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A View from the Edge of the Milky Way Galaxy #9, Edit N, Science Fiction Outer Space Photography by Nawfal Johnson

Title: “AVFTEOTMWG #9, EDIT N”.

Creation Date: 23 June 19

Copyright 2019 Nawfal Johnson

All Rights Reserved.
The Galaxy: Milky Way.

Series: “A View from the Edge of the Milky Way Galaxy.” (2018 – 2019)

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☆ You can buy a museum-quality print of this Artwork from my Imagekind sales gallery website, just click on the following link :

https://www.imagekind.com/AVFTEOTMWG-9-Edit-N_art?imid=bc7c45d6-010a-4e73-bcd6-84faf96fdc95


AVFTEOTMWG #9, Edit N, Framed and on a Wall!


AVFTEOTMWG #9, Edit N, in Canvas on a wall, and Canvas Artwork Sizes and Pricing!


“The term Milky Way is a translation of the Latin via lactea, from the Greek γαλαξίας κύκλος (galaxías kýklos, “milky circle”). From Earth, the Milky Way appears as a band because its disk-shaped structure is viewed from within. Galileo Galilei first resolved the band of light into individual stars with his telescope in 1610. Until the early 1920s, most astronomers thought that the Milky Way contained all the stars in the Universe. Following the 1920 Great Debate between the astronomers Harlow Shapley and Heber Curtis, observations by Edwin Hubble showed that the Milky Way is just one of many galaxies. The Milky Way is a barred spiral galaxy with a diameter between 150,000 and 200,000 light-years (ly). It is estimated to contain 100–400 billion stars. There are probably at least 100 billion planets in the Milky Way. The Solar System is located within the disk, 26,490 (± 100) light-years from the Galactic Center, on the inner edge of the Orion Arm, one of the spiral-shaped concentrations of gas and dust. The stars in the innermost 10,000 light-years form a bulge and one or more bars that radiate from the bulge. The galactic center is an intense radio source known as Sagittarius A*, likely a supermassive black hole of 4.100 (± 0.034) million solar masses.”

Source: https://en.m.wikipedia.org/wiki/Milky_Way
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Tags:
#ScienceFictionPhotography, #space, #universe, #galaxy, #solarsystem, #stars, #planets, #edge, #MilkyWay, #NawfalJohnsonNur, #Abstractionist, #AbstractExpressionism, #Hubble, #galacticcenter, #Shapley, #Curtis, #GreatDebate, #AlphaQuadrant, #Astronomy, #vialactea, #galaxíaskýklos, #RedGiants, #SpaceRocks, #CosmicLights, #imagekind,

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ABSTRACT LIGHT STREAKS #407, Edit I Abstract Art Photography by Nawfal Johnson

Title: “ABSTRACT LIGHT STREAKS #407, Edit I”.

Year: 2019.

By: Nawfal Johnson.

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☆ Here’s how You can Help Me Now! Click on the Following Link and Buy my Fine Art Photography in Gallery-Quality Prints and Canvas:

https://www.imagekind.com/Abstract-Light-Streaks-407-Edit-I_art?imid=cb8139d1-b091-4d09-830a-676c013efa78

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☆Subject:

#Poetry of Moving Lights

☆Photography Categories:

#Long-exposure, #Nighttime Photography.

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Tags:
#chaotic, #abstruse, #action, #AMBIDEXTROUS, #black, #complex, #conceptual, #deep, #entangled, #explosively, #expressionism, #galaxy, #horror, #hypothetical, #ideal, #illuminati, #indefinite, #infinite, #intellectual, #lightstreaks666, #longexposure, #lowlight, #Malaysia, #mirrored, #Multidimensional, #MultiUniverse, #NawfalJohnson, #NIGHTMARE, #nighttimephotography, #nonconcrete, #orange, #OrderChaosControl, #outerspace, #Penang, #philosophical, #Physics, #Pollock, #Quantum, #quasars, #recondite, #red, #RorschachLightStreaksArt, #Serpentine, #Serpentis, #StarGate, #StephenKing, #Streetlights, #StringTheory, #symmetry, #theoretical, #transcendent, #transcendental, #unreal, #UrbanLightatNightPhotography, #urbantraffic, #white, #XXX, #yellow, #Poetry, #MasterofLight, #other, #theworldistotallyfuckedupbeyondallrepair, #Rorschach, #psychedelic, #DarthPlagueis,

“SHELLS & SANDSTONE” – My new e-Folio

“SHELLS & SANDSTONE” Fine Art Photography, ebook by Nawfal Nur, now available!

