View allAll Photos Tagged BackCover
1956 PBO; The Fastest Gun in Texas by J.H. Plenn and C.J. LaRoche. Cover art by Robert Schulz. The roaring true story of the West's deadliest Killer. On the back a morgue photo of John Wesley Hardin who terrorized the entire Southwest.
Clint Crisher returns to The Hot Boys World Volume 4 with some hot remixes from Dj Peter Tanico and reunites with Hot2Go from The Hot Boys World Volume 2. Hot2Go is Lee Lee Ingram one of the hottest current Australian tickets out there, and for good reason. Hot2Go had two tracks on The Hot Boys World Volume 2 CD released on Crisher Entertainment last year called Australian Kiss (Extended Version) and Backseat (Dirty Beats Mix) Like Kiss these new three tracks on volume 4 includes prime bump’n'grind mix, great slide blues loop, and terminally oversexed lyrics. With its breathy falsetto/orgasmic tenor vocals. “Great Songs About/For Fucking.” He likes to make sweet sweet music, but LOVES making filthy dirty beats!!
The third and final artist on volume 4 is Darrell Russ who is a passionate, soulful male singer and songwriter based in the Baltimore-Washington, D.C. Metropolitan area. Versatile in styles ranging from Disco and Soul to Country and R&B, Darrell captivates audiences with his high-energy stage performance and deep, soulful singing that connects with the crowd. After years of honing his craft in clubs and talent showcases, Darrell is close to completing a full album to be released in January 2010 and has three tracks on Volume 4. His most anticipated full length album will feature some of his finest recordings produced by some of today’s best producers and has already been supported by a number of performances, press releases and radio appearances. He is currently in the studio recording his final tracks for the full-length album that will feature all new material. Upon release in the Winter of 2010, the new album will be accompanied by a promotional campaign that includes performances at parties, clubs and festivals as well as radio stations. Darrell was the featured soloist performer for the regional smash hit television show “Curtain Call,” which is broadcast in Maryland, Virginia and the District of Columbia.
Music Is The Reason,
Popular Library also discovered the backcover. Art Director Ed Rofheart was responsible around 1952. [Source The Book of Paperbacks by Piet Schreuders]
1955; Rumble on the Docks. Cover art Front and Back by Rafael DeSoto.
Avon T-446. 1960.
Novelization of the Academy Award winning United Artists film starring John Wayne, Richard Widmark and "a cast of thousands".
Model - Ashley D
Model Mayhem - 1901675
MUA/H - Lynda Le
Instagram @lynda1gram
Photographer - Marty Wachi
www.facebook.com/Marty.Wachi.Photography
Model Mayhem - 2926791
Instagram @wachi_hd
Twitter @marty_wachi
Publication and Professional Creidts - wachi.com/wordpress/photoblog/?p=171
Cover work I did for awesome rock band CPA.
It was a very awesome pleasure to work with these guys. You can purchase their new album "Whimsy" on the following websites: cpatheband.bandcamp.com
Scans from "A Collection of Trademarks and Logotypes in Japan" Vol 3, 1978-1979
I got my hands on Vol 3 & 6 of this great series back in the early 1990ies. They are the only design books that I ever really used. All I will ever need. These are my secret weapons.
And I decided to share them with you. I will scan new pages whenever I get around to it. So watch this space.
