I added sfumato to yesterday’s skeleton of lines, theoretically combining Leonardo DaVinci and Michelangelo’s choices in painting: soft, gradual changes in tone, with no outlines of Leonardo, and definite outlines of Michelangelo. There is an inside-out character to this part of the study compared with the initial stage:
Here is another shot of the curb that my friend Claudia McGill calls “the gift that keeps on giving.” There are no shadows, due to the overcast sky. It is rather drab compared with the other photos I’ve taken of the same scene: Same Shot Different Day and Night Shot: Red Curb.
I had this perfect shot of the only two clouds in the sky, and my only vantage point was obstructed by a TV antenna and a captive Martian. I like the shot anyway.
I never realized that Leonardo DaVinci (L) and Michelangelo di Lodovico Buonarroti Simoni (aka Michelangelo (M)) knew each other. They didn’t get along too well, apparently. From what I’ve read, I would rather have known Leonardo. He was so curious about everything. Michelangelo was more competitive and a bit of a snarky fellow.* L and […]
Yesterday’s post, Edgeless, was inspired by my reading of Leonardo DaVinci’s notes about using shadows instead of lines to separate insides and outsides of shapes. He claimed infinite gradations of shadings, and not outlines, define shapes in real life. This is particularly true in the way he painted and sketched expressions on faces. The painting […]
They said it would be partly cloudy today.
This is my red-curbed corner at night… in the rain. It is quite different from my other night shot. In the picture below, it really looks like nighttime. The ground is dark, the red is not the bright red of daytime. I venture to say that even if the brilliant white car headlight did not […]
The biography of Leonardo DaVinci that I am reading, has a passage that tells about his revelation that there are no lines in nature. Leonardo explained that there is an “infinite gradation of shades and blending of them, which does not allow precise borders.”* Apparently, Leonardo studied and wrote quite a bit about shadows and […]
The red and yellow background is more pleasing to me than the murky blue figure in the foreground. The muddiness arises on the top edge of the figure, upon contact with the brilliant yellow. It resolves to an unadulterated blue at the bottom of the paper. In a sense, the figure is at once, integrated […]
Although one might think photographing parking lot terrain is monotonous, there is always something new to see. The thin, man-made arrows (as opposed to the machine-applied parking space lines) might be a code that indicates an alteration to existing parking lot ‘lineage’ [rhymes with ‘signage’]. Perhaps the change was a transition from angled parking to […]
