it may be said that we are unique like snowflakes — which turns out to not be quite unique, and very fractal — and that is sensible to approach other people as unique, in that being much better than an approach based on stereotype. however, the surroundings and situations would say that it is all too familiar, and consequently, the snowflake is going to trigger some memories in my past. that was the experience in visiting this couple from Serbia and Croatia (though 50+ years ago, when they left for France), I was transported in spirit of conversation and atmosphere — its essence, not its particulars — to when I was a kid and visiting relatives in the countryside. and therein lies one of the magics of multiculturalism: triggering a childhood memory from the yet-to-be-known people of other culture that have a big overlap, even with a very insular culture.
a feature of cities are to be lots of small parks to rest between errands, instead of a planned trup (like to Central Park). Place des Voges is such a landmark, but unassuming enough to make it a great resting place to then walk some more. peacefulness does come in little spurts, like the moment above. I feel a series of such moments in months to come.
Hiroshi Sugimoto took a very philosophical and strict approach to architectural photos with his celebrated "2x infinity" blurring of buildings. while blurring approaches work nicely with Frank Ghery's late work,they also welcome other photographic approaches: ones that are transformative and complimentary. this mobile photo seeks to do some of that, as a study, to work with the shapes — noted as a friend as "sensual" — while the penalty may be to "blur" the perception of a more classical architectural photo aspiring for reportage or recording, which also has a purpose.
one "last" swing through the Salton Sea. it's a magical place, and nothing best than the cathedral of the three trees at the Red Hill Marina. made it before sunset, but once the sun was below the mountains. magical as always.
invariably, at some level of detail, there is not much that makes a location different from another, that is, until the person(s) give it a personal touch. this is one of the aspect that has such an appeal about André Kertész's The Polaroids book: a personalization of/within his apartment that made it be anywhere, but singularly his at the same time. in some ways, this inspired me tostart an easy-go project that would be as limited, that is, to photograph things at home (and that of friends) which revealed a sort of Kerteszian flavor in the photograph: a personalization of something otherwise quotidian, or even mundane to most people. (to help with some sharing-but-not-really-into-the-interactive, a non-social & low-key instagram and tumblr were created.) the unexpected turn is that in visiting many places and experiencing friends places, that the idea came to be that, perhaps, one way approach city photography is to kind-of ignore the way that we are taught to see it to obviously declare its location, but rather, go after a larger-scale Kerteszian approach. perhaps this is the terrain of someone like Saul Leiter, or even as far back as Brassaï, though perhaps with greater severity — or anonymity. can't say that it easily works, or will it save the "lack of inspiration from San Francisco" (noted in the previous two posts). until then, I liked this accidental find in San Francisco.