{"id":23101,"date":"2026-07-01T12:43:04","date_gmt":"2026-07-01T10:43:04","guid":{"rendered":"http:\/\/beautyoftennis.com\/?p=23101"},"modified":"2026-07-01T12:43:04","modified_gmt":"2026-07-01T10:43:04","slug":"old-new-pic-0795","status":"publish","type":"post","link":"beautyoftennis.com\/?p=23101","title":{"rendered":"o:ld > n:ew pic #0795"},"content":{"rendered":"

Anna-Lena Friedsam |<\/h3>\"\"<\/a><\/div>
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Anna-Lena Friedsam | Somewhere under way I started this attempt with blurring and adding layers in order to increase energy and intimacy of the pics. So I have to apply that to the images published prior to that…\u00a0<\/small><\/p>\n

Today I started my second run-through. The first selection of 322 images made me wish that I’d had taken more photos depicting the whole scenery. But in these years of shooting my ambition mainly was to come close to the players in order to show the intensity of focus, motion, reaction and emotion. So the following photos will show more of those close-ups. My idea is to give tags to each photo and make these categories available on separate pages and via the respective search term. I start with it today and hope to come up with the re-tagging for the initial 322 pics soon. You’ll find them at the bottom of each post.<\/small><\/p>\n

…So, now I am finished with all the old photos. As you might have realized I skipped many many pics. I left them in the database in order for everybody to be able to find ‘their’ images via the search function. Some of them I will take on later by re-thinking things like frame and other things. Also I probably will be much more radical with the manipulation. I have nothing to lose and for me the arts aspect has clear priority nowadays. But first I will re-think and if necessary re-do all the twothousandsomething previous pics…<\/em><\/small><\/small><\/p>\n

…it’s more about photography and allegory here than about individual players. Given that I only have attentive and smart visitors everybody will know that by now. Yet still one cannot explain enough…<\/em><\/small><\/small><\/p>\n

First published on: Jul 10, 2025 at 20:25<\/b><\/span> as ‘n:ew pic #1732’<\/small><\/p>\n

It happens to be that photos tagged with ITF partially are from German Bundesliga, which is another even smaller category. For me it’s ok here to distinguish between the bigger WTA and the inferior ITF stage, whether it’s all correct or not.<\/em><\/small><\/small><\/p>\n<\/div>\n\t\t<\/div>

\t\t\t

ChatGPT<\/p>\n

—–
\nI found out that one can upload pictures to ChatGPT and ask it to describe them. Obviously one can influence the way of that by the prompt. I chose to keep it quite open just asking it to decribe it ‘lyrically, like a poem, in English and in German’. Some of the words come stunningly near to what my intentions are with this project. Other parts are just so so. Hope it’s as much fun to read for everyone as it is for me. I decided not to change one single syllable of what the AI is coming up with here. Given the restrictions for non-paying users I only can do three images at a time and then have to wait for some ten hours before I can upload the next. At the moment it doesn’t make sense to me to upgrade to the required 20-bucks-per-month Plus-Version. For now I chose to be patient and do what I can with the restrictions.
\n<\/small><\/small><\/p>\n

Since the verbose longer poems started to resemble each other a little bit too much I decided to try the form of Japanese Haiku.
\nThen I told ChatGPT to make a sonnet, which also is a compact form with strict rules..<\/b><\/small><\/small><\/p>\n

—due to the restrictions of the free ChatGPT-plan I use and given the increased effort of putting everything together
\nI decided to slow down the pace from three to two posts per day, one at noon and one ’round midnight.<\/em>
\n—–<\/small><\/p>\n<\/div>\n\t\t<\/div>

