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This was taken at 5th Avenue and 53rd Street...
A homeless woman was huddled in a blanked, leaning against a trash-can at the corner of this busy, upscale, affluent shopping avenue ... while a policeman squatted down and chatted with her at length. I watched for a while, circled around and got shots from several different vantage points, and eventually wandered away when it looked like the conversation might go on for the remainder of the afternoon. I do hope the cop was able to persuade the woman to move to a homeless shelter for the night ...
Note: I chose this as my "photo of the day" for Dec 19, 2013.
***************
This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Around the corners of Melbourne was another world unexplored, graffiti masterpieces, dull street lamps...and, British quotes.
Basically, it means, be an English gentleman and don't piss on these walls, or not?
★Sony DSC-RX1, Zeiss Sonnar T* 35mm f/2
My photos are available as stock photos through: iStock | Getty
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Or visit me here: www.facesbyling.com
Thank you all! ありがとうございました! 谢谢大家! Grazie a tutti! Terima kasih semua!
This photo was taken on Bank Street, between Greenwich & Washington
***************
This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Commited to getting up up at 4am on boxing day for the drive down to the apostles. Much better viewing when the lookout is empty.
Canon 5DmkII
Canon 16-35mm f/2.8L
Lee 0.6ND Grad
doyouknowwhoyouare?doyouwanttoknow?willyoueverknow?
nobody's perfect.
Quote by unknown.
View large on black highly recommended.
I recently found someone uploaded a bunch of pattern scans for vintage Barbie and it’s chock full of tips on appropriating the 60s style of Barbie clothing. I was super excited to see it cuz I lack SO much clothing for the bigger bust tiny waist body type and decided to try out a few of the easier ones before I commit to trying out the more complex ones.
[https://www.flickr.com/photos/pretty_poison/sets/72157600508855243]
I think this was my most productive day at sewing class so woo.
This was taken at Abingdon Sq: 8th Ave/Hudson St.
***************
This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it â¦
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change ⦠and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 ⦠or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now ⦠especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
William A. Austin - Commit the Sins
Newsstand Library U165, 1961
Cover Artist: Robert Bonfils
"Her passions swirled with the smoke, as dissonant and savage as the jazz from the stand, building up into a wild and frantic crescendo."
Yes I did the heart on purpose for the photo...it is meant for my flickr friends...especially the ones who visit me often ..thanks to you all for your encouraging comments :))))))
© A-Lister Photography. All rights reserved.
I actively enforce my copyright. Do not use my photographs in ANY form or media without my written permission - this includes redistributing in any form, printing, all file-sharing web sites, blogs and your own web pages. If you would like to use one of my images please email me using FlickrMail.
Thanks for viewing and looking through my Photostream...
Our Daily Challenge ... commit.
We had a family outing to Dreamworld today and I couldn't help wondering what it is that makes so many people commit the act of madness that results in them hanging upside down and spinning rapidly while about 30m off the ground on rides like "The Claw"!
Macro Mondays, Bag - HMM!
ODC, Commit (a tenuous link possibly, but read on and hopefully it'll make sense, lol)
It's LG's birthday party today so I'm a little busy getting that sorted out. In a few hours time Mr Nomad and I will be herding 9 little girls at the local swimming pool and I'm sure that it's going to be a lot of … well, I want to say fun, but I think that chaos may be a better adjective, lol!
When you Commit to being a parent you don't really understand what it's going to involve, no matter how well prepared you think you are - not least how the time spent with your child seems to fly by in the blink of an eye. I cannot believe that in just 2 days she'll be 8 years old - where has the time gone?!
This was taken at Abingdon Sq: 8th Ave/Hudson St
***************
This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it â¦
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change ⦠and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 ⦠or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now ⦠especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Olympus XA2 + Agfa CT Precisa 100 Cross Processed.
MASSIVE thanks to thewishy, who surprised me by sending an Olympus XA2 from his collection of camera porn to a flickr contact distressed by the ongoing failure of her lc-a to provide more than four shots per 36exp film. Seriously, thankyou - film and film swapping material on it's way by some kind of recompense. :)
We were going to see Massive Attack at the Royal Festival Hall on the same day (it transpired) as the London flickr meet up, organised by squirrelmonkey and George on behalf of flickr. There had already been talk of a Bristol:London meet-up by sjnewton and it seemed practical to 'kill two birds with one stone' as it were.
We followed the trail of pink and blue balloons and met up for the Tate Modern Street Art Walking Tour around Southwark, along with a vast number of other flickr'rs. There was time for pictures along the Embankment at the end of the walk, before the inevitable pub meet up. It was so well organised that we even had a free drink (mine's a large Pinot Grigio please!) and a vast array of sandwiches for lunch. We met loads of people - swapped film and photography stories and generally had a good time.
Thanks flickr and thanks Fiona! :)
July 14th. #4 does suffer for being 4th. She has always wanted to do gymnastics but we've not been able to fit yet another activity in. However, I told her if she practised with her friends I would think about it. So she has practised. And practised. And practised. She is utterly committed to this and has now perfected a back flip on the trampoline. So. I'm now looking at gymnastics classes. I had some shots of her flipping but I liked this. It feels kinda matrixy.
One of the murals on the wall at the Lupanar brothel in Pompeii.
"Pompeii was no different than other Roman cities, once a popular vacation spot for high-class citizens, extravagances were bountiful in the form of exotic foods, fashion, and prostitutes. During the long-standing excavation of Pompeii, archaeologists have discovered at least 25 separate brothels scattered all over the city with each giving away numerous secrets to the city’s erotic past.
