View allAll Photos Tagged Angst
This new collection of the best Norwegian comics includes work from Jason, Rui Tenreiro, Bendik Kaltenborn, Lars Fiske, Tor Ærlig, Andrew Page , Flu Hartberg and Tuva Synnevåg. This is the cover by Kristian Hammerstad.
I think I am still very much an artist but the strange thing is I feel that just as strongly now that I don't produce any art objects as in the days when I couldn't stop. The difference is I didn't really know what I had to say and my erotic drawings were a mailstrom of frustration swirling me all over the place unable to find direction, but at least I had an outlet for my sexual angst and some of my art was great. Of course the problem was that I didnt know what was trying to come out, but can you imagine me at the end of the working day nipping down to the pub as Christopher and getting into a conversation with the guy standing next to me and telling him I'm not sure how I feel about men but there is something inside me that enjoys shemale porn and I want to be like a woman and discover my true sexuality. No it wouldn't work for long, if at all lol. But now I am Jojo I show the world that I am able to live 247 having solved my gender issues. No it has taken much longer to sort out or come to terms with my sexuality but as you can see I am still an artist for I find being what I am is just as creative as drawing and it is something I want to share.
I don't recall the actual artist's name for this modern art work that is outside the Santa Fe Museum of Fine Arts, but this view of it reminds me of hands on heads beneath threatening clouds, hence my title.
Eve was in the mood for a milk bath shoot. Everything was going well until she got in the tub and we noticed her dress colors started running. Instead of having nice white milk, we had something like an orange creamcicle. What a mess. We had a good laugh and kept going. What an experience! I took these photos in November 2021.
Graflex Pacemaker Speed Graphic + Kodak Aero Ektar 178mm f2.5 + Kodak Tri-X 320 @ ISO200, Rodinal 1:25, 6:20 @ 20˚C in Jobo CPE2 rotary processor
This is the last picture from this session. I finished my French paper and finals this week and have now started packing for going back to the states. My refrigerator is packed with food and must be eaten within the next 2 days. That means lots and lots of meals and nap times for the next few days. I am actually more nervous coming back home than when I came to Paris back in January. I forget the American lifestyle and will probably be so amazed by the size of everything. Culture shock and jet lag… UGH
On a lighter note, I will be entering a few of my photographs in a local competition and hope to win a few awards. I don’t think I will win as I just started and am sure there are much more deserving photographers out there, but the entrance fee is only $18 so I am going to try anyways! I am hoping for the best and will try to upload some more photos from a new session soon. See you on the other side of the pond.
For my website: www.brandonluong.com/
atelier ying, Nyc
Washington Irving wrote in his essay "Old Christmas" of a nostalgic longing for the flavor of the "honest days of yore", which finds a similar echo of angst in our modern times.
His regret that the old traditions even then were more and more obliterated by the modern fashion of his time, that "those picturesque morsels of Gothic architecture which we see crumbling in various parts of the country ... partly lost in the additions and alterations of latter days", is nothing compared to our current condition where the only vestiges of the original spirit is fed to us with big business in mind via commercialism.
His particular search for the intangible yet sorely missed Christmas feeling is the same today, and drew inspiration for my design.
The traditional camera, starting with its early photographic "salad" days through the abundant expansion of the 1940s, certainly carries a vintage charm before the fireside hearth of commercialism, as it were. This also has become authentic, at this point in time.
What to do? The only way I can figure is to reconcile these far off almost polar associations.
A difficult problem indeed. But in these instances, I always look to a few tried and true cameras that carry much potentiality for me.
My design proposes and offers such an amalgam within one camera, but this is only one example of many.