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In Praise Of Shadows<\/h3>\t\t\t
Heute erhielt ich die Absage f\u00fcr meinen Antrag auf Akkreditierung beim WTA-Turnier in Bad Homburg. Es ist nat\u00fcrlich immer ungut, abgelehnt zu werden. Aber ich verstehe es auch aus verschiedenen Gr\u00fcnden. Es geht im Grunde um ein Zielgruppenproblem. Die Tennisleute verstehen nicht meinen k\u00fcnstlerisch-fotografischen Ansatz. Die Fotoliebhaber erkennen nicht die Faszination des \u201aGlasperlenspiels\u2018 Tennis. Die Macher lesen meine kritischen Zeilen und denken, das ist ein Querulant. Die, die wie ich den Ausw\u00fcchsen des Kapitalismus sehr kritisch gegen\u00fcberstehen, fragen sich, warum ich mir solch eine dekadente Reichenveranstaltung ausgesucht habe. Ich bin, wie man auch auf meinem Foto im Akkreditierungsantrag Bad Homburg sehen kann, ein korpulenter Mann in den Sechzigern, noch dazu mit langem Haar und Ziegenbart und im Gesicht durch eine Diabeteserkrankung nicht sehr, aber doch deutlich gezeichnet. Im Grunde denkt jeder: Was ist das f\u00fcr einer? Was will der mit seinen Fotos? Ich k\u00f6nnte jetzt meinen philosophischen Ansatz anf\u00fchren, der kurz gesagt behauptet, dass es im Leben um nichts mehr geht als um \u201aabandon\u2018, um Hingabe also, an welche T\u00e4tigkeit, ist dabei komplett egal. Es kann ein Sport sein oder ein Basteln oder Werken, ein Sammeln, ein Gestalten. Der, der f\u00fcr sich seinen Bereich gefunden hat, in dem er voll und ganz aufgehen kann, hat seinen Lebenssinn gefunden. Ich bin jemand, dem gewinnen vollkommen egal ist. Der Ehrgeiz zu gewinnen ist der fundamentale Brennstoff eines jeden Tennisspielers. Und bei vielen nat\u00fcrlich der Wunsch, reich zu werden. Das alles geht komplett an mir vorbei. Aber die Energie auf dem Platz, das intensive Fokussieren auf das jeweilige Ph\u00e4nomen, der Kampf gegen Emotionen und Entmutigungen, all das macht Tennis f\u00fcr mich lebendig und faszinierend. Warum aber jetzt dieser dunkle verwischte \u00e4sthetische Ansatz? Ich kann zu meiner Verteidigung das kleine Buch \u201aLob des Schattens\u2018 (engl. \u201aIn Praise Of Shadows\u2018) von Tanizaki Jun’ichir\u014d anf\u00fchren, das die japanische traditionelle Herangehensweise an Licht und Schatten thematisiert. In der westlichen Welt ist alles grell beleuchtet, kein R\u00e4tsel, kein Traum, keine\u2026 …Seele. Graf D\u00fcrkheim spricht von \u201aWelt-Ich\u2018 und \u201aWesen\u2018, Gottfried Benn unterscheidet zwischen Dichtung und Bierbestellung. Es ist nichts dabei, zwanzigtausend Euro f\u00fcr exzellentes Equipment auszugeben und dann die Technik die Arbeit machen zu lassen. Wir alle haben dies in uns, dieses \u201aWesen\u2018. Tennisspieler werden zu ganz anderen Kreaturen, sobald das Match angefangen hat. Draussen sind sie dann wieder ganz normal Menschen und bestellen sich Bier oder Mandelmilch. Die Magie einfangen, dem Banalen und Allt\u00e4glichen, das uns mit eisernem W\u00fcrgegriff umgibt, etwas zauberhaftes entgegensetzen, das ist hier das Ziel. Ausserdem habe ich mir vorgenommen, kein eigenes privates Geld mehr in Hotelkosten und dergleichen zu stecken. Danke also an die Entscheider von Bad Homburg, dass sie mir geholfen haben, konsequent zu bleiben. Und sorry an Iga und die anderen, dass ich jetzt wieder keine sch\u00f6nen Bilder von ihnen machen kann.<\/div>\n
Today I received a rejection of my accreditation application for the WTA tournament in Bad Homburg. Of course, it\u2019s always unpleasant to be turned down. But I also understand why, for various reasons. It basically comes down to a target audience issue. The tennis people don\u2019t understand my artistic-photographic approach. Photography enthusiasts don\u2019t recognize the fascination of tennis as a \u201cgame of glass beads.\u201d The organizers read my critical comments and think I\u2019m just a troublemaker. Those who, like me, are highly critical of the excesses of capitalism wonder why I chose to attend such a decadent gathering of the wealthy. As you can see from my photo on the Bad Homburg accreditation application, I am a heavyset man in my sixties, with long hair and a goatee, and a face that, though not severely, is clearly marked by diabetes. Basically, everyone thinks: Who is this guy? What does he want with his photos? I could now outline my philosophical approach, which, in short, asserts that life is about nothing more than \u201cabandon\u201d\u2014that is, devotion\u2014and it doesn\u2019t matter at all to which activity. It could be a sport, or a craft, or woodworking, collecting, or designing. Anyone who has found their own niche in which they can lose themselves completely has found their purpose in life. I am someone who doesn\u2019t care at all about winning. The drive to win is the fundamental fuel for every tennis player. And for many, of course, the desire to get rich. None of that matters to me at all. But the energy on the court, the intense focus on the opponent, the battle against emotions and discouragement\u2014all of that is what makes tennis alive and fascinating to me. But why this dark, blurred aesthetic approach now? In my defense, I can point to the little book *In Praise of Shadows* by Tanizaki Jun’ichir\u014d, who explores the traditional Japanese approach to light and shadow. In the Western world, everything is brightly lit; there is no mystery, no dream, no\u2026 \u2026soul. Count D\u00fcrkheim speaks of the \u201cworld-self\u201d and the \u201cessence\u201d; Gottfried Benn distinguishes between poetry and ordering a beer. There\u2019s nothing wrong with spending twenty thousand euros on excellent equipment and then letting the technology do the work. We all have this “essence” within us. Tennis players become completely different creatures the moment the match begins. Once they step off the court, they\u2019re just ordinary people again, ordering beer or almond milk. The goal here is to capture that magic\u2014to counter the mundane and everyday realities that surround us with an iron grip with something enchanting. Besides, I\u2019ve decided not to spend any more of my own money on hotel costs and the like. So thanks to the decision-makers in Bad Homburg for helping me stay the course. And sorry to Iga and the others that I won’t be able to take any nice pictures of them again.<\/div>\n<\/div>\n\t\t<\/div>
\n
\n\tRight click on the header, then 'open in new tab' in order to watch the image in original size (1920x1080). \u00a9 Christian Brockmeier | all rights reserved\n<\/div>\n<\/center>\n<\/div><\/div>
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\n\t\t\t\n\n\t\t\t\tIn Praise Of Shadows\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t
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\n\t\t\t\n\n\t\t\t\td:isgusting\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t
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\n\t\t\t\n\n\t\t\t\tc:ozy\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t
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\n\t\t\t\n\n\t\t\t\to:ld > n:ew pic #0697\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\n\t\t\t\t\t<\/span>\n\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t

