Photographing Venice-Towards Minimalism-Part 2
Photographing Venice-Towards Minimalism-Part 2. This second post showcases a wide selection of my colour images, inspired by the ‘less is more’ philosophy.
Photography is about “making visible”, the difference between “looking and seeing”, “raising awareness”, seeing things that others would pass-by, and communicating intentions.
Together, Parts 1 & 2 offer a comprehensive guide to developing a personal and more expansive approach to capturing Venice and create lasting memories, that reflect the iconic charm of this historic city of “stone, water, colour, and texture” and its “beauty and subtlety”, that comes in many forms.
Minimalism in photography focuses on simplicity, clarity, and the deliberate use of picture space. By removing distractions, the essential subject matter stands out, creating a stronger visual impact that conveys emotion or meaning more effectively. As Mies van der Rohe famously said, “Less is More” – more for the imagination!
Hopefully, my photography posts will help you to improve your skills behind the camera – in a relatively short time and at no cost. Venice offers a variety of photography-based workshops and photo-trips – so, these posts would also benefit you before attending.
Please Note. I have included a section on Minimalist photography from “Photographing Venice-Towards Minimalism-Part 1, before viewing the images below; just to refresh your undestanding of its Core Principles, Techniques, Practices, Challenges and Criticisms. For a comprehensive theoretical understanding of the evolution of Minimalism and its apllication to photography – please read my two other associated posts:
Evolution of Minimalism. Trace its history from its roots in philosophy, art and architecture to its influence on modern design and lifestyle. This large comprehensive guide with the addition of many interesting quotes, supports the exploration of how simplicity, clarity, and functionality shaped cultural movements, creative expression, and everyday living.
Photographing Venice-Towards Minimalism-Part 1. Embrace the principles behind ‘Less is More’, for images with impact and lasting memories. Learn by using my minimalist approach, this most comprehensive post will assist you in developing a more personal and expansive approach to photographing in Venice.
Introduction. Photographing Venice-Towards Minimalism-Part 2.
Minimalist photography emerged in the 1960s, as part of the broader minimalist art movement. Emerging alongside minimalist painting, sculpture, and architecture in the mid‑20th century, it shares the same ethos of reduction, clarity, and focus on essentials. Just as minimalist artists stripped their work down to pure form and repetition – minimalist photographers use negative space, geometry, and restraint to emphasize perception over decoration. It challenges viewers to appreciate subtle details and encourages mindfulness in both creation and observation.
Since the 1980s, an ultra graphic monochrome style of photographic minimalism has developed in populrity. Whilst visually dramatic, it tends however, to take away a degree of individuality in approach and appears to be rather limited in the range of subject matter (or motifs) captured. That’s one reason in regard to my Venetian photography, I prefer to work in colour (with the ability to convert to monochrome) and to the concept of “Towards Minimalism” – to capture all the subtle nuances that contributes to making this historic city, so alluring.
Maximalist approaches may rely on complexity and abundance. Minimalism in photography encourage photographers to see beyond abundance and is rooted in the principle of less is more and in the emphasis of simplicity (restraint), clarity (directness of vision), and intentional use of picture space. By stripping away distractions, photographers highlight the essential subject matter and can create a more powerful visual impact that communicates emotions or meaning more successfully. As the renowned architect, Mies van der Rohe stated, “Less is More” – more for the imagination.
Minimalism in photography is more than a style – it is a philosophy. By focusing on less, photographers invite viewers into a contemplative space. A lone chair in an empty room, a bird against a vast sky, or a persons shadow rather than the person; can evoke emotions ranging from tranquility to intensity. Minimalism aligns with broader lifestyle movements that value mindfulness and intentional living, reminding us that simplicity can be profound.
In an age where billions of images are uploaded daily, photography often risks becoming saturated with excess detail, clutter, and distraction. Against this backdrop, minimalism emerges as a powerful counterpoint. Minimalism in photography is not about emptiness or lack, but about intentional presence – stripping away the unnecessary to highlight what truly matters. By embracing simplicity, photographers can create images that resonate more deeply, offering viewers clarity, calm, and meaning.
Minimalism thrives in today’s digital culture. On platforms like Instagram, minimalist aesthetics stand out amidst visual noise. Commercial photography also embraces minimalism, particularly in branding and advertising, where clean visuals communicate clarity and sophistication. Looking ahead, emerging technologies such as AI and generative art may push minimalist styles into new territories; blending tradition with innovation.
