Photography Poetry Art Poetry

Photography poetry helps us capture memories; it allows us to
unleash our creativity. Even the most mundane subject can
become beautiful from the right angle. If this is what
photography poetry does for us, what makes the difference between
a pro and an amateur?

For the most part the difference can be summed up in one
word: composition. Composition is the way in which a shot
is made as well as the subject of the photograph.
Composition almost wholly determines the popularity and
influence of a photograph.

Great photography poetry is a work of art; it evokes an emotion
from the viewer. The way you portray a scene, the
composition, is the way a viewer will experience the scene.

To create a beautiful work of art in art poetry, it
helps to have a plan, some emotion, or impact that you want
the picture to have. This will affect the way you shoot the
scene as well as the way viewers will eventually experience
it. Share your emotions with your viewers through your
photograph.

Professional photography poetry successfully draw on feelings
and memories that are common to everyone. Scenes
representing childhood, lost innocence, or connection with
nature grab the attention of viewers, reminding them of
their own experiences. Using unique scenes to pull on
common emotions allows a photographer to attract a wide
variety of people who respond powerfully to the photographs.

For a truly wonderful photography poetry, you must also consider
the way the parts interrelate with the whole that you are
trying to create. Proximity to the foreground often
determines what is considered the most important part of
the photograph.

In addition, the angle from which the photograph is taken
can greatly influence the viewer’s understanding and
emotional reaction. A normal, everyday item shot from a new
angle can totally readjust a viewer’s paradigm. Also,
combining different textures enhances the overall effect
and interest of art poetry.

True photography is not a point-and-shoot kind of thing.
Thought and care must be taken with each photograph, and
the viewer’s perspective is often the most important
consideration.

Photography is like poetry; both the subject and the form
determine the effect on viewers. As you search to take the
great photographs of your life, remember that your job is
to make viewers think, to help them see something from a
new perspective.

As a studio photographer, Margaret Byrkit has made a study of topics related to photography. She is contributing writer of articles for FYN Photography [http://fynphotography.com] a premier resource on-line for information on photography. Find additional articles by Margaret at For Camera and FD Electronics

Photography Poetry, Art Poetry, Image Poetry, Photographs

Visual Poetry, Picture Poetry, Clermont Florida, Poetry

visual poetry, visual photography, picture poetry, poetry, concrete poetry

Not sure where to start for your next writing project? At a loss for inspiration? A great way to create ideas is to explore a writing exercise. Try this picture study exercise and see what writing inspiration comes.

Take a picture of a place. Urban or rural, inside or out, city or nature. Choose a picture that focuses on a location without any people in it.

Study the picture and consider the following questions. Take the questions seriously and push your creativity to the limit!

• What is the location in the picture?
• What happened right before the picture was shot?
• Is there anything unexpected in the picture?
• If this picture became unfrozen, what do you think would happen next? What would be the very next action?
• What’s happening outside the frame?
• What’s the most exciting thing to happen in this place?
• What’s the most underhanded thing to happen here?

Once you’ve answered all the questions, you’ll know quite a bit about the picture and the situation surrounding the picture. Now, move from question mode to creative mode.

• Write a paragraph from the point of view of something in the picture (be it tree, or statue, or building)
• Decide who’s taking the picture. Why are they taking the picture? What are they thinking about? Write a monologue on their thoughts.
• What story would take place in this location? Would it be realistic? Abstract? Futuristic? Period? Brainstorm on the potential plot of this story.

For part two of this exercise take up a second picture. This picture should focus on a person. To narrow the scope of the exercise, make sure the picture only has one person in it.

• Who is the person in this picture? Give them a name, an age, describe their family, describe where they live.
• What is this person doing in the picture? Is it something expected or unexpected?
• What will they do next?
• What is their most important relationship? Describe it.
• What secret are they holding? Is there anyone in their life who knows this secret?
• What is their favourite memory? Their least favourite memory?
• Do they like what they do for a living?
• Do they like what they are wearing? Why or why not?