\n\t\t\t\n\n\t\t\t\to:ld > n:ew pic #0674\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\n\t\t\t\t\t<\/span>\n\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t

\n\t\t\t\n\n\t\t\t\tt:og’s f:ault\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\n\t\t\t\t\t<\/span>\n\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t

\n\t\t\t\n\n\t\t\t\to:ld > n:ew pic #0618\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\n\t\t\t\t\t<\/span>\n\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t

\n\t\t\t\n\n\t\t\t\to:ld > n:ew pic #0463\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\n\t\t\t\t\t<\/span>\n\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t

\n\t\t\t\n\n\t\t\t\to:ld > n:ew pic #0370\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t
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\n\t\t\t\n\n\t\t\t\to:ld > n:ew pic #0226\t\t\t<\/a>\n\t\t<\/h3>\n\t<\/div>\n\t\t\t<\/div>\n\t\t\t<\/div>\n\n\t<\/div>\n\t\t\n\t<\/div>\n<\/div><\/div>
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Poem<\/h2>\n

Before the ball
\nthere is only
\nbreath.<\/p>\n

The court
\nholds its silence.<\/p>\n

The lines
\noffer no advice.<\/p>\n

The body
\nhas already decided.<\/p>\n

Weight falls
\nforward.<\/p>\n

The racket
\nfollows.<\/p>\n

The ball
\nis still free,
\nfor one
\nlast instant.<\/p>\n

After this,
\nnothing
\ncan be taken back.<\/p>\n

\n

Haiku<\/h2>\n

Before the first strike
\nThe silence leans forward too
\nThe court lets go<\/p>\n