Core Principles of Minimalist Photography
Simplicity or precision of composition. Moving towards minimalism, requires a reduction of subject matter components and placement in a precise way. They can be disposed in the picture space symmetrically or asymetrically – the former may give the feeling of calmness or balance, the latter can set up tension within the picture space. Minimalism images, may involve patterns and repetition of motifs, or might just deploy the use of a single subject matter or figure, that fills the picture frame; even if it has a complexity of form or detail within it. Examples of the latter, would be a close-up portrait, the organic forms found in plants, or the textures and fitments of an old framed door.
Negative picture space. This relates to the space between the subject matter components and commonly involves either the use of light or dark backgounds; to increase the visual contrast between them. Attention to this factor, helps to simplify and unify the image and let’s its intention shine through.
Geometry. Geometric forms (shapes) – for example lines, circles, triangles and rectangles, are used to create clean, structured compositions that emphasize simplicity, balance, and visual clarity. They help move the viewer’s eye around the picture, highlight negative space, and transform ordinary subjects into striking, more abstracted visuals. Circular forms soften compositions and add contrast to rigid lines, often creating a sense of calm or focus. Triangular shapes or diagonal lines introduce tension and movement, preventing minimalist images from feeling static.
Patterns and Repetition of Motifs. Add rhythm and structure, while maintaining simplicity. Examples would be on buildings – windows, tiles, columns, shadows, or in organic plant forms (where there’s life, there is organisation not chaos).
Colour Palettes. In minimalist photography, colour associations shape how viewers emotionally and psychologically respond to an image. Soft colours often evoke calmness and subtlety, primary colours convey clarity and boldness. Areas of opposing colours (like orange and blue) can create both movement, depth, as well as balance or tension in the picture space; that may heighten visual impact.
Tone: Monochrome palettes or stark contrasts are common, reinforcing clarity. Today, it is easy with digital devices to take in colour and convert to B&W. However those photographers that specialize in monochrome minimalist imagery, may still prefer to use B&W filmstock and adjust their approach to subject matter, to suit that style of high contrast imagery and unified negative picture space. One important thing to remember is that two contrasting colours, such as orange and mid-blue; turn into the same mid-grey tone, when converted to monochrome. A useful learning exercise is to convert your colour images into monochrome and go back and forward, noting the differences and how your perception of the image changes.
Techniques and Practices
Minimalist photographers utilize deliberate choices of approach, that may include:
- Framing and Cropping: Removing distractions to highlight essentials. Images are best framed at the taking stage in camera to preserve quality, but cropping can be used post-production (especially if just for low resolution web transmission).
- Use of long exposure: for example, over water/sea, to remove unnecessary textural detail by blurring, which merges the sky and sea to give an overall light tonal background.
- Selective Focus: The use of shallow depth of field to isolate subjects from the background.
- Minimalist Landscapes: Limited or single subject matter on a high or low key, unified background. Examples can be solitary trees, fencing or lone figures in a high-key snowscape; or a brightly lit isolated building in a low-key stormy and brooding landscape.
- Urban Minimalism: Geometric patterns/repetition, architectural lines, and isolated details.
- Post-Processing Choices: Editing with restraint, avoiding unnecessary effects.
Challenges and Criticisms
Despite its appeal, minimalist photography faces criticisms and challenges. Some critics argue that minimalism risks over-simplification – producing images that feel empty rather than meaningful. Others point out that minimalism is subjective – what one viewer sees as elegant simplicity, another may interpret as lack of substance. The balance between reduction and resonance is delicate, requiring skill and sensitivity from the photographer.
Personally, one concern I have is that the modern, ultra graphic monochrome style of photographic minimalism, whilst visually dramatic, tends to take away a degree of individuality in approach, by limiting the range of subject matter captured. That’s why in regard to my Venetian photography, I prefer to work in colour (with the ability to convert to monochrome) and to the concept of “Towards Minimalism” – to capture all the subtle nuances that contributes to making this historic city so alluring.
Check out below in the Links Section, the Venetian minimalist monochrome photographic images of these two great minimalist photographers – Michael Kenna and Alexandre Manuel. See what you think of my own comments above.
Grand Views of Venice
I thought that to start with, I would show you my interpretation of two of the most famous “Grand Views” of Venice; captured by many artists and photographers over the centuries.
