One A Day, Day 65: Frame of reference. In the continuing story of objects arriving at the studio some items arrive in a state that offer some great possibilities yet are not quite...

Timmers Loc: San Antonio Texas.

Frame of reference.

In the continuing story of objects arriving at the studio some items arrive in a state that offer some great possibilities yet are not quite ready to be put to use.

One such object was a large ornate gold leaf frame with detail a top.

I was certain that I did not want to suspend this object from lines to hang from above, so I set to building a frame support. The green screen frame in front was to accommodate another photographer's request, as so often happens he never showed for his session. The green frame will be replaced for a much better accessory that is in the works.

Seizing the moment I did a simple set up in the studio that incorporated mirrors. One you see to the left while the other to the right is out of view but reflecting the occurring seen in the mirror to the left. I did not like the white of the mirror sup[port on the left and so after I removed the green cover cloth and gave the presentation stand several coats of matt black spray paint.

Thank the huge Salvation Army Store in downtown San Antonio for the strange collection of objects they house. Such as the rather phallic object protruding from the space in front of the frame, I'm like a crow, I arrive and I am driven in a state of wonderment at the possibilities of all the odd objects that rest haphazardly on the shelves.

And please don't get the wrong impression of my out of control spend thrift state, no I am a rag picker from a long time, essentially a large crow, but treasures need not be shiny to be acquired. It really is a good thing that I live in an industrial space with a huge storage space the size of a small home. So when the people down the street propped a perfectly good Mickey Mouse atop there trash can what was I to do but take him in and give him a new cardboard box to live in high up top a shelf, Shamo went into the box next to Mickey in the 'small stuffed animals' box. Next to Mickey is a huge box made from two reworked large boxes that has written across it as simply "BEAR". He is about five foot tall, quite a bear buddy!

So now you know from wear all the 'clutter' in my 'snap shots' comes from.

To finish, I was saying good by to VADA when my crow eye spied a finely flattened Pepsi can in the street, without hesitation I retrieved it and held it up. VADA asked what did I have in my hand? Mertz, I found a Mertz! VADA had an amused look on her face, "No really! It is a Mertz, truly!" So out came her large as the palm of your hand cell phone and as I spelled Mertz she plugged it into her phone. "It says it's a sausage made and sold in San Antonio," she relayed.

It is NOT, this is a Mertz," I stated emphatically! "So identified by the great German constructionist artist Kurt Schwitters right around the early pre WW I war. The Nazi's hated him so he sneaked off to England where he re-constructed his home The MertzBau! Look up Kurt Schwitters* on that idiot Google search and you will find ol' Kurt Schwitters!" She did, and he was and so I took the Mertz into the studio as if Marcel Duchamp had presented it to me and said in a most absurd manner, "Keep this Mertz relic and honor it in remembrance of Kurt!" Expect it to be more clutter in a future image!

That last frame marked LHOOQ! Duchampian French bit loosely translated but conservative version is "My she has a hot ass!"

* Kurt Schwitters: https://en.wikipedia.org/wiki/Kurt_Schwitters

(Download)

(Download)

Fond memory of Marcel Duchamp and Man Ray LHOOQ!

(Download)

Nikonman Loc: Harrogate. North Yorkshire. UK

Next Day 70?

sb Loc: Florida's East Coast

Lovely set!

BboH Loc: s of 2/21, Ellicott City, MD

Do like this set

Timmers Loc: San Antonio Texas.

Nikonman wrote:

Next Day 70?

This is Day 65, next is Day 66, then comes Day 70 in a few. What is it that you are asking.

I find on this board people posting questions that are so short and that lack in any referencing other than what is in their mind so difficult to follow or understand. This effect is due to the general condition of the mind to be ensnared by too much internal dialogue. I know this to be true because I have control of internal dialogue. This is what higher education is suppose to help many people to master, the art of thinking.

I was lucky in a way, because I had an event in my life where I died and in the returning I lacked internal dialogue. Internal dialogue is a part of learning to speak and has at it's root language. When I returned to this 'mortal coil' I had no language but was then about 8 or 10 years of age. As I learned to speak I gained knowledge of language but more importantly I learned that uttering words one was doing in the world, that doing is called by many as 'doing magic'. Doing magic is the same as constructing and remaking what is called reality.

The reason I do photography is to do what the Fay do, slow or appear to stop the world. It is where the super hero The Flash can be found in it's story of legends. But, humans do magic, they construct this reality in a time frame that they choose. The Fay live in another dimension where time is occurring quicker and yet lasts for more duration. Could that humans could learn from the Fay*.

The people of the Fay are what humans call fairies. Cats have eyes that 'see' the Fay when they visit this time continuum constructed by human kind; that is what cats 'see' when they get momentarily distracted by some unseen thing in the world.

Timmers Loc: San Antonio Texas.

Thank you. It is true, she does have a hot one!

Timmers Loc: San Antonio Texas.

