Own the future of photography

Giverny - Monets Garden (Part 1)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

Giverny - Monets Garden (Part 2)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

Giverny - Monets Garden (Part 3)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

Giverny - Monets Garden (Part 4)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

Giverny - Monets Garden (Part 5)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

Talacre Coast

markmcneill.eth

Coastal views from north Wales trying to use nature as the foreground against the old lighthouse

Off Shore

friedchickensandwich.eth

I think Ferris Bueller said it best “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it” Once a common sight before I started my life in culinary arts, now when I see a surfboard I transcend about 15 years back until the last time I got to use one. Yet during this journey, I see all the dreams I achieved by changing so much of my life and offering my time to sacrifice for progression, because to me that's what dreams are sacrifices.

Magnifique

fotonugget.eth

A portrait of a young hausa girl from the Northern Part of Nigeria during the Durbar Festival which has been in existence for over 500 years & this beautiful festival still exist.

WALKER HAVANA

aaronsosa.eth

Children playing on the Havana Malecon Havana - Cuba 2007 35mm Negative scanned Size: 5000px x 3290px 300 DPI

The window to the soul

sorkhe.eth

My style revolves around evoking mood, allowing the audience to connect with the poetic essence of my art more deeply. I consistently prioritize highlighting social issues by conveying profound abstract emotions and capturing delicate expressions in the eyes of my models. “the eye is the window to the soul”

Señor de los Milagros

edgestretching.eth

Home is… where we are. This picture was shot in Milano, my birth town, but the festivity was all but Italian... Señor de los Milagros: Every year in October, hundreds of thousands of pilgrims from all walks of life participate in a religious procession honoring the image through the streets of downtown Lima (Peru). The procession route takes approximately 20 hours to complete. In this case, it only toured the Milano city center in much less time.