Manufactured by Zeiss Ikon AG, Dresden, Germany
Model: c. 1926, Zeiss catalog no. 514/2 (a transition model between Contessa-Nettel No.210 and Zeiss Ikon), produced between 1926-27
All Cocarette produced between 1926-30
Folding bed film camera, film: 120 roll, picture size: 6x9cm
Relief on top front of the camera : Cocarette
Stampings on the front plate, camare leg and in the front cover: Zeiss Ikon
Lens: Dominar-Anastigmat 105mm f/4.5 filter slip-on serial no.1055509
Aperture: f/4.5-f/32setting: lever and scale on front of the lens
Focusing: manual front focusing, guess the distance
Focus range: 1.7-15m +inf
Shutter: Telma (Gauthier) speeds: 1/25-1/50-1/100 + T&B setting: dial set on the lens shutter-barrel
Cocking and Shutter release lever: by the same lever, for speeds press one and release
Cable release socket: on the lens-shutter barrel
Viewfinder: Waist level brilliant finder, turns to left on its own axis for landsape frames
Winding lever: on the right side of the camera
Bellows: single extension
Front cover and bellows opening: press the small silver knob on the right side of the camera, then engage the rails, and pull out the bellows until clicks; closing press the struts downwards
Loading: right side opens by a knob on it, for remowing the winder and film track from the right side of the camera, somewhat like Leica (the back does not open), (also made in a plate backmodel)
There is no pressure plate, but the film slides in guide slots along the whole width of the mask frame so there shouldn't be any problems with film flatness.
The back of the camera doesn't open. There is, however, a round, removable cover by turning it on the back plate to facilitate cleaning the lens
Exposure table on the backcover
Self-timer: on the lens-shutter barrel
Engraving on the back plate: Zeiss Ikon
Tripod sockets: two, 3/8'' on the right side and front cover of the camera
Lugs for leather Hand grip
Body: metal; Weight: 616g
serial no. R 1524
+Original leather case
Cocarette is a acontinued model of Contessa Nettel.
Cocarettes were made in several models and sizes, each with variations of the lens and shutter equipment.
Cocarette models:
No.207 5x7.5cm (uncommon size)
No.209 6x9cm
No.514 in 5 sizes (Contessa-Nettel No.210 = Zeiss 514/2)
No.517-518 w/ lever focus, verticallens adjustment, in 3 sizes
No.519 w/ lever focus, no lens adjsustment, in 3 sizes
All Cocarette have 64 different lens/shutter combinations like Derval, Klio, Compur shutters and Frontar, Periskop, Novar, Dominar, Tessar lenses
The Cocarette was originally a Contessa Nettel design which was carried on by Zeiss Ikon after the 1926 amalgamation when Contessa Nettel was one of the companies brought together under the Zeiss Ikon name. Zeiss Ikon carried on with the Cocarette till about 1930 but it was eventually pushed out by the Ikonta. More info:
McKeown's 12th ed. p.1038, 213
Ken Lyndrup, Camera collector, Sylvain Halgand Collection, Cocarette, Zeiss Ikon by Mike Elek, Early Photography, , Pacific Rim Camera , Galactinus, Johansen
No date; Piccadilly by Arnold Bennett, Story of the Film Illustrated Edition. Cover art by E.L. The movie is a product of the British Studios at Elstree. Gilda Gray plays the dancer Mabel Greenfield and Jameson Thomas acts her lover Valentine Wilmot. Anna May Wong acts the exotic Chinese girl Shosho.
1957 PBO; Movie Tie-in The Prince and the Showgirl by Terence Rattigan. Marilyn Monroe photo cover and 8 pages of photo's
Al Allard was Art Director from the beginning. Most blacklined drawing on the back but also some wrapped around covers (front + spine + back) were created. [Source The Book of Paperbacks by Piet Schreuders]
William Bradford Huie - The Revolt of Mamie Stover
Signet Books 959, 1956
Cover Artist: Robert Maguire
"superF#isSue"
mar.abr.may.2009
Published on 21.03.2009 | otoñosurprimaveranorte | ISBN 978-1-4092-7341-7
(ñ)
SuperF#isSue, YSE #19: Lo convencional, y el gesto vacío/vaciado.
Los efectos de una sociedad centrífuga e hipócrita, desmemoriada y autorreferencial, en fuga permanente, donde ya nadie se plantea o cuestiona nada de ninguna cosa.
¿Qué historias nos cuentan los Medios? ¿Cuáles son las que se validan desde el territorio artístico-cultural, hoy?
¿Qué “no-efectos” producen? ¿Cuál es su orígen? ¿Cómo se vacían de mensajes?
