Fisherman’s Terminal Abstracts and Shooting Mindfully

The other day, I took a trip to the local Fisherman’s Terminal to pick up some salmon for dinner, and thought it might be fun to do a short photowalk through the shipyard. September has been cool and sunny, and the light gentle, yet intense. It turned out to be a meditative escape in a playground of shapes, texture, color, and light.

Sometimes I think I can take photographing for granted. With easy access to any kind of camera, we can capture what we want when we want. It’s easy. It’s fast. It can sometimes be more of a reactionary response, or a “this might look good” moment. I don’t discourage myself from just shooting because sometimes those moments turn out really well. Some of my favorite images are things I caught by luck or random happenstance. But the amount of snap-shot/just because photos I have can totally burn me out. I tend to get bored and frustrated. Where is the work I’m dying to make? The work that really stands out for me that isn’t just another random image?  That’s when I realized: My mind is not always in it’s prime state when taking photos. Simply put, there are times I am present with my camera and the moment, and there are times when I am not. I want to strive to be more present. Not only is this healthier for my mind, it yields my more thoughtful and impactful images.

As I continued my walk through the shipyard, I felt every step on the wooden pier, took a breath and stabilized my feet before every shutter release, thought about how a subject might look at different angles, remembered to consciously practice things I learned in school like hyper-focal distance focusing, and visualized how I might want to process a moment differently than how I saw it at that moment. I was patient with myself. I let myself try. It was one of my more immersive photo walk experiences. I was eager to edit what I had shot, because I knew I had good things to share.

Bands | Sep 2016 | Marivic Pinedo

Materialize | Sep 2016 | Marivic Pinedo

Koi | Sep 2016 | Marivic Pinedo

Streak | Sep 2016 | Marivic Pinedo
So, I’d like to ask you: What intention (if any) do you set for yourself when you go out shooting? When do you think you feel disconnected from your work? When do you feel connected with your work? Do you practice a sort of mindfulness when you are shooting? And just for fun, where are some places in your hometown that you can always go to to explore your creative seeing? As someone who can struggle with creativity and finding inspiration, I’d love to hear your thoughts!




March 5, 2016 

In processing this image, I was playing with the idea of DNA running across a gel. It was a lab exercise I did in high school chemistry. My memory is a bit foggy, but if I remember correctly, DNA is negatively charged, and traveled across to the positively charged nodes in the apparatus. It was a really fun exercise. We took poloroids of the results, and this photo reminded me of how the DNA looked after “running” across the gel. 

You can’t walk 10 feet without stopping to…

You can’t walk down any street in Portugal without taking a picture of tile or ornate doorways and windows. A mixture of charming, old world, and fun.

Who doesn’t like a mannequin leg hanging above their door? Taken in an alleyway in the Alfama neighborhood of Lisbon, Portugal.
One of the many doors at the Universidade de Coimbra.
I think I took this in Lisbon.
Nazare, Portugal
Nazare, Portugal
From the lighthouse building in Nazare, Portugal. This building is a place for spectators to watch surfing competitions. This video of how big the waves get says it all. It was so windy there, you could lean into the wind about 10 degrees and it’d hold you up for a good second or two.
Where I had the best gin and tonic, ever. This is a little bar that plays great music, and holds live jazz performances. Slavo the bartender was the greatest, and made us an awesome beef sandwich. And we met a sea merchant (?) who told us about his travels. It was like talking to your favorite uncle.
Universidade de Coimbra
Universidade de Coimbra
Coimbra, Portugal

I believe this was taken in Porto, Portugal.
Porto, Portugal by the river front. We were told that the marks on the concrete are the flood levels from that year.
Lisbon, Portugal
Yes. Not a doorway, but next to one. I was distracted by the fun sign and bicycle. How could I not take a photo of this? A last minute visit to get some beard cream for a friend who swore by it. Taken in the Alfama neighborhood of Lisbon.
In any city, I always like looking at how builders level their doors on a steep incline.
Okay, so this is a window. But I saw a lot of doorways with tile decor of religious scenes like this around them. This is probably one photo I felt good about posting. I really like the lace in the window and the naturally distressed wood.
And just so you get an idea of how the other side of doors can look like in this country, we found this door lock in one of our lodgings to be especially entertaining.

Urban landscape

The Federal Courthouse in Seattle seems to draw me in every time I pass it. It’s obviously planned environmental and architectural landscaping, but I find it to be lovely. My favorite time of the year to be here is actually during the summer. There is plenty of room for people to sit and enjoy lunch. The steps in front and to the side almost look like an Aztec pyramid. Then there is the circle of steps around the abstract statue that sits on a patch of green. Then, with light tree coverage, you get shade and sun; whatever you’re preference. During the winter it does not get the attention of the office worker hour-lunch crowd.  The only ones around are a security guard who patrols the premises and a couple of homeless people who camp on their benches. One day I’ll want to do a proper documentation of this corner, but for now I’ll do my quick studies.



Seattle (Fremont), Washington
February 2, 2016

Believe it, or not, I’ve never seen Casablanca (gasp!). With that said, being a consumer of television and film, I’m thinking I can at least guess that this was a relationship between Humphrey Bogart and Ingrid Bergman’s characters that was difficult to have. In this photo, you can assume that Bogart and Bergman are on the same wall. They are divided by a block of white that is used for Fremont’s outdoor movie nights during the summer. I was interested in telling the story in two frames. Each frame centers on the character, but each is surrounded by obstructions. Setting up as a diptych was intentional; another barrier to their relationship. I’ll now have to watch it and see if my presumption is correct.