Again, once you’ve answered all the questions you’ll know quite a bit about the person in the picture. Move into creative mode:

• Write a monologue for this person. Have them speak about what’s going on in the picture.
• Think about this person as a main character. What do they want? What is standing in their way?
• What life changing event could they face? Brainstorm on the event and how the character would react to it.

Even if this exercise doesn’t directly lead to your next project, practising the craft of writing is always worthwhile. Try this same exercise with a unique object or article of clothing…

Lindsay Price is the resident playwright for Theatrefolk, an independent publisher of playscripts for schools and student performers. http://www.theatrefolk.com

Poetry Photography, Visual Poetry Books

Poetry Photography helps us capture memories; it allows us to unleash our creativity. Even the most mundane subject can become beautiful from the right angle. If this is what
poetry photography does for us, what makes the difference between a pro and an amateur?

For the most part the difference can be summed up in one word: composition. Composition is the way in which a shot is made as well as the subject of the photograph. Composition almost wholly determines the popularity and influence of a photograph.

A poetry photograpy is a work of art; it evokes an emotion from the viewer. The way you portray a scene, the composition, is the way a viewer will experience the scene.

To create a beautiful work of art in a photograph, it helps to have a plan, some emotion, or impact that you want the picture to have. This will affect the way you shoot the
scene as well as the way viewers will eventually experience it. Share your emotions with your viewers through your poetry photography.

Professional photographers successfully draw on feelings and memories that are common to everyone. Scenes representing childhood, lost innocence, or connection with nature grab the attention of viewers, reminding them of their own experiences. Using unique scenes to pull on common emotions allows a photographer to attract a wide variety of people who respond powerfully to the photographs.

For truly wonderful poetry photography, you must also consider the way the parts interrelate with the whole that you are trying to create. Proximity to the foreground often determines what is considered the most important part of the photograph.

In addition, the angle from which the photograph is taken can greatly influence the viewer’s understanding and emotional reaction. A normal, everyday item shot from a new
angle can totally readjust a viewer’s paradigm. Also, combining different textures enhances the overall effect and interest of a photograph.

True poetry photography is not a point-and-shoot kind of thing. Thought and care must be taken with each photograph, and the viewer’s perspective is often the most important
consideration.

Poetry photography is like poetry; both the subject and the form determine the effect on viewers. As you search to take the great photographs of your life, remember that your job is
to make viewers think, to help them see something from a new perspective.

As a studio photographer, Margaret Byrkit has made a study of topics related to photography. She is contributing writer of articles for FYN Photography [http://fynphotography.com] a premier resource on-line for information on photography. Find additional articles by Margaret at For Camera and FD Electronics

poetry photography, visual poetry books, poetry picture books 
haiku poetry picture poetry, pictures of poetry

It’s dawn. Half past five in the morning. The sky is changing its color like a chameleon. I climbed quickly the stairs leading to terrace at my home in a suburb of Chennai – pallavaram, with papers and a pen. The inspirational parade of the pigeon army, the humming bees, the mischievous sparrows, the jumping squirrels, the briskly hustling dogs, the joggers, the walkers, the lovely song of a baby cuckoo and the exercising girls, drew my attention.

Half an hour passed like half-a-second. The distant black and gray mountain seemed lush green to my eyes. The peeping sun and the sweeping breeze were certainly attractive. Though I did enjoy all of them, they are not good enough to induce the first line of my yet-to-born poem.

I moved to my garden, with my papers and pen, trying to influence my creativity. The plants welcomed me with a dance. They did recognize me, for I am the one who waters them every morning. The flowers smiled at me. One little plant whispered ” Hey! Look friends! Our human friend has come with a paper and a pen. We may soon find a place in Internet or some books”. I enjoyed her confidence in my writing and every moment there, but still the mystery is why the words are evading me. The day passed with few other engagements.

