Soma-Sema.com » Stonehenge

The Mystics of the Stones

danbaxter — Tue, 28 Jul 2009 03:22:45 +0000

The Trespass

danbaxter — Tue, 28 Jul 2009 03:21:38 +0000

This shot was taken with a Cokin filter system red filter on a 50mm Nikon e-series lens and 400 ISO print film with my FM2. I used a shutter speed of 1/125 bracketed through to 1/1000 at f/8-f/16. I had to sacrifice some over-exposure in the sky to bring up the right level of contrast on the stones to give shape, texture, and depth.

For my personal interpretation of this photograph as part of a series of Stonehenge photographs, I invite you to take The Journey of the Stones for which I will soon be posting a link on here.

The Seduction

danbaxter — Tue, 28 Jul 2009 03:20:06 +0000

This photograph was taken with the same set-up as The Trespass: my 50mm 1.8 Nikkor, my cokin filter system and my red filter. I kept the aperture small (f/22), my shutter high, and underexposed by a stop.

For a metaphysical interpretation of this in a series of Stonehenge photographs, I invite you to take The Journey of the Stones for which a link will soon be posted here.

The Cleansing

danbaxter — Tue, 28 Jul 2009 03:18:16 +0000

I took this shot using a circular polarizer, a cheaper variety of Kodak 400 ISO print film at a shutter speed bracketed between 1/500 and 1/2000 of a second, a 28mm lens and my usual Nikon FM2. The polarizer was angled for maximum effect (90 degrees from the angle of the sun’s light, giving a 2 stop decrease in exposure for which I compensated with an aperture of f/16). As well, I underexposed the shot by a stop (dropping down to a total of f/22). I could not eliminate the human presence in the shot, but since they are only silhouettes, one can imagine them to be the ancient druids of tale, perhaps the very ones who brought the stones (depending on which creation theory you subscribe to); however, unlike Exodus, the people are not a predominant element of the composition. Most of the first private people to whom I showed this photograph gave a delayed reaction of “oh, and look at the little people down there”. The colours direct the senses, rather, in this shot. The lighting pouring down from the sun onto Stonehenge alone is white as a preacher’s collar, but the rest of the sky is a either a surreal, stone blue or the shadows of the tumultuous clouds. The triangular shape of the light beaming on Stonehenge leads the eye to the sun, and is from there spread unto the rest of the sky and then the mind begins to take in the full composition as a whole. It is only after they have surveyed the sky that the eyes come back to the silhouettes that began it all, the stones, and then the tiny marching people to the side.

I have titled this one The Cleansing because of the experience that I had while visiting the UK with my cousins and seeing Stonehenge. Here is an excerpt from http://www.stonehenge.co.uk/ceremony.htm

“Individually, we say our goodbyes to this place of magic and wonder. On the surface, not much has seemed to happen. Inside, our hearts and souls rejoice at the time we have spent in the presence of the Divine, recharging our batteries, rededicating our lives, merging with the Source, at home with Spirit. We make our way back to the cars, cleansed, renewed, smiling, talking in small groups.”

I recommend visiting the link and reading the full passage. It does not list an author, but it was last updated June 6^th, 2005.

If you would like to learn more about the origins of Stonehenge, visit: http://www.stonehenge.co.uk/

To plan a visit to Stonehenge, visit: http://www.stonehenge.org.uk/

Exodus

danbaxter — Tue, 28 Jul 2009 03:15:53 +0000

This is the last installment in the Journey of the Stones series, for which I will post a link soon. Exodus shows us a guiding light leading the ever-silhouetted procession to finally pass out of the place of ancient mysticism and walk renewed in the living, visceral world (note: the procession enters The Trespass to the right and leaves Exodus to the left). We have been tempted, we have fallen, and by this, we have been cleansed of our ignorance and selfishness. Peace, brothers and sisters and all sentient beings, and walk with an imagination never hindered, for only choice separates it from reality.

For another experimental work involving Stonehenge, investigate Laurie Simmons and her Pink Stonehenge. Other similar artists (of a similar photographic movement where propped toys are pantomimes of real people and objects) are Sandy Skoglund and David Levinthal. Skoglund’s Work is a Breeze (which can be seen in the “More of Joy of Photography” listed in the Recommendations page) is a truly ingenious and influential feminist piece, representing the commonplace treatment of women and the paradigm of their places in the workforce, and emblematic of her style as an artist, which is unmistakable, painstaking, and provocative. Though each employs a different style and approach with their props, Levinthal and Simmons both use toys to mimic the artificiality and superficiality of the current human standard, forcing us to conceive of ourselves as pre-packaged, mass produced figurines for the amusement and placement of a governing system. Simmons is quite famous for her handcrafted backdrops and figures, and has even designed her own toy because of her renown.

To learn more of Laurie Simmons, visit http://www.nyfa.org/level4.asp?id=112&fid=1&sid=51&tid=167

To learn more of Sandy Skoglund, visit http://www.sandyskoglund.com/

To learn more about David Levinthal, visit http://www.davidlevinthal.com/