My eye keeps finding more images for my Ghost Women series. This time, on the walls along the streets and alleyways of Barcelona.
In this one I was seeing two couples–but their relationships are quite different. Perhaps one couple (upper) has managed to find accommodation and contentedness while the other (lower) is dealing with resentments, fears, perhaps even abuse?
Can you see the face of self-destruction in this next photograph? Torn and disfigured…disappearing…perhaps due to unspeakable childhood traumas…the disintegrating effects of an addiction, maybe…
Apparently comfortable, happy and healthy in their own skins in this urban space–what are their 3000 personal stories?
All I want is respect…dignity…you know, all those standard human rights we all ought to enjoy…
High voltage 69…authorized personnel only…
In a bar…on the street…a furtive glance. But who is he, really? Perhaps just a mere phantom of your own personal opera?
Is she in pursuit of a superhero, maybe? But superheroes are often distracted, with other, grander (!?), things on their minds. Or maybe they just want to go out alone on the balcony for a pensive smoke now and then…
The march of progress continues along a southern section of Airport Road in Longmont, Colorado (as it does all along the entire Front Range). The constant drone of generators and the pop-pop-pop of the air guns as they relentlessly and ceaselessly drive nails into the wood framing…the sound of jobs…the sound of new homes in the making…the sound of a “healthy” economy.
These new apartments or condos are going up along Airport Road, on the southwestern outskirts of Longmont. Note how Nature (here, as exemplified by that sliver of a glimpse of Longs Peak on the far horizon) is slowly being boarded up. The storm clouds are gathering–no coincidence. A “worm” or “snake” in the foreground tempts our eye into the image:
Here is another, very similar, view. We still have the storm clouds and Nature in the distant background slowly being extinguished but, to this composition, I add a hilly foreground that rhymes with Longs Peak in a certain way–they are both mountains of rock and dirt, but the former is a result of short-term human economic activity, the latter a very, very long-term project of the geologic forces–plate tectonics–of the Earth:
I am very excited that I just licensed one of my images (above) to Flywheel Sports of New York City and, rather than on a typical website page, they used it in a most unusual way.
First, who is Flywheel Sports, you ask? Lets get that out of the way first.
Well, they are an up-and-coming sports-exercise company with a unique take on the more traditional stationary cycling classes you have probably already sweated, groaned, and screamed your way through. Flywheel has group cycling classes on high performance bikes that track exactly how hard you are working on a big “TorqBoard” for all to see (or not–your, and the instructor’s, prerogative). Looking at the numbers thus displayed, you can compete just with yourself, adjust your workout to your personal specific fitness goals, or you can compete against others. Groups can even compete against other groups…one Flywheel class versus another class…friends v. friends…enemies v. enemies. Upper body exercises can also be woven into the session. The competitive and motivational possibilities are limitless. And all of this accompanied by a super high-energy, pulsing, pounding musical sound track and top-notch super-fit instructors to keep you focused and majorly motivated.
It all sounds like a seriously fun and strenuous challenge (“Sounds dangerous. Count me in.” –Alan Shepard, in Top Gun). And since it may be coming to Denver soon, I just might get a chance to give it a whirl, so to speak.
Now, to the commercial use of the above abstract image of the Brooklyn Bridge…
They took my full file from the D800, which measures 7360 x 4912 pixels at 300 ppi (that’s a 24″ x 16″ print at 300dpi), and they blew it up…and up…and up… and UP! They eventually stretched it into what looks like a 10-foot by 30-foot giant wall poster. Pretty impressive! Kudos to their art folks for recognizing the possibilities here–it’s all about depicting motion, movement, energy, and so on.
Of course, the fact that it was an abstract image gives the printer a lot of leeway when it comes to going BIG. A tack-sharp landscape might not look quite as good at this size (although up on a highway billboard, with a viewing distance measured in the hundreds of feet, it just might).
Here are a couple of snaps of the finished product, as it now appears in the new Flywheel building in Brooklyn:
B&W Magazine, in their current issue (June, 2017, Number 121), just came out with a short article and three pages of images from my Orwellian New York portfolio. (Yes, it is indeed the June issue–they put it out waaay early.)
It was quite an honor to be selected and I am thrilled about it!
You can see the spread in hard copy if you pick up the magazine at your local large bookstore. Or, for the online version of the article at the B&W Magazine website, simply click your mouse arrow HERE.
And, finally…you can see even more images from this particular portfolio by clicking on the Galleries tab above and scrolling down to “NYC – An Orwellian View”.
One hundred years ago, a urinal (and, later, a Stieglitz photograph of that same urinal) caused quite a…uh…well…”splash” on the New York art scene.
Here is a wiki commons image of that iconic piece of white porcelain signed, in jest, by one “R. Mutt”:
Duchamp’s “Fountain” was rejected by the Society of Independent Artists (SIA) for their 1917 open exhibition even though the artist had paid the required entry fee. Surprise, surprise, surprise!
What was Marcel Duchamp really up to with this stunt? Well, apparently, it was both a practical joke and a challenge to conventional notions about the nature of art. It certainly prompted a lot of discourse–and burst blood vessels–among the highfalutin museum and gallery elite of the time. (With noses in the air and eyes averted, the SIA board euphemistically referred to the porcelain piss pail as a “bathroom appliance” in order to keep the scandal to a minimum.)
–Layering in PS: Played a lot with the placement of the three images within one another as well as the opacity of each layer.
–Camera: Sony RX100iv. Awesome little street camera–although the files don’t have near the adjustability of my Nikon D800 files (of course!) they are still pretty darn good coming from such a small package.
Three more for the portfolio, all from old, weathered and torn posters hanging on obscure walls…
“Disappearing USA Woman Haunted by Her Two Exs”:
“Torn From A Good Father”:
“The Scarlet Letters Of Our Times”:
2016 Black & White Magazine, Spotlight Award Winner! (Issue: June, 2017, #121)
All photographs on this website (unless otherwise indicated) were created by and are the property of Daniel R. Joder and may not be used for any purpose without permission. Most of the images you will find here are available for license or purchase. If you are interested in using one of my images for your website, or if you would like a print, please contact me directly (See the Contact and Purchase Prints buttons for more information).