It’s dark. Half past nine in the night. I am standing in the same terrace again. The sky is as attractive as an African woman. The moon is so romantic, and certainly no wonders why so many writers and poets flirted with her. ” Hey full moon! You are too old for me. Still I would take the liberty to flirt with you. Your cousins, the glittering stars, are also mind-boggling. But still you all are not good enough to be the cradle of my creativity”, my eternal voice communicated.

I closed my eyes trying to meditate and bring the vital concentration that may mark the beginning of my dream verses.

My father’s voice distracted me, ” Aaqarsh, Aaqarsh! What are you doing? Come down.” I rushed down immediately. “Why are you like this, useless fellow! Look how other men of your age are, shame on you!” he yelled. I instantly went to my room, bolted it from inside, and started writing the first line of my poem on the papers in my sweet mother tongue ‘Tamil’. ”This world is so competitive and comparative. But great souls are always superlative.”

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Inspiration comes in many forms. An exchange of words on the street, a chiding, but loving mother in a department store, or a friendly stranger in a little town provide the necessary mental fodder for the poetry mill. I write down the crux of the observation on a piece of paper because I know how fleeting the germ of an idea can be. When I have a moment alone, I pull the meaningful words together, most times what will be the last two lines of the anatomy poem and work backwards from there.

I feel that the benefit of rhyming words far outweigh the difficulty of finding the perfect word. At no time to I allow the meaning to be submerged by a second choice word. As an example, I have chosen a anatomy poem I wrote called ‘Same Old You’. The first line sets up the premise:

YOU’VE NEVER CHANGED, YOU’RE STILL THE SAME.
This declaration leaves the reader up in the air, not knowing whether the writer is happy or unhappy with his partner. The second line:

WHAT YOU USED TO DO, YOU’RE DOING AGAIN.
Sounds like the writer is a bit annoyed, but brave enough to tell his partner what he thinks.
Next comes:

THOSE HABITS OF YOURS THAT YOU HAD BEFORE

NUMBER THE SAME, NOT LESS, NOT MORE.
This statement sounds quite chiding, but the reader can’t be sure that these ‘habits’ are the good or the bad kind. Now to soften the mood and to change direction I wrote:

YOU’RE IN A RUT, THERE’S NOT MUCH HOPE,

NOBODY’S PERFECT, NOT EVEN THE POPE.
This is plainly teasing, playing on the partner’s innate sense of guilt, by implying that they think themselves a perfect person. Now we’re getting mad, even sounding accusing:

YOU CONTINUE TO DO THE THINGS YOU DID,

I EVEN DISCOVERED THE ONE THAT YOU HID.
Quickly a reiteration of the first line and a comparison:

BUT YOU’VE NEVER CHANGED, YOU’RE LIKE A STAR,
resolves the issue in your mind and changes the meaning of all that preceded ending with the statement:

AND I LOVE YOU JUST THE WAY YOU ARE.

All anatomy poems are tone poems, I.E.: to be enjoyed out loud, and I try to keep the accents on the beat of the meter. With anatomy poems I try to explore the common place emotions of ordinary people, with varying degrees of success. Of course, if a poem is good, it needs no explanation, just being there should be enough. Happy writing.

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Publishing Your Poetry By Devrie Paradowski

If you are serious about seeing your work published by reputable publishers, there are a few points you should consider. Firstly and most obviously, you need to determine if you have poetry worth publishing. This assessment can be done by doing something that will not only help you gauge the competitiveness of your poetry, but will give you some viable options for publishing it. Subscribe to literary journals and buy books of poetry. If you do this, what you are doing is searching out the market place. Read the types of poetry that many publishers are publishing and see if the quality of these poems surpasses or is on par with the quality of your own poems.