Washington Irving's literary sketchbook of Old Christmas is mixed in with the modern architectural trend of rooftop additions, which is necessitated by the modern dilemma of a crappy economy and lack of urban space. In the case of our camera it would simply be the viewfinder hot shoe attachment. Washington Irving's literary devices to bring back the nostalgic past is done via the symbols of a Victorian stagecoach, a cottage fireside and a Victorian dining hall. This Rollei 35 SE custom kit (available nowhere) comes with a tripartite viewfinder of a replica of Sunnyside, Irving's 17th century home. Through the windows you can see three different views. the chief one being Irving's writing studio. The formal dining hall resplendent with a festive setting and for travelers of inferior order, a cottage fireside scene. Juxtaposing these last two rooms, a narrow foyer filled with unopened luggage cases places the viewer in a conflict of class distinction as to which to choose. As a final contrasting element, the camera kit is housed in a valise that is a replica of the recently discovered (still an alleged discovery) suitcase belonging to the Mexican artist Frida Kahlo, whom I plan to turn my attention to later on with a full-fledged homage, but for the sake of Christmas I will make this it's "cameo appearance". Although he had no direct connection with Kahlo, Irving was the U.S Ambassador to Spain.
A note about the Rollei 35 SE camera: the best thing to do with this would be to digitize it, however it wouldn't shoot the same; the charm of this scale focusing camera is in the working of its front face dials. A fully digital version of this camera issued by Rollei would be ideal. However, the better thing to have in that case would be a printer connected to it so that an inferior digital LCD would be replaced with a photographic print. I include a flip down cover over the LCD to give it a more analogue feeling instead of the usual way of turning off the LCD. A hidden compartment under the camera body reveals a red memory chip containing a facsimile copy of Washington Irving's famous sketchbook recalling the 18th century red armchair in Irving's study with its hidden drawer where he kept his manuscripts. The latch on the Rollei to open its hidden compartment is in the viewfinder's writing studio compartment and can only be toggled by lifting the oil lamp on his desk. To do this a special tool is provided with the kit.
Irving's red armchair is also used in my design no. 92a, for the astronomer William Herschel.
Design, text and drawing are copyright 2013 by David Lo.
So it turns out that Bruce was in that helicopter that we had seen flying down the valley as we descended French Ridge. The weather had cleared and he made the trek to Bevan Col where he was picked up and flown out. He enjoyed luxury accommodation in Wanaka that night!
Ion Mihaila made it to the airport in time to meet his wife and child as they arrived for their NZ holiday. He could barely walk after the previous days hike out! He will be uploading photos from the trip to his flickr account soon so check them out!
Conor flew home on time to a rapturous welcoming from his family who all turned out for the occasion. He was expecting to catch a cab home I think ;) Plus he beat me through customs by at least half an hour!
I missed my flight by only a matter of hours and after much angst trying to book a new flight, I got the last seat out that day. I did make it home for the ballet concert though!
Thanks to my fellow mountaineers for the adventure. It will be one I will never forget!
always loved the covers of record sleeves of albums and i made this one in homage to the record stores i miss .pure nostalgia of my youth .
British postcard by Picturegoer, London, no. W. 265. Photo: Columbia.
Glenn Ford (1916-2006) was a Canadian-American actor whose career lasted more than 50 years. Although he played different types of roles in many film genres, Ford was best known for playing ordinary men in unusual circumstances. He was one of the biggest box-office draws of the 1940s, 1950s, and 1960s. Some of his most significant roles were in the Film Noirs Gilda (1946) and The Big Heat (1953), and the high school angst film Blackboard Jungle (1955). However, it was for comedies or Westerns which he received acting laurels, including three Golden Globe nominations for Best Actor in a Comedy, winning for Pocketful of Miracles (1961). He also played a supporting role as Clark Kent's adoptive father in Superman (1978).