Hey, sorry for the blatent self-advertising, but if I don’t toot my own horn, I know for a fact that no one else will, so I hope I’m tooting a loud enough horn to get a least a few folks to hear me.

Hi All!

I have released a new work, out into the world…

You can get to the site where I’m offering this work, by clicking this link:
SHELLS & SANDSTONE

SHELLS & SANDSTONE,  a new e-Folio photography ebook by Nawfal Nur.

"SHELLS & SANDSTONE" by Nawfal Nur, 2010

March Castle Ruins, v5, Edit C

 

March Castle Ruins, v5, Edit C, originally uploaded by fine-grain.

This image is a “constructed image” of a Sci-Fi, or, Medieval type of Genre. All parts of the photograph are real, except the water.

The castle ruins and red sandstone landmass, are models that I made (sculpted/formed) and painted. The surface is made to look weather-worn and ancient.

The photograph title reflects that I made this image in March of this year (2007).

Lighting for this “macro-landscape” setting is tricky, but not so difficult if well thought out.

The important thing for me when doing these types of multi-medium artworks is that when I construct it, the parts of the image becomes a story, or a History.

Paint the World….with Truth?

Pigeon on Ledge-IMG 2418, Edit B-np

Yes, wouldn’t the “truth” be nice…

I’m a firm believer in the standard “X-Files” tagline: “The Truth is Out There!” But believe me, fellow brothers and sisters in Art, it is up to you to find it!

Well, as you may already have guessed, this is turning out to be absolutely different from what you thought it would be, at least, according to the “title” of the journal entry.

First, however, let me tell you about this image: It is a pigeon, of course, standing on the ledge of a very old, British Colonial, row house in Penang, more specifically, Georgetown.

These colorful shots of old houses is a new series I’m working on: I’m thinking of calling the series, “Distinctive Georgetown,” or something like that. My file of images is building in this filing cabinet of a photo-series – I better name the Series soon.

This is a macro detail of an old house on the corner of Jalan Irving and Jalan Krian.

As surreal as it sounds to me now, I was interviewed tonight on a local Radio show, and I think what I responded with to this questions, “What is it about a scene that makes you want to take a photograph?” – was pretty spot-on (my ‘approximate’ answer is below).

“For me,” I said, “I think very macroscopically, even when working on this Historic Preservation self-assignment. I look at the details and compose the details, the composition, the context of the image in my heart and mind first. If it seems like a worthwhile scene to work on, then I get my camera out, and I work on the shot I had developed in my mind.”

That’s a pretty close word-for-word, at least as far as I remember. My wife would probably say, “NONSENSE!” Oh…Not “nonsense” to my interview answer, but to my skills of listening and remembering. I think I have remarkable listening skills. She’s perhaps blinded by her own bias: She says I choose not to listen to her sometimes, and I tell her that it is a skill I’ve developed over the years, called “Selective Listening!” She’s not amused! I think it’s a hell’of’a skill and I’m considering offering it as a Short-Course for husbands of all time zones!

My Photography is not necessarily the “truth” – it is more closely linked to my Painted Version of the Truth! After all, there is only one reality, but for Photographic Artists, we provide the context for which that “truth“, that “reality“, is presented in the frame of a single shot at a particular time.

In my “Distinctive Georgetown” photographs, it is a close representation of “reality” but with my twist on each scene. That is what artists do, right, reveal their own personal vision to the canvas, the rock, the film, the print, or whatever.

In my next journal entry, I may discuss another type of “truth” that ALL Artists need to be on the lookout for and protect themselves against, and that “truth” is the sugar-coated kind, where the people you come across could be your savior, or the devil that stabs you in the back! And sometimes, if you’re not careful, they appear as your savior, then reveal themselves to you as the devil, their real identity.

Like I said, MAYBE, I’ll cover that topic next time. If I can perhaps, save one (or more) artists/photographers, from making mistakes that I’ve made, by telling a simple, if not, hard-learned tale of misery and the agony of deceit and treachery, then, it may be a tale worth telling…or at least I may highlight the finer points of the lesson….Mysterious? Yes… That’s OK…

More later.

Can You Feel It?, Edit C

The camera is superior to the eye, and the photograph can, and ideally should, portray the world more graphic than reality itself.” Andreas Feininger (1906 – 1999)

 Can You Feel It?, Edit C, originally uploaded by fine-grain.

