Ali R. Farhoodi, Image # 127, From the Sublime Portfolio

From the Sublime portfolio. (www.alfaphotography.com)

Ali R. Farhoodi, Image # 126, From the Sublime Portfolio

One of favorite ones from the Sublime series. (www.alfaphotography.com)

Ali R. Farhoodi, Image # 125, From the Sublime Portfolio

From the Sublime portfolio. (www.alfaphotography.com)

Ali R. Farhoodi, Image # 124, From the Sublime Portfolio

A night out could be seductive if every molecules in an observer's body moves much faster than those of the ones around him. (www.alfaphotography.com)  

Ali R. Farhoodi, Image # 123, From the Sublime Portfolio

From the Sublime portfolio. (www.alfaphotography.com)

Ali R. Farhoodi, Image # 122, From the Sublime Portfolio

From the Sublime portfolio. (www.alfaphotography.com)

Ali R. Farhoodi, Image # 121, From the Sublime Portfolio

From the Sublime portfolio. (www.alfaphotography.com)

Ali R. Farhoodi, Image # 120, From the Sublime Portfolio

From the Sublime portfolio. (www.alfaphotography.com)

Ali R. Farhoodi, Image # 119, From the Sublime Portfolio

We are a generation that cherishes speed.  Our needs require immediate attention and patience is a rare commodity.  Yet, desiring and arriving at a destination without experiencing the journey blares our vision of the surroundings.  Every action has a consequence. (www.alfaphotography.com)

Ali R. Farhoodi, Image # 118, From the Sublime Portfolio

In my last writing, I emphasized on the ease of manipulation of a digital photograph.  What you see here is not manipulated digitally.  I like the mysterious feeling it projects.  Since images in this series (more will follow) are real and yet move beyond the obvious, I called the collection "Sublime." (www.alfaphotography.com)

Ali R. Photography, Image # 117, Venice, California

I attended a meeting on photography, with a few legends discussing the path a particular photography organization should take to educate and serve its members.  The result was not definitive, since the discussion would turn to techniques, or film versus digital issue, with a certain amount of nostalgia towards film.  I thought that a productive approach for a photography organization would be to arrange a variety of discussions around issues that affected photography in the past and the ones pertinent to our time and modern societies.  Then, allow the photographers make their own informed decisions regarding the paths they take.  One such topic is the ease and extent of manipulation and alteration of digital photographs and their roles in forming our individual and collective memories.  I am sure that you have seen plenty of doctored images in recent years and agree that the phrase "a photograph never lies" has lost its luster, or no longer represent any truth.  Let's look at three images I planned for inclusion in a group show that did not happen.  The idea was to expose the viewers with the following questions; "Does a photograph tell the truth?  And, what is 'being truthful' in the digital age?"  There are four people on the beach.  All four could have been present, or perhaps not.  You be the judge.   Only one photograph is real, the other two are manipulated.
If three people see only one photograph each, who is holding the true memory of that day?  I guess only the persons in the photographs and me know the answer.

Image 1

Image 2

Image 3

www.alfaphotography.com

Ali R. Photography, Image # 116, Quebec City, Canada

This shot was very intriguing.  Without reflections it would have been a boring one.  There is again a combination of reality and illusion that leaves the viewer in a position of uncertainty. (www.alfaphotography.com)  

Ali R. Photography, Image # 115, Downtown Los Angeles

Most parts of downtown Los Angeles are lonely and empty places in the evenings.  Perhaps trucks frequent this site before 6 P.M., or maybe not.  The emptiness and the promise of business activities was intriguing. (alfaphotography.com)

Ali R. Photography, Image # 114, Barcellona, Spain

Should an image challenge its viewers by offering them an unconventional angle/composition of an ordinary scene, like this photograph of two people sitting on a bench and engaging in a lively discussion?  I think you will try to understand this image the moment you see it, and will figure it out after some thinking.    (www.alfaphotography.com)

Ali R. Photography, Image # 113, Untitled, Los Angeles, California

From the "Cityscape" portfolio. (www.alfaphotography.com)

Ali R. Photography, Image # 112, Untitled, Quebec City, Canada

From the "Cityscape" portfolio. (www.alfaphotography.com)

Ali R. Photography, Image # 111, Untitled, Montreal, Canada

As I mentioned before, I like reality and illusion mixed up, in order to draw attention to how city structures reflect the life around them. (alfaphotography.com)

Ali R. Photography, Image # 110, Untitled, Brentwood, California

Reflection of objects and sceneries in a store window mixed with what lays behind the glass reveals the illusionary nature of photography itself.  The camera and the scene photographed are always face to face in the same manner.  (alfaphotography.com)

Ali R. Photography, Image # 109, Untitled

I totally love Montreal.  On the East Coast, it rivals New York in
everything. It's bustling with life in the summer and yes, a little
cold in the winter. I found this image interesting for the contrast it presents.
(www.alfaphotography.com)

Ali R. Photography, Image # 108, Cityscape, Cambridge

Well, I have not been around for a while.  Not good if I were to post an image a day!  I moved back to Boston from Los Angeles.  I have lived much longer in Massachusetts than California, but I consider both coastal states my home.  After I finish with the Cityscape images, I will share with you some images from my trip.  I drove through the country for the third time.
This image was taken in Cambridge, Kendall Square.  The structure always fascinated me with the golden pyramids under and above.  I think I owe you a research to find out what this whole thing is about.  
(www.alfaphotography.com)