Gwyllyn Samuel Newton Ford was born in 1916, in Sainte-Christine-d'Auvergne, Quebec. He was the son of Hannah Wood (née Mitchell) and Newton Ford, an engineer with the Canadian Pacific Railway. In 1922, when Ford was six, the family moved first to Venice and then to Santa Monica, California. Newton became a motorman for the Venice Electric Tram Company, a job he held until he died at age 50 in 1940. While attending Santa Monica High School, Glenn was active in school drama productions with other future actors such as James Griffith. After graduation, he began working in small theatre groups. While in high school, he took odd jobs, including working for Will Rogers, who taught him horsemanship. Ford became a naturalized citizen of the United States in 1939. Ford acted in West Coast stage companies before joining Columbia Pictures in 1939. His stage name came from his father's hometown of Glenford, Alberta. His first major film part was in Heaven with a Barbed Wire Fence (Ricardo Cortez, 1939). Top Hollywood director John Cromwell was impressed enough with his work to borrow him from Columbia for the independently produced drama, So Ends Our Night (1941), where Ford delivered a poignant portrayal of a 19-year-old German exile on the run in Nazi-occupied Europe. Working with Academy Award-winning Fredric March and wooing (onscreen) 30-year-old Margaret Sullavan, recently nominated for an Oscar, Ford's shy, ardent young refugee riveted attention even in such stellar company. "Glenn Ford, a most promising newcomer," wrote The New York Times's Bosley Crowther, "draws more substance and appealing simplicity from his role of the boy than any one else in the cast." After 35 interviews and glowing reviews for him personally, Glenn Ford had young female fans begging for his autograph, too. However, the young man was disappointed when Columbia Pictures did nothing with this prestige and new visibility and instead kept plugging him into conventional films for the rest of his 7-year contract. His next picture, Texas (George Marshall, 1941), was his first Western, a genre with which he would be associated for the rest of his life. Set after the Civil War, it paired him with another young male star under contract, William Holden, who became a lifelong friend. More routine films followed, none of them memorable, but lucrative enough to allow Ford to buy his mother and himself a beautiful new home in the Pacific Palisades. So Ends Our Night (John Cromwell, 1941) also affected the young star in another way: in the summer of 1941, while the United States was still technically neutral, he enlisted in the Coast Guard Auxiliary. Ten months after Ford's portrait of a young anti-Nazi exile, the United States entered World War II. After playing a young pilot in his 11th Columbia film, Flight Lieutenant (Sidney Salkow, 1942), Ford went on a cross-country 12-city tour to sell war bonds for Army and Navy Relief. In the midst of the many stars also donating their time – from Bob Hope to Cary Grant to Claudette Colbert – he met the popular dancing star, Eleanor Powell. The two soon fell in love; they attended the official opening of the Hollywood USO together in October. Then, while making another war drama, Destroyer (William A. Seiter, 1943), with Edward G. Robinson, an ardent anti-fascist, Glenn impulsively volunteered for the United States Marine Corps Reserve in December 1942. The startled studio had to beg the Marines to give their second male lead four more weeks to complete shooting. In the meantime, Ford proposed to Eleanor Powell, who subsequently announced her retirement from the screen to be near her fiancé as he started boot camp.
Glenn Ford was assigned in March 1943 to active duty at the Marine Corps Base in San Diego. With his Coast Guard service, he was offered a position as an officer, but Ford declined, feeling it would be interpreted as preferential treatment for a movie star and instead entered the Marines as a private. He trained at the Marine base in San Diego, where Tyrone Power, the number-one male movie star at the time, was also based. Power suggested Ford join him in the Marines' weekly radio show 'Halls of Montezuma', broadcast Sunday evenings from San Diego. Ford excelled in training, winning the Rifle Marksman Badge and being named "Honor Man" of the platoon and promoted to sergeant by the time he finished. Awaiting assignment at Camp Pendleton, Marine Corps base, Ford volunteered to play a Marine raider – uncredited – in the film Guadalcanal Diary, made by Fox, with Ford and others charging up the beaches of Southern California. After being sent to Marine Corps Schools Detachment (Photographic Section) in Quantico, Virginia, three months later, Ford returned to the San Diego base in February 1944 and was assigned to the radio section of the Public Relations Office, Headquarters Company, Base Headquarters Battalion, where he resumed work on 'Halls of Montezuma'. Though without the combat duty he had been hoping for, Ford was awarded several service medals for his three years in the Marines Reserve Corps. The most memorable role of Ford's career came with his first postwar film, Gilda (Charles Vidor, 1946), in which he starred alongside Rita Hayworth. This was Glenn Ford's second pairing with Hayworth; his first was in The Lady In Question (Charles Vidor, 1940), a well-received courtroom drama in which Glenn plays a boy who falls in love with Rita Hayworth when his father, Brian Aherne, tries to rehabilitate her in their bicycle shop. Directed by Hungarian emigre Charles Vidor, the two rising young stars instantly bonded. Their on-screen chemistry was not immortalised, however, until Gilda, also directed by Charles Vidor, who knew a good thing when he saw it. Ford went on to be a leading man opposite Hayworth in a total of five films, and the two, after their location romance (his marriage survived, hers did not) became lifelong friends and next-door neighbors. Beautifully shot in black-and-white by cinematographer Rudolph Mate, Gilda has endured as a classic of Film Noir.