Above. “Classic View from the Molo towards San Giorgio Maggiore at Sunset”. An almost timeless image, where the sun’s last golden rays are reflected on both the clouds and on the wonderful gondola prows. Slight underexposure and good balance in the composition, strengthens the image and helps in unifying the picture space, despite the complexity of elements. I would call this view a “first selection or abstraction” of what the eye sees from that viewpoint and roughly equates to the angle of the eye’s good sharpness. The negative picture space is roughly mid-range and the pivot point for balance, is the white stone frontage of San Giorgio Maggiori in the centre.
Above. “Classic View of the Grand Canal from the Academy Bridge towards the Salute Basilica, at Sunset”. Again an early abstraction/selection of what the eyes sees, but lays roughly within the angle of the eyes angle of sharpness of vision (about 46 degrees), from the bridge. The negative picture space is roughly mid-range. The bluer hues of the water and sky, unify the picture space and helps focus the eyes on the sunlight areas. The image is balaced left/right and up/down, with the small golden globe of the Dogana tower acting as a central pivot point. Slight underexposure and the warm saturated light, adds to the mood and gives the feel of the 18th century view-painters.
Here’s a more abstracted version from the same above viewpoint in a square format. A simpler and more direct image, that despite the architectural wealth of detail – it’s still essentially a single subject image
Above. Using a square format creates a more abstract/selective image. The cooler tones of the water and sky bring harmony to the negative space, which here is roughly mid-tone. The triangular arrangement of architectural elements adds weight to the bottom, guiding the eye upward to the sunlit domes of the Basilica. This approach highlights the immense mass and solidity of the buildings, all resting on thousands of wooden piles.
Creating a “high-key” or “light negative space” image.
Briccole or navigation poles.
Above. Another “Grand View” of Venice, captured from the Fondamente Nuove on the northern Cannaregio coast; features the navigation “briccole” in the lagoon set against a pale backdrop, where sky and water blend seamlessly. A favourite subject for monochrome minimalist photographers in Venice, this scene was shot with a short telephoto lens and cropped into a panoramic “letterbox” format, compressing the rear image plane. The Venetian mainland coast and the snow-dusted Dolomites, about 70 km apart, appear much closer. The cool-to-warm tones in the background add subtle depth, and despite the broad view, the simplicity and clarity of the vision remains strong.
Above. Using the same image originally taken in colour and later converted to monochrome, I reduced the number of visual elements by opting for a square format, slightly brightened it, and increased the contrast. The result feels simpler and more direct—what I like to call, rather bluntly, “more in your face.” Compared to the panoramic version, there’s no need for the eye to scan the scene. With a limited subject and a light overall background, both versions work beautifully and make striking large display prints. The colour image preserves subtle shifts in the hues of water and sky, adding greater depth, while the black-and-white version feels more graphic and somewhat flatter in perspective. Given the iconic quality of Venice’s lagoon and canal light – both direct and reflected, I prefer working in colour to keep the full range of creative possibilities, rather than restricting myself with black-and-white film.
Above. “View from the Riva degli Schiavoni, looking towards the southern entrance of the Grand Canal” The docking poles are set against a wonderful transition from the blue lagoon water, to the warm tones of an early sunset sky. The light background unifies the picture space, whilst the contrasting colours, move the eye up the picture space and adds depth to the image plane. In Photoshop processing, I made another background layer, added a touch of gaussian blur and blended it into the original image. The “soft-blur”, gives a more romanticized impression.
Late Autumn and Winter Mists
In late autumn and winter, cold air from the mainland mountains drifts over the lagoon’s warmer waters, creating mist or fog. In this instance, the fog was especially dense and took hours to burn away. More often, it’s lighter, allowing taller structures like spires and campaniles to rise above the haze.
Above.“View from the Campanile on San Giorgio Maggiore in Fog, looking toward the southern entrance of the Grand Canal.” The soft, light negative space simplifies and unifies the scene, creating an almost monochromatic feel with beautifully muted contrast. The square format draws the eye straight to the essential architectural elements of the image. This campanile offers some of the most spectacular 360-degree aerial views over Venice.