¿Qué lugar puede tener actualmente cualquier otra historia que no sea la propia historia (es decir “la personal”)?
¿Qué rincón puede reclamar la ironía ante una competencia discursiva abrumadoramente (a)plana(da)? // (a)plana(dora)?
¿Son posibles los meta-relatos cuando no hay siquiera narraciones (que no sean puro cuento)?
¿Queda/Hay una audiencia posible para cualquier clase de meta-relato?
¿Cómo agitar/sublevar al espectador/usuario? ¿Tiene sentido hacerlo?
Si el pasado y el presente co-existen: ¿Es sensato creer que, al fin y al cabo, el movimiento es un movimiento cíclico? Y si así fuere ¿hacia dónde se dirigen estas fugas, entonces? ¿A cuánto cotiza la sensatez en el mercado? ¿Por sensatez se entiende (el nefasto) ’sentido común’? ¿Es sensato no ser hipócrita? No lo recuerdo…
¿Puede haber memoria cuando no hay crítica?
La automatización. El ‘querer pertenecer’, sin preguntarse el cómo, el qué o el para qué. La esquizofrenia, la histeria, el pánico, la ausencia, la velocidad virtual y la ansiedad.
¿Cuál es el rostro, cuál el miembro que responde cuando responde en plan autómata a unos estímulos que nada estimulan, obstinados en un recorrido que va de “w” a “w” exhalando: wows a troche y moche.
(e)
SuperF#isSue: the conventional and the empty/emptied gesture.
The effects of a centrifugal and hypocritical, forgetful and self-referential society, in permanent escape, where nobody raises a matter or questions anything anymore.
What stories do the Media tell us? Which ones are validated from the artistic-cultural territory today?
What “no-effects” do they produce? Which is their origin? How are they emptied out of their messages?
What place is there currently for any other History but one’s own history (this is, the “personal” one)?
What corner can irony claim against a overwhelmingly flat(tened) // flat(tener) discursive competition?
Are meta-narrations possible when there are not even narrations (other than fairy tales)?
Is there left/is there a possible audience for any kind of meta-narration?
How to agitate/sublevate the spectator/user? Is there any point in doing it?
If past and present co-exist: is it wise to believe that, in the end, movement is a cyclic movement?
And if it is, where are these escapes directed towards, then? How is sense valued in the market? Is sense understood as (the disastrous) “common sense”? Is it sensible to not be hypocritical? I can’t remember…
Can there be memory when there is no critic?
The automatization. The “wish to belong”, without wondering how, what, or what for. The schizophrenia, the hysteria, the panic, the absence, the virtual speed and the anxiety.
Which is the face, which the limb that reacts when it reacts as an automaton to stimuli that do not stimulate, tenacious in a trajectory going from “w” to “w” exhaling wows thoughtlessly?
# # #
edit(ing), direct(ing) + complements
art direct(ing) + design(ing)
colacao, correct(ing) + additional stuff
translat(ing)
original music
original video
listen(ing)
open(ing) doors
skin abstracts x manuel diumenjo
open(ing) walls
effberliner mauer
frontcover(ing) im(a)g
horadé by fp
highlights from:
a b r e l a m u r a l l a
a coruña
antwerp
barcelona
bologna
bruxelles
buenos aires
burgos
campredó
caracas
dublin
geneva
girona
grenoble
iowa city
lima
london
madrid
mexicali
montreal
paris
portland
tarragona
warsaw
# # #
YSE #19 Original Music | YSE #19 Original Video | YSElected videos
# # #
Official WEBsite | MySpace | Flickr Group | Facebook | Twitter
Kodachrome II
Kodachrome-X
Ektachrome-X
High Speed Ektachrome
1970/September, “Popular Photography” magazine.
Both Sides of Herman's Hermits
Herman's Hermits
MGM E-4386
1966
Illustration by Frank Frizetta (sic), probably better known for his other styles of artwork.