Both Glenn Ford and his friend William Holden flourished throughout the 1950s and 1960s, but Ford was frustrated that he was not given the opportunity to work with directors of the caliber that Holden did in his Oscar-winning career, such as Billy Wilder and David Lean. He missed out on From Here to Eternity when production was stalled by Columbia studio head Harry Cohn. He also made the mistake, which he bitterly regretted later, of turning down the lead in the brilliant comedy Born Yesterday (George Cukor, 1950), which Holden then snatched up. He instead continued to turn in solid performances in thrillers; dramas such as A Stolen Life (Curtis Bernhardt, 1946) with Bette Davis; action films such as Appointment in Honduras (Jacques Tourneur, 1953) with Ann Sheridan, and Film Noirs such as The Big Heat (Fritz Lang, 1953), co-starring Gloria Grahame, with whom he re-teamed the following year in Human Desire (Fritz Lang, 1954), loosely based on La Bête Humaine, the 1870 Emile Zola novel. Blackboard Jungle (Richard Brooks, 1955) was a landmark film of teen angst. It tackled racial conflicts head-on as Ford played an idealistic, harassed teacher at an urban high school that included a very young Sidney Poitier and other black and Hispanic cast members, while Vic Morrow played a dangerous juvenile delinquent. Bill Haley's "Rock Around the Clock" under the opening credits was the first use of a rock and roll song in a Hollywood film. Richard Brooks, the film's writer and director, had discovered the music when he heard Ford's son Peter playing the record at Glenn Ford's home. In Interrupted Melody (Curtis Bernhardt, 1955), Ford starred with Eleanor Parker. The Westerns with which he always was associated included The Secret of Convict Lake (Michael Gordon, 1951) with Gene Tierney, Jubal (Delmer Daves, 1956), The Fastest Gun Alive (Russell Rouse, 1956), 3:10 to Yuma (Delmer Daves, 1957), and Cimarron (Anthony Mann, 1960) with Maria Schell. Ford's versatility allowed him to star in a number of popular comedies, almost always as the beleaguered, well-meaning but nonplussed straight man, set upon by circumstances as in The Teahouse of the August Moon (Daniel Mann, 1957), with Marlon Brando. He played an American soldier sent to Okinawa to convert the occupied island's natives to the American way of life and is instead converted by them. Also, he starred in Don't Go Near The Water (Charles Walters, 1957) with Gia Scala, and the romantic comedy The Courtship of Eddie's Father (Vincente Minnelli, 1963) with the young Ron Howard as his son Eddie. In 1958, Ford was ranked the number one box-office star in America. He starred in four films that year: the Western Cowboy (Delmer Daves, 1958), the Western The Sheepman (George Marshall, 1958), the comedy Imitation General (George Marshall, 1958), and the war film Torpedo Run (Joseph Pevney, 1958). After being nominated in 1957, 1958 and in 1962, Ford won a Golden Globe Award as Best Actor for his performance in Pocketful of Miracles (Frank Capra, 1961), a film he helped produce that was a remake of Capra's Lady for a Day (Frank Capra, 1933).
