" to see behind the walls, draw closer.." This was a quote from a The Secret Life of Walter Mitty that I recently watched. In the movie, they have this supporting character named Sean O'Connell. He's a free-spirited photographer who is willing to do what it takes to chase a great picture. He is an old soul and old-schooled and has an "aura" about him that exudes elusiveness. Coincidentally, the previous day, I was flipping through some National Geographic magazines that were dusty and hasn't been opened since I moved into the house. That supporting character and the magazine sparks something within me that for a while has been dormant.
Honestly, I can't quite figure what really dimmed the lights. Somehow, after that movie and a few magazines, I decided to start small. I just grab my phone and explored the feature it has, the pro version. I am honestly surprised that it can do so much more than my prosumer camera. I tried a few things and ended up experimenting with the candle. There's also one thing about my old practice that I have long forgotten.
Taking pictures isn't simply clicking a button. It has concept development, storyboarding and even streamlining the aesthetic. A good picture tells its own story without unessary and wordy prose. It just speaks to you.
In the past, I had elaborate way to capture images I have produced around here. There's sunrise, sunset, and everything in between that somehow isn't just there because I decided to do so. I walk around with a purpose, I travel to catch those moments even with the limited gears I have.That fictional character Sean, is someone I wanted to be, in my alternate lives. If you haven't watched the movie, go do it, that might sparks something with you that has been dormant or leaves you bewildered.
