Art, anything goes...

Coles Philips, American Illustrator
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The above is an abstract image from last spring from my Sony a6700 with the Sigma 30mm downsized for web from 6150 by 4100 pixels. And the below a crop showing full detail. This is sedimentary sandstone along a Pacific Ocean rocky shore. The weird circular erosion pits are termed tafoni When viewing landscapes for aesthetic forms, I've learned to allow my vision to sense beauty in fields of vision, after which I hone in on whatever caught attention. Then within a camera sensor's rectangular format, play with various positions till geometry feels best. Below is a small crop at 100% pixels.

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Today we went to the De Young muaeum in San Francisco to see this show: Tamara de Lempicka

I've always admired Art Deco in architecture but couldn't have named a painter who worked in that style. Tamara de Lempicka is a discovery for me. I have a ton of photos but will share just a few unless anyone wants to see more. I imagine there must be better photos of the work on their website.

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Not sure if we have a prohibition against posting nudes but there is one I thought was especially good.
 
Posted theses same images in another thread that fit well here too. One of the most vibrantly colorful natural subjects I've ever found that are especially jewel-like when freshly surf wettened at mid day hours in a nice sunny blue sky.

Our region has Franciscan Complex mélange rocks along a few of our Pacific Ocean shores where myriad varieties of colorful rocks erode out of coastal bluff rocky shores and then are smoothed and polished by surf action, providing amazing photography subjects. I have a significant body of valuable close-up work of such wet by surf stones that I've not yet made public and of which other photographers have yet to take notice because the shores have not yet been exposed by social media.

Downsized for web version from 6150 by 4100 pixel full originals. The aesthetic is much more evident at full image size showing fine detail as I focus stack blend shots at F5.0, the lens sharpest aperture and always tripod mounted and remotely Bluetooth shutter released. At F5.0, the field of sharp focus for each shot is less then the width of the purple shell. This composite required 36 total images that was automatically rapidly refocused between shots at just enough further distances by this a6700 model's software that David used to have to tediously guess manually one by one.

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100% pixels crop showing piece of polished purplish mussel shell.
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