In 1971, Glenn Ford signed with CBS to star in his first television series, a half-hour comedy/drama titled The Glenn Ford Show. However, CBS head Fred Silverman noticed that many of the featured films being shown at a Glenn Ford film festival were Westerns. He suggested doing a Western series, instead, which resulted in the 'modern-day Western' series, Cade's County (1971–1972). Ford played southwestern Sheriff Cade for one season in a mix of police mystery and Western drama. In The Family Holvak (1975–1976), Ford portrayed a Depression-era preacher in a family drama, reprising the same character he had played in the TV film, The Greatest Gift. In 1978, Ford had a supporting role in Superman (Richard Donner, 1978) as Clark Kent's adoptive father Jonathan Kent. In Ford's final scene in the film, 'Rock Around the Clock' is heard on a car radio. In 1981, Ford co-starred with Melissa Sue Anderson in the slasher film Happy Birthday to Me (J. Lee Thompson, 1981). In 1991, Ford agreed to star in a cable network series, African Skies. However, prior to the start of the series, he developed blood clots in his legs which required a lengthy stay in Cedars-Sinai Medical Center. Eventually, he recovered, but at one time his situation was so severe that he was listed in critical condition. Ford was forced to drop out of the series and was replaced by Robert Mitchum. The film Superman Returns (Bryan Singer, 2006) includes a scene where Ma Kent (played by Eva Marie Saint) stands next to the living room mantel after Superman returns from his quest to find remnants of Krypton. On that mantel is a picture of Glenn Ford as Pa Kent. Ford was married four times. His first wife was actress and dancer Eleanor Powell (1943–1959), with whom he had his only child, actor Peter Ford (1945). The couple appeared together on screen once in the short film Have Faith in Our Children (1955). When they married, Powell was more famous than Ford. She divorced him in 1959 on the grounds of adultery and mental cruelty. He subsequently married actress Kathryn Hays (1966–1969); Cynthia Hayward (1977–1984), and Jeanne Baus (1993–1994). All marriages ended in divorces, and Ford did not remain on good terms with any of his ex-wives. Ford was a notorious womaniser who had affairs with many of his leading ladies, including Rita Hayworth, Maria Schell, Geraldine Brooks, Stella Stevens, Gloria Grahame, Gene Tierney, Eva Gabor, and Barbara Stanwyck. He had a one-night stand with Marilyn Monroe in 1962 and a fling with Joan Crawford in the early 1940s. He also had a long-term relationship with actress Hope Lange in the early 1960s. According to his son Peter Ford's book 'Glenn Ford: A Life' (2011), Ford had affairs with 146 actresses, all of which were documented in his personal diaries, including a 40-year, on-and-off-again affair with Rita Hayworth that began during the filming of Gilda in 1946. Their affair resumed during the making of their film The Loves of Carmen (Charles Vidor, 1948). Ford impregnated Hayworth, and she later traveled to France to get an abortion. In 1960, Ford would move next door to Hayworth in Beverly Hills, and they continued their relationship for many years until the early 1980s. Ford also documented his many relationships by taping every phone conversation he ever had with all of his celebrity lovers and friends for 40 years. Ford installed the recording system to listen in on his first wife, Eleanor Powell's conversations, fearing that she would find out about his serial cheating and leave him. Ford retired from acting in 1991, at age 75, following heart and circulatory problems. Ford suffered a series of minor strokes which left him in frail health in the years leading up to his death. He died in his Beverly Hills home in 2006, at the age of 90.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Drastic
I feel the fear
I fear the fear
F E A R
Instinct is a name
Where do you come from?
Why do I fear fear?
HKD
When we are young, life is very drastic
Existential fear
Fear the world
Afraid of outside
Afraid of everything
Afraid of contact
HKD
Angst vor Angriffe
Angst vor dem Leben
Existenzangst
HKD
If you like see my YouTube Video:
"Dark Night of the Soul"