“Can You Feel It” is obviously about texture. The original is quite colorful and nice, but I wanted you to “feel” the photograph by creating this version, in this way. The rough textured wall, the smooth metal on the grille, the sharp barbed wire on the water pipe, the battered, gravel, asphalt road in front of the door. So…”can you feel it?”

Ball-Splash-IMG_1922

Ball-Splash-IMG_1922, originally uploaded by fine-grain.

In photography, the smallest thing can be a great subject. The little, human detail can become a Leitmotiv (recurring phrase or theme in a work of art).” Henri Cartier-Bresson

This shot combines Physics (waves, collisions), Art (form, color, design), and Photography (High-Speed, Stop Action, Macro). This is a prime example of Action & Reaction, Cause & Effect. The Waves in this image are, I suspect, the “recurring phrase” that holds the water droplet image together, and links it to my other water droplet images.

Abstract Photography or an Abstract Mind!

Updated Post: 4 March 2009:  Well, if I can’t find a way to change the url for this post, then I guess it will remain as is, but the topic of this post has drastically changed.

Yes, these are my Abstract Photographs.  And yes, if anyone has the desire to contact me for a purchase, I am very happy to discuss details:  Please send me a note.

Nevertheless, I once heard a photographer advise, “don’t do abstracts because no one loves them but the artist.” 

Is this true?  I don’t think so, but it may just take like-minded people to enjoy particular types of abstract work.

I could say the same thing about people photography:  I see an overabundance of really horribly (technically and interest-wise) designed people photographs, but I don’t go around telling people “don’t take photographs of people because no one will love them but the artist.” 

Perhaps it is just important to have an “abstract mind” to appreciate abstract work?  Could be…

These are abstract times…maybe people will start loving my work.

Just a few abstract thoughts for this update…

“BLUE” Photographic Series

The “BLUE” Photographic Series - Images for Sale by Nawfal Nur

 

Hi All! I just wanted to mention that I now have my “BLUE” Photography Series on-line, and the photographs in this collection are for sale as prints and posters. Also, Royalty Free Licenses for these images can be purchased as hi-res digital files.

Please have a look: If you want to purchase a print or poster of a different size, one that is not listed, then please let me know and I’ll make it available for you. Click on the photo above, or here, to go to the “BLUE” Series Gallery to see the entire group of photographs. Thank You!

New High-Key Floral

Honolulu Creeper, v9July07-wp

“Honolulu Creeper, 9 July 07”

Actually, I don’t have much to say today; however, I thought I should put up a new work so that you know that I have not fallen off the face of the planet – still here!

Live long and prosper!”

 

The Heavy Machines Portfolio

My best work is often almost unconscious and occurs ahead of my ability to understand it.” -Sam Abell, “Stay This Moment : The Photographs of Sam Abell” by Sam Abell (Photographer), Robert E. Gilka

Heavy Crane with Rainbow, v1-HDR, Edit B, Photography by Nawfal Nur

“Heavy Crane with Rainbow, v.1”
© 2007 Nawfal Nur
All Rights Reserved

These are images from my “Heavy Machines” Portfolio: I guess, in a short Artist’s Statement, I would say ‘The Heavy Machines images comprise thoughtful, visual statements about typically ugly, cold steel machines, and transformed into beautiful, warm-toned, soft compositions.’ Often, I will take the images first, and then the transformation occurs, step-by-step, without really knowing what the final image will look like: I just work on it until I believe it is complete, and thus, transformed.

Heavy Crane & Rainbow, v55, Edit B, Photography by Nawfal Nur

“Heavy Crane with Rainbow, v.5”
© 2007 Nawfal Nur
All Rights Reserved

 

Heavy Crane with Rainbow, v3, Edit D, Photography by Nawfal Nur

“Heavy Crane with Rainbow, v.3”
© 2007 Nawfal Nur
All Rights Reserved

 

Gloriosa – My Favorite Flower (At this Time…)

GLORIOSA LILY-Orig01-Edit B-WPz

I don’t actually have much to say regarding this photo-journal entry, but I wanted to show you some of my studio flower work.

This is definitely one of those times where I’ll just let my pictures say a few words.

I do, however, want to tell you how lucky I feel that this beautiful species grows wild on the other side of my fence, among weeds, and piles of bricks long forgotten by some building contractor, some time, long ago.

The Gloriosa Lily is a remarkable flower that is very well suited to tropical life, in the wild, and it doesn’t need anyone to take care of it. The “technical books” say it likes rich soil and the roots need shade. But I’ll tell ya, it grows just wonderfully without help, and where it’s growing must be its perfect spot.