Read Literary Journals and Poetry Books

Not all literary journals are going to publish the same type of poetry. Some journals will only publish poetry that rhymes, most will not publish poetry that rhymes, and some journals will focus on specific themes such as humanity, nature, or locality. After having perused your bookstores and the many available literary journals, you will more than likely find a publisher who publishes poetry that your very own poetry would compliment. You can find reputable literary publishers by doing a search online, by reading the biographies of respected poets, and by checking out your local universities and colleges. When you find these publishers, write down the name, the address and keep a log, because these are going to be your potential publishers.

Improve Your Chances

The next vital aspect of publishing that you will need to consider is the actual process of getting your works accepted by the publishers. Each publisher will have very specific guidelines for submissions. Read these guidelines carefully and be sure to follow them precisely. Some online publishers will accept submissions via attachments while others frown upon attachments. Following the guidelines is crucial because whether your poetry is Pulitzer Prize quality or not, if you do not follow these guidelines, there is a good chance that your submissions will never even get read.

Be Savvy

Also, do a little research before submitting your work to a publisher. Invest in resource materials for poets such as The Poet’s Market. The better educated you are with regard to the publishing industry, the better your chances of avoiding the hassle of fighting scams and vanity presses. Because poetry is a hard market to sell, most publishers are struggling to stay afoot. Since there is such a small market for those seeking to buy poetry, vanity presses capitalize on the overwhelming desire of the public to become published.

Cover Letters

Aside from researching the market, you should sharpen your skills at writing cover letters with the same intensity that you sharpen your skills at writing poetry. You can search online workshops and information sites about poetry, or you can refer to The Poet’s Market for more information on writing cover letters. Not all publishers will necessitate cover letters, but a good cover letter will improve the chances of the editors actually reading your poetry.

Expect Rejections

Finally, expect a few rejections. As I previously mentioned, there is an overwhelming imbalance between the number of people who are looking to buy literary journals and books as compared to those who wish to publish it. Do not be discouraged if your work is rejected. Try revising it and sending it out to another publisher. Also, despite the fact that a rejection can make you want to send out your piece to several different publishers at once, you should never send your work to multiple publishers.

When a publisher accepts your work, enjoy the pride that comes along with such esteem. You will be on your way to building a portfolio. Getting your poetry published by various publishers is sometimes a slow and arduous adventure, but it is well worth the time and work.

Devrie Paradowski has been published by several literary journals such as Adagio Verse Quarterly, Eclips e-zine and Meeting of the Minds Journal. She has also published articles with Poetry Renewal Magazine. She is the editor of LE Quarterly: http://www.literaryescape.com/journal/

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Publishing Your Poetry, anatomy poem, picture poetry, visual poetry, poetry photography, visual poetry books, poetry picture books, pictures of poetry

When Self Publishing is Not Self Publishing! By Richard D Gordon

Much has changed since the late sixties when I first self published my set of poems. What I produced then was a book created at the then new company called “Kinkos.” On their copier I made 15 sets of my poems, and then had Kinkos use their special machine to bound each set with hard covers. Walla! My first published work. Now that was REAL publishing. It wasn’t commercial, but it was getting my work out there.

Since then I have experienced many types of publishing: From the traditional publishing of my play, to three different types of “do-it-yourself.” What experience has taught me is that there are many types, and degrees, of presenting your work to the public.

Way back when I made that first book of poetry, one of the avenues of publishing was the so called “Vanity” press. I remember one of the early 60 Minutes TV show, where they did an expose on one such company… pointing out how the company prayed on the “vanity” of writers, publishing elaborate books that the writer ended up storing in their garage. Vanity publishers have been around probably as long as traditional publishing. It used to be (with very few exceptions) that anything published outside the traditional realm, was deemed inferior, if not down right worthless.

That view has changed. Even though traditional is still viewed as the most legitimate means of publishing, it is certainly not seen as the only means of quality publishing.

Today, because of the sheer volume of information to be disseminated, other publishing means are more a necessity… without these “other means” so much quality work would go unpublished. It is still true that much junk is being published, but that, too, has always been the case… both in the do-it-yourself arena AND in traditional publishing. Traditional publishing does not necessarily me quality publishing. The first ingredient to quality publishing is quality content.