BboH wrote:

Do like this set

I totally agree with you! When I am making a set of images that 'work' I get a certain sense or feeling while the work develops/evolves.

This set, though exploratory, was telling me that the essential work that I had put into it was evolving.

That is why the 'Frame of Reference' sits waiting in the storage space for the correct time to become an important teacher for me to discover. It is far from complete.

The new apartment remodeling has the potential to resolve this static sleep.

Rab-Eye Loc: Indiana

The foreground object in most of these distracts my eye. Without that, I think this is some of your best work.

Rab-Eye Loc: Indiana

The foreground object in most of these distracts my eye. Without that, I think this is some of your best work.

JohnFrim Loc: Somewhere in the Great White North.

Rab-Eye wrote:

The foreground object in most of these distracts my eye. Without that, I think this is some of your best work.

I agree with the comment that these may be some of the best you have posted. But I would suggest that the face netting distracts from your model’s lovely face.

Timmers Loc: San Antonio Texas.

What is wrong with the picture?
The trolls will tell you.
But do they know?
It is often a way to distract viewers from the obvious.
It is quite simply: When the observed becomes the observing.

In making erotic photographic images one can believe that the work is about the pure representation of the female form, that idea is of no interest to me, it simply comes with the package of nude photography. Purity is not my interest, mine is that of the voyeur, the purist who acknowledges that which becomes prurient.

For much to long the 'male gaze' has been subject to a form of distance, something to be denied, refused, gender specific. In that line of though come a more insidious denial, that women are objectified by the male gaze. Objectifications is certainly a true, there is no dough about that truth, but the lie is that sexually powerful women are some how victims. This is such the absurdity. There be power in the control women get from manipulating men by way of the male gaze. These women encourage this state, make it their own, gain strength and raw power from this desire.

Some women have learned to morph their organs to capitalize on this representation. Distention of their display causes arousal. More to the point, they game their display, and teasing becomes the focus of both sexes desire.

Running a group session I often will not do images except as a purpose for future use in advertising of workshop or group sessions. While doing these images it can became clear to me that I was the subject of the models erotic arousal. I was the target of her desire, but not only me for the collective action is the arousal of any and all males having succumbed to this state of the male gaze.

VADA had warned me of this state of affaires with several of the models with whom I work. In a way, the warning included that woman making the warning as well.
It is the reality of the work that I do.
It is at the core of my objectification even when I am clothed.

Objectification is a two way street, it is in the nature of this work that men do, yet to think that women are not in the driver's seat is to beg the question "Who's driving?"

When the observed becomes the observing.

(Download)

dsmeltz Loc: Philadelphia

Timmers wrote:

What is wrong with the picture?
The trolls will tell you.
But do they know?
It is often a way to distract viewers from the obvious.
It is quite simply: When the observed becomes the observing.

In making erotic photographic images one can believe that the work is about the pure representation of the female form, that idea is of no interest to me, it simply comes with the package of nude photography. Purity is not my interest, mine is that of the voyeur, the purist who acknowledges that which becomes prurient.

For much to long the 'male gaze' has been subject to a form of distance, something to be denied, refused, gender specific. In that line of though come a more insidious denial, that women are objectified by the male gaze. Objectifications is certainly a true, there is no dough about that truth, but the lie is that sexually powerful women are some how victims. This is such the absurdity. There be power in the control women get from manipulating men by way of the male gaze. These women encourage this state, make it their own, gain strength and raw power from this desire.

Some women have learned to morph their organs to capitalize on this representation. Distention of their display causes arousal. More to the point, they game their display, and teasing becomes the focus of both sexes desire.

Running a group session I often will not do images except as a purpose for future use in advertising of workshop or group sessions. While doing these images it can became clear to me that I was the subject of the models erotic arousal. I was the target of her desire, but not only me for the collective action is the arousal of any and all males having succumbed to this state of the male gaze.

VADA had warned me of this state of affaires with several of the models with whom I work. In a way, the warning included that woman making the warning as well.
It is the reality of the work that I do.
It is at the core of my objectification even when I am clothed.

Objectification is a two way street, it is in the nature of this work that men do, yet to think that women are not in the driver's seat is to beg the question "Who's driving?"

When the observed becomes the observing.

What is wrong with the picture? br The trolls wil... (show quote)

"Oh, what a noble mind is here o'erthrown!—. The courtier's, soldier's, scholar's, eye, tongue, ... Th' observed of all observers, quite, quite down!"
Ophilia Hamlet IIIi

Timmers Loc: San Antonio Texas.

dsmeltz wrote:

"Oh, what a noble mind is here o'erthrown!—. The courtier's, soldier's, scholar's, eye, tongue, ... Th' observed of all observers, quite, quite down!"
Ophilia Hamlet IIIi

How wonderful of you to send this, those on the Hog will most likely enjoy these quotes.

For me they might as well be in Olmec as I am dyslexic, and this form of writing and poetry in general is beyond the scope of my mental processing. So I have no way to understand what is written here.