Creating a “low-key” or “dark negative space” image
There are various ways to create this effect. The use of a subdued or darker background, focusses your eyes onto compositional elements illuminated by direct or reflected light. Here are a few examples:
Above. The sun rises in the east and sets in the west. In the historic city, depending on the time of day, either side of the network of canals and walkways can be bathed in bright light or cast in deep shade, with the contrast often quite extreme. Back in the days of analogue colour film, shooting in bright sunlight meant exposing to control the highlights, which often resulted in little or no shadow detail. The best viewpoints for photographing canals, are often found from a low bridge. One trick is to leave out much or all of the sky. Here, I have framed the shot to capture the light reflected off the water’s surface and the line of boats. In this tight composition, I’ve balanced the scene with a strong diagonal of boats mirrored by people on the walkway. The focussed light and colour against a muted background, guide’s the eye around the image.
Above. Another way to create a low-key or darker negative space, is to utilise the many “sottoportego” or small underpasses, beneath buildings found in Venice. On this image, I have organised the composition around a single rectangular focus of light, with a couple walking by. On a subdued background with little colour differentiation, there is just enough shadow detail to add interest.
Above. Again, looking down along the canal, a tight composition and underexposure creates the unified darker base, whilst allowing just enough detail providing interest in the shadow areas. Contrasting reflected blue and yellow light areas, are positioned centrally and the gondolas form a diagonal; both creating movement in the picture space.
Above. The great artist, critic and author John Ruskin, lived and worked in this modest house. The shadow areas form a traditional “U-shaped base for the composition, whilst a single shaft of light, penetrates the narrow street. The ochre wall provide the colour contrast
Above. Night photography, is another way of providing images with a darker negative picture space, that allows you to adjust the composition to focus the eye on illuminated areas. A single hoodied figure against a highlighted area, is used as a small counterpoint to the main subject.
Above. Here is the famous statue of Bartolomeo Colleone in the Campo SS Giovanni e Paolo (outside the main hospital). Looking due south, I have taken a low position against a dark stormy sky, and a single shaft of light. It’s practically a monochromatic picture. I imagined him to be the horsebacked God, Aerial – that patrolled the rooftops of Venice!
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Decaying Walls
In the damp winter climate, the exposed Venetian brickwork under layer(s) of plaster stucco, often grows yellow to red, iron containing micro-organisms. In dry months, the colour effect seen, would be muted and far less noticeable. These remarkable images feature the walls of the church of San Marcuola in Southern Cannaregio, next to the Vaporetto stop of the same name on the Grand Canal. it’s fascinating that the random deterioration of these stucco over brick walls, can give rise to strange forms that give meaning to the image; related to the religious nature of the building.
Above. Concentrating on the pale stucco, you can make out and imagine biomorphic forms – a man’s head and a creature wielding a club; raging against the Christian symbolism of a small wall shrine (often Madonna and Child or John the Baptist). The red pigmented brickwork, could represent the “fires of hell”. The meaning of the image formed on the church’s wall, is suggestive of the perpetual battle of “Good against Evil”.
Above. Note, the removal and addition of the church’s exterior elements, gives meaning to the image, suggesting the “passage of time”. Time, moisture, and the foci of exposed brickwork with overgrowth of micro-organisms, appear to suggest the “island nature of Venice”.
Above. In damp conditions, random deterioration of the stucco over brickwork, often gives rise to a range of biomorphic forms, coloured with the overgrowth of yellow to red microrganisms, due to iron and other minerals found in Venetian bricks. In dry periods the organisms appear grey, as they dry and fall off the wall.
Above. At a different site, all sorts of creatures can be imagined on this damp wall.
Above. On this damp yellow wall, the paint flaked off and formed a bird-like structure. The three-sided lintels of a blocked up window, became a nesting box, by a passer-by adding some graffiti.
Please see my post for more ideas: Photographing Venice – Transforming decaying walls into art. The effects of time, moisture and microorganisms, on its brick and stucco walls. This post is in two parts: 1. An outline of general information about building materials used in Venice, causes of deterioration in walls, restoration efforts and how you can support preservation efforts. 2. A visual feast of selected images, specifically demonstrating the effects of time, damp, pollutants and the growth of microorganisms, on the brick and stucco walls of Venice.
The Peggy Guggenheim Collection and Gardens
It is among the most important museums in Italy for European and American art of the first half of the 20th century and a “must-see” in Venice. It is located in Peggy Guggenheim’s former home, Palazzo Venier dei Leoni; near to the southern entrance of the Grand Canal in Venice.
Above. In the wonderful Guggenheim Gardens. I’ve captured this family’s responce, pondering and looking for meaning, in a reflective and fissured bronze globe artwork.
