Pike Market, Seattle, 2023
These are from the Seattle Film Club meetup. I didn't bring a tripod and it was a seasonably dark and wet early fall evening so a lot of pictures didn't come out great, but I do like these.
Camera: Canon P w/ Canon 50mm F1.4
Film: Kodak Cinema film with remote removed, shot at 1600
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Hidden Figures #4 (The Eagle by Alexander Calder) || I.
I didn't originally plan to interact with Alexander Calder's "Eagle" but as photographer @skyclad.studio and I came upon it and its spot on the hill, the sun was making its way up the hill as well, hitting the sculpture just right and inviting us to it.
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With one of the goals of 'Hidden Figures' being to challenge myself to interact with a sculpture's scene, using my body to mirror or contrast its shapes, I saw "The Eagle" as a delightful challenge.
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With its blunt lines and angles and giant-like stature, what could little old me do to stand up to and alongside the monumental sculpture? I took notice of its sharp lines and sought to match or oppose them - show it I could be tall, strong and monumental too.
But ultimately - I'm a human: I fold and I curl; I wave and I bend. I could show the Eagle that I was strong like it was or I could just flow around it: Show it what it's like to be made of skin and bone. Show it - and remind myself - that one doesn't always have to be biggest presence in the room, make the largest gestures to make an impact. Sometimes it's the little things that make all the difference. Similarly to my interaction with "Wake" by Richard Serra, I let small touches make the biggest impressions: A pointed toe, intentional extensions, arcs and waves stick out like many paintings and figure drawings before me would have their subjects do to add an extra visual interest element to the capture.
Besides, allowing oneself to be its most natural - accepting ones truest state - can allow it to shine like the sun rising up over a hill on a summer morning. And for all the hiding and tucking I did amongst the other scenes in the park, there was wasn't much room to hide around this piece. It was a giant stage for me to show it, show onlookers, show Seattle, show anyone my truest self.
I didn't originally plan to interact with The Eagle, but as many of our random encounters prove over time, it's very possible that the opportunity presented itself for a reason. As many pieces of art do, it has something to show me and I'm grateful it waited patiently for just the right time to beckon us to it and deliver its silent message.
+ photographed by @skyclad.studio (ig) // website
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SEA0922 by Leona Pasarela
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I started an Instagram for my film photography! Check out my analog adventures sometime, my username is compactobjects. I've got plenty of good shots in my backlog now and I'm posting a couple times per week. I'm obsessed with it, I'd love it if more folks took a look. If anyone else has a photography insta I follow back!
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Antennas of Seattle, 2024
Camera: Canon 7s w/ Canon 50mm F1.4
Film: Kodak Proimage 100 pushed to 200
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Scattered: out of the blackout
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David Chatt: Cast Installation, Temporary installation of sand cast glass in Dunn Gardens, Seattle Washington (2006)
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Photomash of two shots from downtown Seattle (used as the photo in the latest song I put out).
I have migraines and extreme photosensitivity, as a result I have a lot of over compensatory control over my spatial and photographic memory. a lot of times going outside can look like this from my mind's eye.
"Sunspots" also tend to recur and make tons of shapes overlapping over each other in shades of pinkish, green, cyan red and yellow (the colors I see when I shut my eyes at night).
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