on this small rock we humans call home will die. It’s a given…but, all things being equal I’d rather sit by the water and look at birds.
She was squirming all over the place but the love in her eyes told a quieter story.
I’ve been to this place hundreds of times. It’s land that was once owned by a old relative of mine who loved growing things, especially trees. I’m embarrassed to say in spite of all those visits, I never really “saw” those magnificent trees. In this photograph my wife is touching one. To me, it looks like she’s patting the universe.
I know, I know drawing on buildings is frowned on but, I would contend that this chalk landscape on our grungy Park Street subway entrance is someone’s desire to make the place a little happier and to a large extent they succeeded.
It was a gloomy, cool, rain spitting day and I was on my way to the Park Street subway station when I say this chalk drawing on one of its grubby walls. All of a sudden the sun came out.
Not my usual Boston-centric street-photograph but rather a west coast shot of some friends talking beside the sea in Santa Barbara, California. The reason I’ve included it here is that it can serve as an example of how a photo can transition from one genre to another in post processing.
When this image started out, it was in color and exposed in a way that my friends’ features were clearly visible. By converting it to monochrome and making it a silhouette, the abstract nature of the composition is highlighted, made even more striking by the arch encircling them.
Hope you like it.
As we walked past this scene this morning the world turned happy.