For instance, Dubar describes the US as "not ended then, the passionate ebb and flow..." This paints a clear picture of the metaphor of a boat coming back to and fro. The image leaves the reader having a sense of hoplessness and lonlieness. Whereas, Wordsworth describes the ocean in more of a list-like format. Wordsworth is able to get straight to the point and point out the issues: war, the church, home. The sense of activity is ironic seeing as that this is how Wordsworth sees straight waters", while Dunbar;s more
You can get water and its movement in front of your feet, almost while keeping the focus on the bottom. If you are looking for a wide-angle lens for landscape and maritime photographs, you will want to try to get the fastest lens you can. A lens with an opening around F / 2.8 costs you money, but it also gives you the best possible results. If you can pay a front lens (a front lens cannot zoom), you should get one because they are extremely sharp and give annoying results. A wide-angle lens is an extremely valuable landscape tool at all times, and if you are planning to get one, you should definitely do it because it only improves your range of
Directional lines are used to guide the viewers eye to the main piece of the painting. In this case, the lines starting from the top right of the painting are directional. They lead your eyes to the large boat, onward to the bottom, where there are animals boarding it. The lines are also very sharp. They outline the shapes in the painting, giving the shapes a clear border.
While the upper half of the painting suggested this sense of straightforwardness with the bright sky and the pristine lighthouse, the bottom half juxtaposes this with a small ship approaching dark waves and rocks. Just like in, “Shipwreck, 1829,” the
While both films are considered to be the best of Buster Keaton’s body of work in the silent film genre. The General and Steamboat Bill Jr. have slight contrasts in their lighting. The cameras themselves, as well as the techniques and lighting effects, show the small gap in time between their release dates. Considering the films short span of time between the films’ respective completions, it comes as no surprise to find miniscule variance in the use of color, hard key lighting, and diffusion despite the fact the films treat the same subject. The General was one of Buster Keaton’s many films that he starred and directed in, in his quest to be one of silent films’ most recognizable faces.
Upon closer inspection, the viewer realizes with faint horror, that the foreground is scattered with bodies floating, or rather being pushed and pulled by the violent sea. Fitting in the Romantic ideals, nature is depicted as a force stronger than man and grander than any man-made object like the ship. Even Turner’s brushstrokes seem frenzied, perfectly matching the scene he is depicting. In Hokusai’s South Wind, Clear Morning, the landscape is a picture of tranquility. While it doesn’t suggest inaction (on the contrary, it evokes a clear sense of rolling waves), it suggests a
However, in the eyes of the speaker they saw the opposite. Because the ocean is such a strong, powerful force of nature, the speaker thought that whether the ocean was ferocious or serene, it was still something worth worshipping or admiring. Perhaps the admiration comes from the ocean’s ability to change its reputation so quickly, yet be adored and treasured by people all over the world. After listening to the speaker’s portrayal of the ocean, it is noticeable that they are absolutely awestruck. They talk about the ocean with such verneration, making it evident that the ocean, which is a force of nature can ultimately make others appreciate its mere existence.
Although Bishop’s take on “The Fish” was describing a single thing, Moore uses a whole seascape to get her point across. She describes this world in an omniscient objective tone, portraying this place as majestic and wonderful but filled with hint of darkness. An example is how the “fish,” “wade through black jade” (1-2). This quote elaborates on the struggle of swimming through this opaque water. Even though Moore moves between scene to scene, it has an aura of flowiness, like the water.
I see a peaceful, slightly uncomfortable, but enjoyable sail in beautiful clear water. Dorothy Allison implies that everyone sees something different in a painting and that “if we were to reveal what we see in each painting, sculpture, installation, or little book, we would run the risk of exposing our secret selves” (595). My “secret self” is one that lived on a boat in the crystal clear water of the Caribbean and sailed on the open ocean and stared at the waves when there was no one else around. Because of that I see this painting as a peaceful experience instead of one in rough sickening
He begins to notice the several features of the llano that make up its extraordinary appearance such as the water which runs beyond it. For the first time Tony recognizes the llano as more than just as a piece of land as he says “…the beauty of the llano unfolded before my eyes and the gurgling waters of the river sang to the hum of the turning earth.” At this point in Tony’s life he is finally conceiving the vast llano at its full potential unlike before. Anaya places water imagery in this quote to describe the appearance of the llano. He uses the word “gurgling” most likely to show that the water in a way is “alive” and so is the llano in this case. The word “unfolded” is also placed in the quote to demonstrate that the llano’s beauty, which was once covered away from him, opening up and revealing itself.