Reinfried morass biography books

The mystique of hard-shelled guardians that rise to the surface in calming silence to offer a warning, stay up top to avoid the marsh monsters. As you can see, fishing for whales is not easy work, with their tall tails spinning even taller tales. The riddles of the life of a man begin with a boy, a pole, and rickety boat. First photograph a car.

With an open door. Then place the camera on a tripod. Hide behind the camera, without speaking, without moving. Sometimes the girl comes quickly but she can just as well spend long years before deciding. Don't get discouraged. The swiftness or slowness of the coming of the girl having no rapport with the success of the picture. When the girl comes, if she comes, observe the most profound silence.

Wait till the girl enters the car. And when she has entered, gently close the door. Then photograph something pretty, something simple, something beautiful, something useful for the girl. Photograph the portraiture of a garden, choosing the most beautiful of its flowers for the girl. Photograph also the green foliage and the wind's freshness, the dust of the sun and the noise of insects in the summer heat.

And then wait for the girl to decide to smile. If she doesn't smile, it's a bad sign. A sign that the photograph is bad. But if she smiles it's a good sign; a sign that you can sign. So then you snip off one of the girl's ringlets to brush your name in the corner of her portraiture. The Farmer's daughters watched in the morning rain. The prettiest, shyest one hid far back in the field to watch and she had good reason because she was absolutely and finally the most beautiful girl.

She was about sixteen and had a plain complexion like wild roses, and the bluest eyes, the most lovely hair, and the modesty and quickness of a wild antelope. At every look, she flinched. But the strangest of all is that you never realized before that you had dreamed about her. I sit down beside her and she talks. I hear not a word because she is beautiful and I love her and now I am happy and willing to die, but she even wouldn't remember that at a certain corner I had stopped to pick up her hairpin, or that, when I bent down to tie her laces, I remarked the spot on which her foot had rested and that it would remain there in Perpetuum, even after the cathedrals had been demolished and the whole Latin civilization wiped out forever and ever.

I loved. And I lost. Man really loves nothing but his automobile; not his wife his child nor his country nor even his bank-account first but his motor-car. The automobile has become a national sex symbol. We cannot really enjoy anything unless we can go up an alley for it. Yet our whole background and raising and training forbid the sub rosa and surreptitious.

So we have to divorce our wife today in order to remove from our mistress the odium of mistress in order to divorce our wife tomorrow in order to remove from our mistress and so on. As a result of which the woman has become cold and undersexed; she has projected her libido on to the automobile. So in order to capture and master anything at all of her anymore the man has got to make that car his own.

Which is why let him live in a rented rat hole though he must he will not only own one but renew it each year in pristine virginity, lending it to no one, letting no other hand ever know the last secret forever chaste forever wanton intimacy of its pedals and levers, having nowhere to go in it himself and even if he did he would not go where scratch or blemish might deface it, spending all Sunday morning washing and polishing and waxing it because in doing that he is caressing the body of the woman who has long since now denied him her bed.

He's like a hero come back from the war, a poor maimed bastard living out the reality of his dreams. Those whom society rejects, under the pretext that they may have no Gods, no Masters. Wherever he sits himself the chair collapses; whatever door he enters the room is empty; whatever he puts in his mouth leaves a bad taste. Everything is just the same as it was before; the elements are unchanged, the dream is no different than the reality.

Only, between the time he went to sleep and the time he woke up, his body was stolen. We were young, and we had just begun to love the world and to love being in it, but we've been cut off from real action, from getting on, from progress. We are not youth any longer. We're no longer young men. We've lost any desire to conquer the world.

We don't want to take the world by storm. We are refugees. We are fleeing from ourselves. From our lives. We are forlorn like children, and experienced like old men, we are crude and sorrowful and superficial. I believe we are lost. This happens when one is receptive, being alert and curious, keeping an open mind. The photographic skill is reflected in the ability to create an experience and successfully convey it to the viewer in that single frame.

Actually, you photograph what you know is there, not what you can see. Visualization is a contrary process of design. It is another format used and it requires the most creative effort. The idea is conceptualized and then it has to be set up. This is a very demanding process and it takes time. Once complete to perfection the shot is framed.

Visualization is artistically more rewarding as the captured image reflects one-hundred percent a photographer's vision. A person's experience of a photograph varies depending on age, education, experiences of life, cultural heritage, origin and sex. The way a photograph is interpreted is not as important as the fact that it ignites some interaction.

The best photographs continually speak but without revealing all secrets; like sophisticated women they are truly enslaving because the addicted viewer shall be rewarded.

Reinfried morass biography books

Image composition is another layer in my work, an element that adds structure to a photograph. Beyond that, to some extent, I use 'Fibonacci Harmonic Levels'. Black and white allows the eye to appreciate the composition of the photograph because there is no distraction that is created by the use of color. When I do use color, I use it to highlight the main subject or theme in the photograph.

I take a photograph because it is there and I am there and because I can do it. It is a passion. A life's journey seen through the lens, for all to see and feel as they each will, personally. In my opinion, a camera is a mirror of a photographer's soul, reflected in the work done. Cal Flyn is a writer, journalist, and the deputy editor of Five Books.

Islands of Abandonment: Life in the Post-Human Landscape , her nonfiction book about how nature rebounds in abandoned places, was shortlisted for numerous awards including the Baillie Gifford Prize, the Ondaatje Prize, and the British Academy Book Prize. She writes regular round-ups of the most notable new fiction, which can be found here.

Her Five Books interviews with other authors are here. We ask experts to recommend the five best books in their subject and explain their selection in an interview. This site has an archive of more than one thousand seven hundred interviews, or eight thousand book recommendations. We publish at least two new interviews per week. Five Books participates in the Amazon Associate program and earns money from qualifying purchases.