\n

Sonnet<\/h2>\n

The body yields before the ball has flown,
\nAlready carried by a chosen line.
\nThe quiet court bears witness, still alone,
\nAs muscle, breath, and balance slowly align.<\/p>\n

No promise waits beyond the moving hand,
\nNo certainty is written in the air.
\nThe point begins before we understand
\nHow much of hope is hidden inside care.<\/p>\n

The shadows stretch across the painted ground,
\nWhile empty seats remember older days.
\nThe only truth becomes the smallest sound,
\nA ball released into uncertain ways.<\/p>\n

Each serve begins where hesitation ends.
\nThe future opens with the arm that bends.<\/p>\n

\n
\n

Gedicht<\/h2>\n

Vor dem Ball
\ngibt es
\nnur
\nAtem.<\/p>\n

Der Platz
\nbewahrt
\nseine Stille.<\/p>\n

Die Linien
\ngeben
\nkeine Antwort.<\/p>\n

Der K\u00f6rper
\nhat
\nbereits
\nentschieden.<\/p>\n

Das Gewicht
\nf\u00e4llt
\nnach vorn.<\/p>\n

Der Schl\u00e4ger
\nfolgt.<\/p>\n

Der Ball
\nist noch
\nfrei,
\nf\u00fcr einen
\nletzten
\nAugenblick.<\/p>\n

Danach
\ngibt es
\nkein Zur\u00fcck.<\/p>\n

\n

Haiku<\/h2>\n

Vor dem ersten Schlag
\nAuch die Stille neigt sich vor
\nDer Platz l\u00e4sst sie los<\/p>\n

\n

Sonett<\/h2>\n

Der K\u00f6rper folgt dem Weg noch vor dem Schlag,
\nAls kenne er die Richtung l\u00e4ngst allein.
\nDer Platz bewahrt den stillen Augenblick,
\nBevor Bewegung alles wird und sein.<\/p>\n

Kein sichres Ziel verspricht der freie Ball,
\nNur offne Zeit und einen ersten Schritt.
\nDie Hoffnung w\u00e4chst im lautlos kleinen Fall,
\nDen jeder Aufschlag mit sich weitertr\u00e4gt.<\/p>\n

Die Schatten ruhn auf Linien und Asphalt,
\nDie leeren B\u00e4nke sehen schweigend zu.
\nEin einzger Ton durchbricht die dunkle Kalt,
\nDann tr\u00e4gt der Flug die ganze innre Ruh.<\/p>\n

Der Aufschlag kennt kein Z\u00f6gern, keinen Halt.
\nEr \u00f6ffnet Zeit, bevor sie sich entfaltet.<\/p>\n<\/div>\n\t\t<\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Anna-Lena Friedsam | Somewhere under way I started this attempt with blurring and adding layers in order to increase energy … Continue readingo:ld > n:ew pic #0795<\/span><\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":26798,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[17,431],"tags":[53,942,159,943,395,905,903,911,944],"class_list":["post-23101","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-images","category-players-2","tag-bredeney","tag-chatgpt","tag-friedsam","tag-haiku","tag-itf","tag-motion","tag-one-handed-backhand","tag-scenery","tag-sonnet"],"jetpack_featured_media_url":"http:\/\/beautyoftennis.com\/wp-content\/uploads\/2025\/07\/one_friedsam_bredeney_IMG_0433_02b.jpg","_links":{"self":[{"href":"beautyoftennis.com\/index.php?rest_route=\/wp\/v2\/posts\/23101","targetHints":{"allow":["GET"]}}],"collection":[{"href":"beautyoftennis.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"beautyoftennis.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"beautyoftennis.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"beautyoftennis.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=23101"}],"version-history":[{"count":4,"href":"beautyoftennis.com\/index.php?rest_route=\/wp\/v2\/posts\/23101\/revisions"}],"predecessor-version":[{"id":26802,"href":"beautyoftennis.com\/index.php?rest_route=\/wp\/v2\/posts\/23101\/revisions\/26802"}],"wp:featuredmedia":[{"embeddable":true,"href":"beautyoftennis.com\/index.php?rest_route=\/wp\/v2\/media\/26798"}],"wp:attachment":[{"href":"beautyoftennis.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=23101"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"beautyoftennis.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=23101"},{"taxonomy":"post_tag","embeddable":true,"href":"beautyoftennis.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=23101"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}