Sigh... it's been rough days. Still going through The Path.

if i look back, i am lost

Jar Jar Binks Fan Club
Lint Roller? I Barely Know Her

gracie abrams
RMH
$LAYYYTER
d e v o n

titsay
sheepfilms
Aqua Utopia|海の底で記憶を紡ぐ

oozey mess
todays bird
cherry valley forever
occasionally subtle
NASA
Cosmic Funnies
I'd rather be in outer space 🛸
noise dept.
Mike Driver
Keni
seen from Palestinian Territories

seen from Singapore

seen from United States
seen from Austria
seen from United Kingdom
seen from United Kingdom

seen from Germany
seen from Türkiye
seen from Vietnam

seen from Netherlands
seen from Vietnam
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seen from Trinidad & Tobago
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seen from Singapore

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@donrobertovisigodo-blog
Sigh... it's been rough days. Still going through The Path.
I would love to take that sweated hand, at this rainy days. By Don Roberto Visigodo. (Digital photography)
Death of a day.
A little picture taken days before the end of the semester, at the lab.
(35 mm, Kodalith Ortho ASA 50)
Departure. By Don Roberto Visigodo. (Digital photography)
Testing an old camera of 126 mm.
Atemporal. By Don Roberto Visigodo. (Digital photography)
Getting on the road. By Don Roberto Visigodo. (35mm Fujifilm ASA 200)
The Making of the documentary for the 60th years of the CineClub UG, at El Mesón de San Antonio, Guanajuato. By Don Roberto Visigodo. A picture of the interview to Amat Escalante, director and winner on Cannes Film Festival.
A little poem that I wrote for the magazine «G_lfa».
Family trip. By Don Roberto Visigodo. (35mm Fujifilm ASA 200)
Some landscapes at night, at Las Teresas, Guanajuato. By Don Roberto Visigodo. (35mm Ortho ASA 50, Kodalith)
From the series “Nil Recurring” by Don Roberto Visigodo.
–A little exercise made with the cam of my phone, following the instructions of The Photographer’s Playbook, from Jason Fulford and Gregory Halpern. Also this exercise tries to make an exploration of the visual composition in the «luck». I’ve been working this kind of exercises, to teach my guys at the classroom, that you don’t have to build a “gorgeous and symmetric comp” to prove that the beauty of the image, lays beneath the form of the image, by it self.