So, with that little bit said, here is my Studio Collection of the Gloriosa Lily, my favorite flower…at this time. Hope you enjoy seeing my interpretations of this wonderful flower.

GLORIOSA LILY-Orig15, Edit B-wpz

GLORIOSA LILY-Orig17, Edit B-wpz

GLORIOSA LILY-Orig19, Edit B-wpz

GLORIOSA LILY-Orig25, Edit B-wpz

GLORIOSA LILY-Orig213, Edit B-wpz

GLORIOSA LILY-Orig285, Edit B-wpz

GLORIOSA LILY-Orig271, Edit C-wpz

GLORIOSA LILY-Orig249, Edit B-wpz

GLORIOSA LILY-Orig237, Edit B-wpz

GLORIOSA LILY-Orig233, Edit D-wpz

GLORIOSA LILY-Orig229, Edit B-wpz

GLORIOSA LILY-Orig221, Edit B-wpz

*** Thanks for taking a look! ***

 

Ocean Osprey – Old Looking Print – New Ship

Ocean Osprey, v.6 A digital image of the Oil Product Tanker by Nawfal Nur

This shot was taken a few days ago while crossing the ferry on the Butterworth side of Penang, and attempting crossing over to the island of Penang.

This was the same day when there was such a ruckus on the Penang Bridge. Apparently, a 10-wheeled trucked broke down near mid-bridge, and then, there was a bomb scare also – this all happened on 4 April 2007.

The Penang bridge is one long bridge: 13.5KM (8.4 Miles) long, and it is the only drivable way to reach the island from the mainland. With all the fuss on the 4th, thousands of motorists were stuck in jams going to or from the island.

At one point, it was reported that the jam getting onto the bridge stretched back some 15KM on the highway. I wouldn’t doubt it. I was stuck in the jam getting onto the ferry to cross over to the island.

We crawled along at a snails pace: Only after 3 and a half hours were we able to fight our way the 500-meters it took to get from where we were originally stuck, to where drivers pay the toll to WAIT IN LINE (some more), to board the ferry.

Damn-the-Frustration of Penang Traffic!

There are works going on now to widen the bridge, but that may be too little too late. A second and perhaps third bridge is needed to give Penang traffic some relief, but these things don’t happen quickly. Maybe a Light Rail Transit System would be good too, and that is something that is also being discussed by the relevant departments.

Anyway, I was glad that I had my camera with me on that day. I was able to get some shots of ships as we crossed over on the ferry. This image is a digital-Platinum-stylized photo of some activity at the Penang Port.

The ship at mid-right is the Ocean Osprey:

Country: Singapore.
Ship Type: Oil Products Tanker.
Deadweight Tonnage: 7,624.
DOB: 1996 06

I decided to make this image look a little antique: Thus, I incorporated this image into a Platinum-style layout and look. However, if looking closer at the ship, you know it is not antique, but modern with “SAFETY FIRST” and “NO SMOKING” signs painted in huge print. Also, the modern communication towers and equipment on the ship shows us a modern ship. If that isn’t enough to put a general date to the scene, add to that the modern lifting machines loading containers onto the ship on the left hand side of the photograph.

Well, maybe using digital software to come up with Platinum images is not very “pure” – but at least for photographers who never had the opportunity to work with this printing process, we can see our work similarly, or differently, using digital processes. It’s kind of fun to experiment with many kinds of looks for photographs, and this is just another technology that allows us modern day photographers to do such experimentation – digitally.

Here’s a little history on the Platinum Process by the very interesting and enlightening expert of photography at about.com, Peter Marshall:

“Platinum prints are one of the family of processes based on the light sensitivity of iron(III) (ferric) salts. In the presence of organic material such as oxalate ions, these are reduced using energy from light to give iron(II) compounds. These then react with platinum salts to produce platinum metal. The iron salts are then removed leaving a stable platinum image. Like the other iron processes, platinum printing is slow and requires a UV light source (you can use the sun, but UV flourescent tubes or mercury vapour lamps etc are more repeatable) and large negatives as all exposure is contact printing.

Platinum printing was patented by W. Willis in 1873 (with later improvements) and materials were available commercially for many years. Increases in the price of platinum around 1910-20 led to a rapid reduction in their availability and use, although production did not finally cease in the UK until 1941. A few photographers continued to print in platinum, making their own papers, but most used other materials. A revival of interest, using hand coated papers began in the 1970s, and at least one platinum paper was commercially produced from 1998 until around 2000.” [SOURCE: http://photography.about.com/library/glossary/bldef_platinum.htm ]