Above. Inside the museum, a rather trendy Japanese couple, admire a western expressionist landscape. I’ve called this image “East v West”, which also relates to the nature of Venice itself.
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Religious Figures
Above. Christ with Crown of Thorns and two uplifting Angels – one in the light the other in the shade, reminded me of the Christian notion of “light and darkness” or “good and evil”. This roughly 1 metre inset sculpture, was high up on a church wall. I left more space around my intended image, and corrected the distortions in Photoshop. It looks as if I took the picture head-on, and standing right in front of it!
Above. “Tears of Christ” (“Lacrimae Christi”). I found this huge and impressive wall-painting of the face of Christ one Xmas. It was hardly visible the following year.
Please see my post: Venice – Characters in Stone. Everywhere you turn in Venice, you can see statuary and plaques; that decorate, both religious and secular buildings, on walls, doorways and in public spaces and gardens. In Venice, these figures are more noticeable than in many other cities, due to the compact size of the historic city, the density of buildings, and the narrowness of its many walkways and passages. I have made the images in sepia-tone, giving them a different “aged” feel.
Quiet Cannaregio.
The three parallel canals of northern Cannaregio, running east-west are wonderful to photograph. Bustling during the working day, but calm and still at other times. Taken during the Xmas break, the two differently coloured images below, evoke a feeling of both quietness, calm and the magical lagoon light of Venice.
Above. Looking north-west at sunset, the blue tones of the sky, water and deep shade of the buildings, both unify the picture space and contrast with the warm sunlit buildings opposite. The trick is to keep enough luminosity in the deep shadow areas, whilst holding the highlight detail. Note the left/right, top/bottom balance with the small bridge as a fulchrum point. This image captures the changing moods of this wonderful Cannaregio district – so different from the busy San Marco.
Below. In conrast to the photo above, this was taken looking northwards to the mainland, one winter morning.The stormy grey sky and the canal water, contrast with the rich ochre hues of the buildings. Note the two strong diagonals and the image perfectly balanced in this tight composition – top/bottom, left/right.
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Acqua Alta.
Acqua alta occurs regularly during the latre autumn and winter months. For non-Venetians, it is amazing to see how residents in the city show great resilience and adaptability; taking the phenomenon of high tides and exceptional water levels in their stride. What a contrast to the UK, where one snowfall or heavy rain, can bring the country to a halt and disrupt everybody’s life! Venice is about relationships and balance – of man and nature; triumph over adversity; a structural and yet fragile city and about permanence and transience.
Above: “Low Winter sunlight on St Mark’s Basilica, during Acqua Alta“. The water, sky and shaded areas, create a low key negative picture space and helps unify the picture. This focuses the eye onto the Basilica and its reflection, centrally placed in the composition. Despite all the architectural detail, the image communicates in a simple and direct manner, aided by the square format.
Above. The stricking effect of late afternoon warm winter sunlight, on the many empty yellow cafe chairs in St Mark’s Square, during a period of acqua alta. Despite the detail, it’s just chairs and water, unified by the reflected light on the water.
Above. “Slashing Around”. A simple but powerful minimalist image – part of life during Acqua Alta in Venice, where people just get on with it!
Learn all about Acqua alta and the lagoon, in my the comprehensive and popular posts: Acqua Alta and the Mose Project The Great Venetian Flood of 1966
The Venetian Lagoon and its Ecosystem
Shop Window
On the main route between the Napoleonic wing of the Piazza San Marco and the Academy Bridge, especially in the wide Calle Larga XXIII Marzo, you can find many high end boutiques, private art galleries, mask and glass shops. Especially at night, when these shops are brightly lit up, their contents are fun to photograph. Just get fairly close to the glass and make sure the focus is on the subject matter and not the window (you can use a polarising filter on a camera lens to help eliminate the reflections). Move your viewpoint around to avoid or minimize, any major reflections from the window glass and try to choose a background that contrasts with the main subject matter. Using the principle of “Less is More”, you can produce striking results and great memories.
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Graffiti and Street Art
In Venice, Street art, has reflected both international concerns and the relationship between the state, the church and the people. Open to destruction by weather and dampness, this form of public expression; also makes visible the balance between “permanence” and “transience”. It reflects over time, changes in society and attitudes, which makes their documentation worthwhile and valuable. Once common-place in Venice (as in many italian cities), it is now considered unlawful; being slowly removed, but allowed in certain locations and contempory galleries, and even marketed as a tourist attraction!
