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impoliticwestie · 2 months

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DISAPPEARANCE BY A BRIDGE

His waking hours are dedicated to witnessing the disappearance of himself in the black and white photographs that silently echo the words of his reports, making them more doubtful, his own role more questionable, and those photographed weightless.

#monochrome #black and white #john perivolaris #city #Disappearance #bridge #Polaroid 250 #Fujifilm FP3000-B

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pharology101 · 7 months

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LOTD: Alger Jetée Kheireddine Spur

~sorry for delay - meant for September 25th, 2023~

(from: http://www.ibiblio.org/lighthouse/dza.htm)

Alger Jetée Kheireddine Spur (Passe Nord Feu Vert)

1868. Active; focal plane 10 m (33 ft); green flash every 4 s. 8 m (26 ft) round masonry tower with lantern and gallery. Lighthouse painted white, lantern green. A photo by John Perivolaris is below right, Trabas has a distant photo and Google has a satellite view. The focal plane and tower heights listed appear to be too low, based on the photo. Located on a spur of the Jetée du Nord, marking the north side of the Passe Nord entrance. Accessible only by boat. Site open, tower closed. Admiralty E6604; NGA 22384.

(full photo found here; ©Trabas)

#lotd lighthouses lighthouseoftheday pharology pharology101 #Alger Jetée Kheireddine Spur #algeria

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my-retro-vintage · 7 years

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Oxford Street London Christmas Eve by Dimitri John Perivolaris 1965

#dimitri john perivolaris #oxford street #christmas

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bloodyviscera · 2 years

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John Perivolaris

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finita-la-commedia · 6 years

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Whisper @John Perivolaris

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caradickson · 3 years

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Environmental Portrait Research

Contemporary:

Photographer, Dr John Perivolaris. A documentary and fine art photographer. I first discovered John’s work in Street Level Photoworks as it was up as one of the members exhibitions in the back space.

The man in the images is Frankie. An artist and poet. A colourful and eccentric individual. The images are from a series in 2019. Since then, John and Frankie have remained friends and John visits Frankie regularly. A friendship was formed.

In the series of images, Perivolaris has used a variety of locations from out in the streets to in Frankie’s home/studio. The variation of locations have provided lots of different lighting environments.

I thought his work was a perfect and interesting example for the environment portrait project.

I like the shallow depth of field in this image. Having the painting in focus and Frankie, blurry in the background standing in the light by the window. An interesting composition.

The lighting in this portrait works well to amplify Frankie’s blue eyes, which are further complimented by the bright painting in the back, which has spashes of blue throughout.

To see the full project visit John’s website:

https://phmuseum.com/jperivolaris/story/frankie-robertson-sage-of-the-clyde-444eea84be

#environmentalportrait #inspiration #preproduction

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scotianostra · 7 years

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The View to Arran from West Kilbride, 28 February 2017, 17:48 by John Perivolaris

#Arran #Firth of Clyde #West Kilbride #Ayrshire #Island #Color #Dusk #Winter #Scotland #Landscape #North Ayrhsire

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enhancedwording-blog · 7 years

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Invitation to Submit

e|w enhanced wording is now inviting submissions on a rolling basis. e|w is a journal of literary speculation, particularly for writing that can be read as a harbinger of times to come. We publish new writing, often by new authors. We’re open to any style of writing, including: fiction, flash-fiction, poetry, and nonfiction essays – because predictive science writing is inherently speculative in…

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cp22017 · 7 years

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http://www.shoreditchbridgeportraits.com/gallery-view.html

John Perivolaris

Since 2011, I have been making a series of portraits under a concrete railway bridge in Shoreditch.

None of the photographs have names or any biographical information attached. This has something to do with the formality of my encounters with a range of passers-by at an urban transit point where nobody would normally stop. In an increasingly privatized urban space ever more under surveillance, the encounters I record mark moments when public space is shared respectfully with others. Not including names or biographical information is a sign of a respectful distance bridged by the moments of our encounter. These are commemorated by the dates attached to each photograph.

Identity and place are imprinted on the surfaces of what might at first glance be considered a non-place. An organic material subject to internal decay, the concrete setting of the portraits is marked by the passing of time and people. Ultimately, it is the latter, in all their variety, pausing for the camera, their faces and eyes open to the moment, who make the urban space of the portraits hospitable to a sense of identity.

A question I continually ask myself has been: where do we find stillness in cities and what does stillness mean in our continuous transit through, or between, public, marginalised, and increasingly corporatised urban spaces?

I have been particularly drawn to the symbolism of concrete and bridges.

Bridges because they connect separate parts of the city and distinct populations. But also because bridges offer me the opportunity of interrupting their transit and creating temporary situations where encounters can take place, where dialogues can take place.

Concrete because it is a fluid reflector and diffuser of light whose hue and saturation follows the seasons. I started photographing under the bridge back in February 2011. At that time of the year, the light can be crisp and blue. What I love about concrete is the way it registers seasonal changes in light, as well as differences in hue and intensity during the day. For me, it is a perfect reflector and diffuser, providing even illumination but also sensitive to the movement of traffic. When I sometimes refer to the marine light provided by concrete I am not being poetic but am merely referring to the rippling reflections one notices on the undersides of concrete bridges built over rivers or, in my case, the reflections cast by the windshields of passing cars.

Over time, I have become increasingly fascinated by the juxtaposition of my subjects’ skin and the concrete skin of the city. A large proportion of time processing the photographs is spent rendering both types of surface. My underlying motivation is to represent the inherently organic relationship between cities and their citizens. Equally, there is a humanistic dimension to the momentarily intimate encounter with those I photograph and whose names I do not know. Photography is, in one sense, a way of registering the skin-to- skin surprise inherent in such intimacy between nameless strangers in a public space.

The photographer grazing on the chance events presented to them on the streets of a city might also say that they are also grazed by those moments. The term acknowledges that the open readiness required for such work also implies a vulnerability to chance, surprise, and even potential trauma.

For more on this project, see the following post in Faded + Blurred A podcast on the series here: http://backdoorbroadcasting.net/2016/10/john-perivolaris-shoreditch-bridge-portraits/

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gregory-lejeune · 8 years

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flickr

Metro par John Perivolaris

#Metro #Paris #City #France #John Perivolaris #Black and White #Monochrome #Architecture

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impoliticwestie · 4 days

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I am pleased to announce that my 16th collection of photographs is available here.

WAY OUT

Figures glimpsed out of the corner of the camera’s eye in several European cities, the sound of their footsteps fading around a corner as they search and sometimes find a way out of themselves.

Numbered Copies

A5

32 pages + Typewritten, stamped insert

200gsm uncoated paper

#black and white #monochrome #city #john perivolaris #europe #urban #zine #way out #photographs

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ontheedgeofdarkness · 9 years

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