This street is important to a few people I know, and also hold little significance.
A lot of fond memories came to be here. A lot of pain, too.
I hope you enjoy.
This street is important to a few people I know, and also hold little significance.
A lot of fond memories came to be here. A lot of pain, too.
I hope you enjoy.
This photo was taken for this challenge, but it was not planned. I’d figured I’d see something interesting, thought about how I could take a photo, got a rough idea, saw this, captured it. Easy. There were things that I saw that I could have pulled the camera out for and didn’t for some reason. I think not doing so paid off.
What I like about this is how it shows, quite clearly I feel, the effect wetness can have on a surface. It changes the appearance and the “feel” of the surface in a way that’s rather insignificant, yet interesting.
This is my submission into the three hundred-and-seventy-first Lens-Artists Photo Challenge. The theme for this one is “Street Details“.
The host of the Lens-Artists challenges cycles weekly between the following people:
This one is curated by Ritva. The next one is curated by Tina.
I recommend joining the community and participating in the challenges. They’re pretty straightforward, allow room for interpretation, and provide a good way to think about photography in general. If not, however, then at the very least you should check out what others submit to the challenges.
I hope you enjoy.
This photo.. I don’t know why I processed it, but evidently I did and it looks not great, to be honest. I do like how vague it is. There’s something there, but it could almost be anything. Almost.
I hope you enjoy.
Once again I find myself at Duoly Rob, drawn like a magnet. I could’ve made food to take for breakfast, but apparently I decided not to, for no good reason. But that’s what happens sometimes, most of the time.
Sitting here, blah blah blah. But I am sitting here and I’m writing, and I’ve just finished a rough draft of the thing I was meant to start editing (which I did). But now it’s ready for trimming and cutting down and rearranging, because I hadn’t written much about the work I was writing about, but now I have. And now I need to start working it into something readable. Something far less messy and sloppy. I don’t want it to be the most concise bit of writing out there, but I do want it to be readable without hurting the reader.
I’ve done this and this morning I was taking photos. It’s a bit of a grim day, but it’s also a pleasant day. The day is running in cycles and circles, and that’s nice. Or rather, it will be. There might be rain and there will be wind, and I’m sitting here, writing this out and I feel good. I feel good and today is gonna be just another day. It’ll be just another day in a series of days, but I’m gonna take it for what it is and I’m gonna do my best to enjoy and learn.
And now I don’t know what there is to say. I’ve been really tired over the past few weeks, but I’ve been having a good time. Things feel like they are getting better. I am optimistic, but I’m cautious, and specifically in that order. I’m anxious about where things go and how I should and should not feel, but I’m happy. For the first time in a really long time, I feel happy without any hangups. I think the last time I felt this way was last year, early on. I’m not sure. But it doesn’t matter.
But I’m working on my writing again and I’m doing photography again and not feeling like I need to force it. I’m practising bass and doing it without having to force myself, and I’m getting that itch to sit down and write more music. I want to draw more. I want to do the things that I’ve enjoyed so many times in my life, and I want to do them more. It feels like many years of lack of desire, or at least waning, and I think the timing of my seeing someone and these coming back to me is not coincidental. I’m hoping I’m not relying on someone else to drive my desire to create, and if I am I need to work out how to let myself drive my own desire.
I don’t want to write the way I’m writing this, but this is what is coming forward. But it’s a good time, and I’m looking forward to what comes next.
The time it took to write five-hundred words: 07:46:31
Bit of crap writing, but it was worth writing to me.
Written at Dirty Red.
Sometimes when I do these, they turn out really well. Not sure if this one turned out well, but I like how strongly motion is stated in this photo.
I hope you enjoy.
One listen.
A lot of this came easy, but I feel like I was writing against the song in parts. It’s difficult for me to quantify, but I feel like that’s how I wrote.
Jon Batiste, Chad Smith & Bill Laswell’s “Drop Away” is from The Process.
I hope you enjoy.
—
Percussion rolls, flows, seems to pause and move. Bass is there, calmly moving along, being busy and being low. And some vocals come in, repeat a phrase, “Drop Away”, and something like an organ is there, too. It probably is an organ, but it seems like an organ.
The vocals say other things, too. They sing words and phrases in short, clear phrases, looking for imagery and finding it, and seeing where it all sits.
Those keys are no longer sounding like an organ and they play these strikes and flickers, and suddenly it feels like a massive amount of noise. Some of it dissolves in bubbles and the moment is quiet, and then it picks up again. All that calm energy.
The vocals seem more spaced here, and they keep going, and then they pick up again, too. Everything flows and is wide and pushing against the sides, and all remains calm and driven. It’s dancing music, and suggestive and symbolic, and so much seems like imagery.
Intensity increases and those keys play harder. They play between strikes and stabs, rumbling quickly and slowly, and without a business, and then everything goes back to rolling.
“Drop away” the vocals repeat, and they seem to have some sort of stress in them. But maybe it’s not there. Maybe they’re just really about sound and imagery, and nothing else, because they are distinct, but they meld into the sounds around them. Everything melds together, and everything moves forward, loops and progresses, and comes to another moment of keys playing between strikes and stabs, but playing through them too. Then everything settles and fades away as the song ends.
This is one of those photos I want to retake, but see no reason to as it works well as it is. Just a good shot, I feel. Vague and specific, and suggestive of structure.
I hope you enjoy.
This isn’t a particularly good photo, but I like the difference in clouds here. There’s this alteration in textures that I like. I’m not sure why; I can’t explain it, but it appeals to me.
I hope you enjoy.
One listen.
Went in, did it, didn’t think too much. Some bits here and there, but otherwise… yeah. A short bit of writing for a short piece of music.
Jon Batiste, Chad Smith & Bill Laswell’s “B1” is from The Process.
I hope you enjoy.
—
Hums, moving and shrinking away. Soon keys roll in and play with a sense of beauty. They distort and become harsh, and peaceful, and they clash. They clash against themselves, and it creates this barrier, almost. This separation of memory.
It hurts and is harsh, but there’s a pushing past that, and sounds stir under the keys, or behind them, and they still play beautifully, even when they sink, and a hum returns, and everything fades away as the song ends.