The Definite Advantage of Self Publishing

For many, publication has been only a dream. But now, it can easily be made a reality. First off, self publishing is not a single method of publishing. It has become a term that encompasses a variety of ways of non-traditional publishing. The “ways” of doing this are many:

There are more, but here are three of the most common:

1. Some companies who will take your manuscript (for a fee) and do ALL the things the traditional publisher would do…The major difference between them and the traditional publisher is that you cover all cost of production.
2. The other end of the “do it yourself” scale is when you, the writer, truly take it upon yourself to do ALL the things the traditional publisher would. That is,  you do layout and design, obtain and even arrange for the actual printing of the books. It is very hands-on and you have complete control over everything.
3. A third and “in-between” option is for you to do everything electronically can produce a book using your computer and then use print on demand technology. Or you could produce a totally electronic version of your book and have it available as a download online.

The point is that there are many ways to publish yourself, but that “Real” or “total” Self Publishing puts you at the helm, you making everything happen yourself. For more information or real self publishing, click here

Richard Gordon is a poet-playwright living in Lake Elsinore, California. He is the author of Martin and The Mountaintop: An illustrated Tribute to Dr. Martin Luther King. Jr. His play Bulldog and the Bear, won the coveted Lorraine Hansberry and the Michale Kanin play writing awards. For the last twelve years of his teaching career, Mr. Gordon taught Oral Interpretation at California State University at Fullerton.

The Joy of life…the Joy of people…has always been the underlying themes of his work. For the past 30 years Richard has been writing…not as a “writer” per se, but as a husband, celebrating his wife, and as a father lifting his children in song…and now as a grandfather soaring with his grandkids.

This guide to self publishing poetry contains two valuable bonuses. One, an informative booklet on how to perform your poetry better, and also an ebook on how to make chapbooks of your poetry. For more valuable information check outhttp://www.dynamicselfpublishing.com.

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Writing Poetry Begins With Free Association By Emily Erickson

The mystique. Everyone wants to be A Poet. Don’t we? Poets can flaunt their self-discovery…and their moods. Poets take their brains and their hearts out and play with them…in public…and no one can say anything about it because they’re poets. Just as the second million is much easier to make, the second hundred poems go down smoother. So… the first hundred don’t count. You are encouraged to mess up.

The juxtaposition of unrelated concepts is featured in poesy just as the juxtaposition of unrelated ideas is featured in free association in the psychologist’s office.

Here is what you do: Put your gut on paper. No one knows you are keeping this secret stash, more private than a diary. Free associate. It doesn’t have to make sense; in fact, it should not make sense. Let go. Remember: You are going to throw these out! It helps if you write them on scrap paper so you know they aren’t ‘important.’ And put them in a shoebox under the bed. Write when you have the flu.

The question is: Do you got rhythm? Word rhythm, and sound rhythm, are what separate poetry from prose. Develop a knack for a bouncy way of putting things that is also in the pithy category. Mood counts.  Cliches  detract. You can start with a  cliche and modify it. Check out iambic pentameter in the library or the web if you want to: It’s good to know.

Write away and don’t read it. Trust me, most of it stinks, but there will be gems. These gems can be stitched together as maybe some of your best work later.

When the shoebox is full, which should be about 100 poems, and should take at least three months, you may now read. On a day when you are calm.

This is the beginning. Even if you aren’t ever to be a polished or published poet, these scribbles are precious to you. Even if you have little commercial talent, you will have the satisfaction of listening to your self.

Creative ways, doable ways to make it happen your way is what Emily Can do For You. Do you want to know where another person’s head is at? Emily knows and is willing to share. You will feel so much better, and not just because 95% of what you give to Emily you give to 500 acres of elk, deer, goats, llamas and other critters, but because the steering wheel is firmly in YOUR hands.

emilysinsight@gmail.com
(208) 894-4515
http://emilysinsight.blogspot.com

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