The thumbnail is using 26mm |50 ISO | F1.8 | 1/182s and the others are variations of it with the lowest ISO settings my phone can do.
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饾様饾槩饾槫 饾槳饾槾 饾槩 饾槾饾槮饾槶饾槯-饾槮饾槷饾槺饾槶饾槹饾樅饾槮饾槬 饾槸饾槳饾槸饾槴饾槩 & 饾槫饾槹饾槯饾槯饾槮饾槮 饾槫饾槹饾槸饾槸饾槹饾槳饾槾饾槾饾槮饾樁饾槼 . 饾槇 饾樀饾樅饾槺饾槳饾槫饾槩饾槶 饾槳饾槸饾樀饾槼饾槹饾樂饾槮饾槼饾樀 饾槳饾槸 饾槶饾槹饾樂饾槮 饾樃饾槳饾樀饾槱 饾槶饾槳饾樀饾槮饾槼饾槩饾樀饾樁饾槼饾槮, 饾槪饾槹饾槹饾槵饾槾, 饾樀饾槮饾槫饾槱饾槸饾槹饾槶饾槹饾槰饾樅 饾槩饾槸饾槬 饾槺饾槱饾槳饾槶饾槹饾槾饾槹饾槺饾槱饾樅. 饾槢饾槱饾槳饾槾 饾槳饾槾 饾槱饾槮饾槼 饾槺饾槮饾槼饾槾饾槹饾槸饾槩饾槶 饾槪饾槶饾槹饾槰, 饾槩 饾槼饾槮饾槯饾槶饾槮饾槫饾樀饾槳饾槹饾槸 饾槹饾槯 饾槱饾槮饾槼 饾樃饾槩饾槸饾槬饾槮饾槼饾槶饾樁饾槾饾樀 饾槩饾槸饾槬 饾樀饾槱饾槳饾槼饾槾饾樀 饾槯饾槹饾槼 饾槵饾槸饾槹饾樃饾槶饾槮饾槬饾槰饾槮. 饾槡饾槱饾槮 饾槹饾槯饾樀饾槮饾槸 饾槫饾槹饾樂饾槮饾槼饾槾 饾槪饾槹饾槹饾槵饾槾, 饾槷饾槹饾樂饾槳饾槮 饾槩饾槸饾槬 饾槾饾槮饾槼饾槳饾槮饾槾 饾槼饾槮饾樂饾槳饾槮饾樃饾槾, 饾樀饾槮饾槫饾槱 饾槼饾槮饾樂饾槳饾槮饾樃饾槾 饾槩饾槸饾槬 饾樀饾槼饾槮饾槸饾槬饾槾, 饾槺饾槱饾槹饾樀饾槹饾槰饾槼饾槩饾槺饾槱饾樅, 饾槩饾槸饾槬 饾槺饾槮饾槼饾槾饾槹饾槸饾槩饾槶 饾槬饾槮饾樂饾槮饾槶饾槹饾槺饾槷饾槮饾槸饾樀. 饾槚饾槸饾槫饾槮 饾槳饾槸 饾槩 饾槪饾槶饾樁饾槮 饾槷饾槹饾槹饾槸, 饾樅饾槹饾樁 饾槫饾槩饾槸 饾槯饾槳饾槸饾槬 饾槱饾槮饾槼 饾樀饾槼饾槩饾樂饾槮饾槶饾槳饾槸饾槰, 饾槳饾槷饾槷饾槮饾槼饾槾饾槳饾槸饾槰 饾槱饾槮饾槼饾槾饾槮饾槶饾槯 饾槳饾槸 饾槶饾槹饾槫饾槩饾槶 饾槫饾樁饾槶饾樀饾樁饾槼饾槮饾槾 饾槩饾槸饾槬 饾樀饾槼饾槩饾槬饾槳饾樀饾槳饾槹饾槸饾槾, 饾槩饾槸饾槬 饾樀饾槩饾槵饾槳饾槸饾槰 饾槺饾槳饾槫饾樀饾樁饾槼饾槮饾槾 饾槹饾槯 饾樀饾槱饾槮 饾槪饾槮饾槩饾樁饾樀饾槳饾槯饾樁饾槶 饾槾饾槳饾槰饾槱饾樀饾槾 饾槾饾槱饾槮 饾槮饾槸饾槫饾槹饾樁饾槸饾樀饾槮饾槼饾槾 饾槩饾槶饾槹饾槸饾槰 饾樀饾槱饾槮 饾樃饾槩饾樅. 饾槡饾槱饾槮'饾槾 饾槩饾槸 饾槹饾槫饾槫饾槩饾槾饾槳饾槹饾槸饾槩饾槶 饾槯饾槹饾槹饾槬饾槳饾槮 饾槩饾槸饾槬 饾槶饾槹饾樂饾槮饾槾 饾樀饾槹 饾槮饾樄饾槺饾槶饾槹饾槼饾槮 饾槸饾槮饾樃 饾槩饾槸饾槬 饾槬饾槮饾槶饾槳饾槫饾槳饾槹饾樁饾槾 饾槫饾樁饾槶饾槳饾槸饾槩饾槼饾樅 饾槮饾樄饾槺饾槮饾槼饾槳饾槮饾槸饾槫饾槮饾槾. 饾槏饾槹饾槶饾槶饾槹饾樃 饾槩饾槶饾槹饾槸饾槰 饾槹饾槸 饾槱饾槮饾槼 饾槩饾槬饾樂饾槮饾槸饾樀饾樁饾槼饾槮饾槾 饾槩饾槸饾槬 饾槴饾槹饾槳饾槸 饾樀饾槱饾槮 饾槫饾槹饾槸饾樂饾槮饾槼饾槾饾槩饾樀饾槳饾槹饾槸! 饾構饾槹饾槸'饾樀 饾槱饾槮饾槾饾槳饾樀饾槩饾樀饾槮 饾樀饾槹 饾樁饾槺饾樂饾槹饾樀饾槮, 饾槶饾槮饾槩饾樂饾槮 饾槩 饾槫饾槹饾槷饾槷饾槮饾槸饾樀 饾槹饾槼 饾槩 饾槯饾槮饾槮饾槬饾槪饾槩饾槫饾槵. 饾槇 饾槼饾槮-饾槪饾槶饾槹饾槰 饾槳饾槾 饾槩饾槶饾槾饾槹 饾槩饾槺饾槺饾槼饾槮饾槫饾槳饾槩饾樀饾槮饾槬 饾樀饾槹饾槹. |