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School children and teachers in classrooms.
A collage of my photos used on the back cover of a published prospectus.
Brinsworth Comprehensive School Prospectus 2005-2006.
Contact the school: (01709) 828383.
Camera: Nikon F50
Lens: Cosina 28-210mm f/4.2-6.5 Aspherical
I use my photos as inspiration and reference for my paintings which can be seen at:
“The Super Dimension Calvary Southern Cross” line-drawing coloring book (Showa-Note Co., Ltd.,)
seesaawiki.jp/harmony-gold_japan/d/%c4%b6%bb%fe%b6%f5%b5%...
The Quarter Books resist easy labels – they aren’t pornographic or sleazy in the modern sense, but they do belong to a unique cultural moment in post-WWII American publishing. The titles—"Part-Time Virgin,” “Week-End Girl,” “Confessions of a Good-Time Girl,” and “Shakedown Dame”—fit squarely into a genre that thrived in the postwar era: sensational romance with moral ambiguity, often marketed as “confession” or “exposé” fiction. These stories flirt with taboo – premarital sex, infidelity, crime – but stop short of graphic detail. The titles and blurbs lean into lurid phrasing, but with a wink. There’s theatricality that feels more camp than corrupt.
With women having experienced independence during WWII, these stories reflect anxieties and fantasies about gender roles, sexuality, and domestic life. Despite the provocative setups, many of the stories end with a return to conventional morality – redemption, punishment, or reconciliation. The stories came packaged in digest-sized softcover books, the kind that were sold cheaply, often in drugstores and newsstands, and targeted readers looking for escapism and titillation without crossing into obscenity.
Within the context of the late 1940s, the books are part of a lineage that includes true confession magazines, paperback originals, and early noir-romance hybrids. They’re not sleazy—they’re culturally revealing, often unintentionally satirical, and rich with subtext about gender, class, and desire.
[Sources: “Romancing the Pulps” by William Lampkin at ThePulp.net; “What is Pulp Fiction?” by Greg Beyer at TheCollector.com; and Wikipedia]
[Note: “Fifty Shades of Grey” (2011) is pulp’s grandchild, dressed in modern gloss but carrying the same torch of sensational storytelling with emotional stakes. The success of Fifty Shades wasn’t just about sex—it was about fantasy, control, and emotional catharsis, themes that pulps explored decades earlier. E.L. James didn’t invent the formula; she updated it for a digital age, layering fan fiction, billionaire romance, and BDSM onto a structure that pulp writers like Dorothy Herzog and James Clayford had already sketched.]
1953; Come, Fill the Cup by Harlan Ware. unknown Artist. SEE AT LARGE ! Booze and Bullets in Chicago !
“Know the answer? So do I. These Chesterfields – They Satisfy.”
Ads like this one from the 1930s often depicted smoking as glamorous, sophisticated, even healthy. They featured attractive models and celebrities, suggesting that smoking was a desirable lifestyle choice. Their cheery and flirtatious tone now serves as a reminder of a time when the dangers of smoking were not widely recognized or acknowledged. They’re a striking contrast to today’s understanding of smoking’s health risks.
We now know that smoking is a leading cause of serious health issues, including lung cancer, heart disease, stroke, and chronic respiratory diseases. Cigarette advertising is heavily regulated, and public health campaigns focus on educating people about the risks of smoking and promoting smoking cessation. The shift in advertising reflects a change towards prioritizing health and well-being over the misleading allure of cigarette brands.
Lotto-Belisol Cycling Team
(graphic) national campaign on the backcover of a cycling magazine, based on the photo I made in december (which I hadn't published yet)
Covers of Covers: System of a Down | Toxicity
Original: bit.ly/IKOaQU
Song: www.youtube.com/watch?v=xgP_2zf0NV8
bRUNANCIO @ Facebook | Tumblr | deviantART | Twitter | Historietas | Behance
John B. Mitchell, owner of the Seven X Ranch, started out with a few saddle horses that wasn't his and a long rope. He left Texas, in a hurry, in the late 1870's and drifted northward. Half a century later he was the monarch of a pretty fair sized outfit -- sixty miles long and over forty miles wide, with rivers and two mountain ranges and fine rolling country -- and thousands of cattle.
This is the story of life on the Seven X, of the Mitchell family and the cowboys who worked for them: of young Austin Mitchell and his sister June, and of the "pilgrims" from the East who invited themselves to the Seven X one summer to find out what "real" ranch life was like.
Without pulling a single six-gun, fanning a trigger, or using any other stock device of Western fiction, Will James tells the story of life on the Seven X Ranch during the early 1900s. This authentic portrait of a ranching family details their dangerous work, their dreams and aspirations, and the rugged land they lived in.
4 "photopoetry" postcards by hans j. knospe with excerpts
of the german edition : GESANG VON DER FREIEN STRASSE by Johannes Schlaf (Reclam-Verlag)
printet on the backcover of TEMPORA-magazin nr.11 "Friedenswege"
pictures taken in Greece, Mexico(2) and Germany (Nordfriesland)
please see my new Flickr. group: SONG OF THE OPEN ROAD
www.flickr.com/groups/861827@N25/
here are the wonderful words of Walt Whitman (from first row left to second right...)
1. The long brown path before me leading wherever I choose.
2. Afoot and light-hearted I take to the open road,
Healthy, free, the world before me,
3. Henceforth I ask not good-fortune, I myself am good-fortune.
4. Pausing, searching, receiving, contemplating...
I inhale great draughts of space,
The back cover of my book "The Classics." I'm self publishing through Blurb and it can be purchased on Amazon.
Prints are available as well.
Photo for graduates backcover
Olympus Pen E-P2 12.3 MP
Panasonic LUMIX G 20mm f/1.7 Aspherical
Camera Info:
Nikon D700 | 60mm ƒ/2.8G | 1/125s @ ƒ/8.0 | ISO 200 | Handheld
Strobist Info:
SB900 | 1/2 @ 14mm | Camera Right | 43in Westcott Umbrella
SB600 | 1/32 @ 24mm | Camera Left
Triggered by Phottix Strato
9/365