The rooms of her ice water mansion...

beautiful composition jon !
i love to imagine how many people must have just
not even noticed this, its like a albert kotin painting!
thanks for posting !
john

I simply do not understand 'modern art' or why it is deemed to be so enticing, but, here, there is a certain 'something' which captures me.

To quantify: maybe it is the fact that there is absolutely nothing that becomes subordinate, yet there is no competition for notoriety or grandeur, either. Somehow, that nexus spells 'success'. - David Lyga

Wow, thanks for the feedback, guys.

The folks on the beach must’ve thought they were watching a rehearsal for Fight Club. I was standing hip deep in the water, bent 90° at the waist, bobbing up-and-down madly in an effort to keep the ‘camera’ at the proper distance from the heaving surface of the ocean. It was a bit of a circus.

Sometimes the eye, not the camera or film, makes the picture. Your perception was genuine and that is something rather amiss within today's sordid 'politically correct' culture. - David Lyga

Interesting comment. Shooting with the iPhone is a bit like shooting with a Minox, curiously. The camera bestows the gift (and curse) of nearly limitless depth of field. Sometimes it is a relief from the mercilessly shallow DOF of the 35mm and 6x6 hardware that reigned during the Pleistocene, which is my era. Throw in accurate autoexposure and a blazing ‘motor drive’ and voila!, the iPhone camera is actually part of the picture in that the photo could not have existed without the unique technical capabilities of the camera. To me it is analogous to the transformation brought on by the Planar-equipped Rolleiflexes and Hassies during the David Bailey era. In our minds the Sixties look lhypersharp, square and contrasty - think Twiggy and Michael Cane portraits. But they only look that way because they could, thanks to the equipment. Of course, it could not have happened without the photographer, but the hardware counted.