I’m pleased to have captured so many graffiti and street pictures over the decades – here are just a few, that carry a social message, rather than the usual “tagging” efforts
Above. “Graffiti Girl”
Above. Recalling old Venetian folk tales, about the Gondoliers and the Mermaids in the lagoon.
Above. Modern consumerism in Venice
Above L to R. Bush and War. – Is Venice dying? – What is its image? – What is its future?
Above. Comments about Gentrification – The EU money pit – Deportation
Above. A powerful image on this current highly contraversial political topic.
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Gondolas
Two timeless images, so iconic of Venice. The square format compositions are carefully balanced to give a calm and restful feel. Again, by taking a slightly raised viewpoint, looking down on the canal scene, you can isolate the sky and many extraneous details in your image, creating a more unified negative picture space, to place your key subject matter elements within it.
Above. “Resting Gondola” next to the church of Santa Maria dei Miracoli. A beautifully simple and direct image. Often “less is more” – more for the imagination.
Above. The colours of the gondola’s blue and gold decoration and gondola fitments, are seen in the still canal water and reflected light. The main picture elements in the square are set up each side of centre, of roughly equal weight, and unified by the softer muted tones of the negative picture space.
Reflections
The quality and quantity of light both direct and reflected on the waters of the lagoon and canal environment; is so iconic of Venice. Here are a few more images to demonstrate my “Towards Minimalism” approach. Simple, direct in vision, timeless, and beautiful.
Above. In a dark narrow passage lightly flooded by acqua alta, reflected light shimmers across the stone pavers below.
Above. Again, on lightly flooded street pavers, the relected light is suggestive of Venetian lacework.
Above. Here’s another way to capture reflected light at the water’s interface. Set up and frame your intended image composition on the still canal waters before a boat approaches. Don’t forget when setting up: 1. At any lens aperture the field of sharp focus extends from 1/3rd in front to 2/3rd’s behind the point of focus (in this case a third up from the bottom of the image). 2. You will need a reasonably fast shutter speed to freeze the reflections. As the boat moves into the reflections, press the shutter. This combination of static and broken-up reflections, can produce really striking images. You can set the camera up to take multiple exposures just before, or as the boat enters your selected scene.
“Selfie-Mania”
The Rialto Bridge is a great place for observing this phenomenon. It’s best not to make people conscious of what you are doing, to keep their poses natural.
Above. Stand back a bit and with a short telephoto, tightly frame the composition – it’s get very busy and crowded. Note the strong diagonal composition, that moves the eye between the two main picture elements and the choice of a wider aperture to soften the background and any distractions.
Old Doors and Service Boxes.
Capturing images ecapsulating time, memories and the beauty of decline. Whether made of wood or metal, these aged door surfaces become textured with peeling paintwork and often become layered over time with paper – posters, stickers, and personal messages; frequently embellished with graffiti. Each door has its own story to tell and its own unique charm. By capturing fine details through a close-up approach; they compel you to examine their form, colour, texture and marks of human intervention.
Above. L. Rusty Old Gas Service Box. R. Electric Service Box, with layers old paper that meld into the surface with time, resembling “mixed media” artwork.
Below. Old Wooden Doors with Bell Push and fitments.
Below. A few decades ago in Venice, you could come across old iron doors, heavily rusted (yellow to reddish pigments) and originally black painted (with pigments that seem to turn blue with age). I have never seen anything quite like this example! I understand that they probably were from the Victorian or early Edwardian era.
More ideas for expanding your range of things to photograph in Venice: Photographing Venice – Old Doors and Service Boxes
4.1 Links (internal–external)
Here’s more of my image-based posts, that showcase a strong sense of personal vision and individuality, that hopefully stands out from the crowd:
See my “Depicting Venice” posts – a series of unique composite images and learn how they were conceived and made. The are several ways to order the images into a block. The fascination is in its unpredictability. Despite being complex, the images still retain and communicate remarkable directness of vision.
Depicting Venice – Ian Coulling
Depicting Venice 2 – Ian Coulling
Depicting Venice 3 – Ian Coulling
Check out this website: Contemporary Minimalist Award Winners (2020s) – Photographers redefine simplicity with conceptual approaches: minimalistphotographyawards-2025.
FLYING OVER VENICE – 4K Drone Film. Incredible video: almost 12 hours long – great for insomniacs or meditation and even for getting ideas for photography.
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