Prostitution was permitted both socially and legally in Pompeii, and it was seen as a social norm for Roman men to engage in regular visits to the Brothels. Brothels had no stigma within the city, seen as a typical shop offering services like any other. The rooms were dimly lit by a few flickering candles to create a sensual atmosphere, and the walls were adorned with large, beautifully designed frescoes. These wall paintings were not only for decoration; the erotic imagery also represented a menu of the services provided. Theories suggest that they could also have functioned as instruction manuals for more inexperienced visitors to the brothels.
The women in brothels worked within small rooms containing a stone bed. Wooden beds may have been used but these would have perished in the eruption of Vesuvius in 79 AD and so little evidence of these remains. The brothels had no doors so the rooms may have been closed off by lavish curtains, and behind each was a companion ready to welcome their next guest.
What transformed the brothels of Pompeii from cold, stone rooms into sensual areas for visitors was the decorations. Brothels used delicate fabrics and candles to create a romantic glow but mainly used frescoes to enhance a visitor’s desire. They painted these large designs on entire walls, depicting sexual acts between women and men. Beautifully preserved by the volcanic ash from the eruption of Mount Vesuvius almost 2000 years ago, the images have provided a unique insight into the lives of ancient Rome. Had the frescoes contained less explicit imagery then the city of Pompeii may have been discovered years earlier. The first people to uncover them found the paintings so shocking that they covered them over and did not continue their excavation.
These superb decorations were used for three reasons. The first was to enhance the space of the small rooms the workers used. A lot of the rooms could only fit a small single bed and typically had no window, with these sensual paintings they enhanced the space to distract visitors. Another reason for the frescos is quite obvious – they were used to get visitors in the mood. With stunning figures depicted, visitors would see the paintings and get a better desire no matter if there were limited choices. Lastly, archaeologists have guessed that these paintings were also used as a kind of menu for the brothel, with the different positions displayed on offer in real life. After studying the remaining frescoes, archaeologists have guessed there were five major services provided; intercourse, fellatio, cunnilingus, active anal sex, and passive anal sex.
Thought of as the official brothel of Pompeii, the Lupanar is the largest of the pleasure houses discovered in the ancient city so far. Latin for ‘wolf’s den’ this two-story building housed ten rooms, each fitted with a stone bed which was likely topped with a thin mattress. There were five rooms located on the ground floor with five larger rooms upstairs. Frescoes can, of course, be found on the walls but alongside these are etchings left by the brothel’s visitors. On the internal walls can be found around 120 examples of graffiti scratched into the walls by clients, each of whom wanted to document the performance of their companion.
As Pompeii was a trading town, the Lupanar welcomed visitors not only from the town but also visiting traders. Clients searching for the brothel followed a unique set of directions to locate the building. Phalluses carved into the walls and roads of the city pointed towards the Lupanar and gave clear directions to the brothel.
The truth of these Pompeii brothels and the prostitutes within was, in fact, harsh and quite heartbreaking. The majority of the sex workers within Pompeii were slaves who lived a harsh life until they were of no further use to the brothels. They were given only the basic essentials, with all the payments from their clients going to the brothel owners. It is suggested from the city’s remains that a large number of slaves were of Oriental or Greek origin, ripped from their families and taken into the slave trade when Romans or traders invaded their land.
As well as not being paid, their living conditions and those in which they worked were depraved. The small, intimate rooms the brothels portrayed were, in reality, cramped and windowless cells inside which the workers spent the majority of their time. So small they could only contain one single stone bed, the rooms were far from comfortable. Confined to the premises, the workers rarely saw the outside world, being under complete control of the brothel owner at all times. By being completely closed off, the salves had no other distractions from their work. Despite this cruel lifestyle, the workers were meant to put on a smiling face, with punishments if they misbehaved.
Lastly, although sex was an accepted and natural experience for the Pompeii men, prostitutes still lacked respect. Stigmatizing women that made them ineligible for any alternative and respectable work, committing them to the lower class of society."
COMMIT!Forum at the Westin Hotel in Times Square on October 18, 2016 in New York City. (Photos by Ben Hider)
The premiere of Generation Startup at the 2016 COMMIT!Forum, the Westin Hotel in Times Square on October 18, 2016 in New York City. (Photos by Ben Hider)
Melbourne, Victoria, Australia
Leica M6
Carl Zeiss Sonnar 50mm F1.5 ZM
Ilford HP5+
DSLR Scan/Negative Lab Pro
The Class of 2023 completes their Affirmation Ceremony and commits to their Active Duty requirement in the Army. (U.S. Army Photo by CDT Alexa Zammit)
Construction, Week 63 (Demolition, Week 3)
(cont.) ...a fate that might look a little something like this, seen over in the now-closed southern portion of the old store's parking lot. Demo crews have been busy ripping out the landscaping islands (and the asphalt surrounding them, too, as we'll see in a moment), though it's unclear if those crews work for Mr. Dempsey or someone else. There is one sign l_dawg and I both saw just down the fence from where this pic was taken saying all visitors must go to another company's construction office, but 1) there is no such office and 2) I saw a similar sign for yet another company elsewhere along the fenceline. My thinking is that new fencing was brought on-site and the signs of whoever used it previously simply haven't been removed.
(c) 2016 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Jen Lampton, lead of the Twig initiative for Drupal, watches as Twig is committed to Drupal core live during the BADCamp 2012 keynote by Dries Buytaert, Drupal's project lead. The commit was the culmination of months of hard work by Jen and other contributors.
This was taken on Christopher Street, between Gay and Greenwich, in Greenwich Village
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Now for all the moaning about British Leyland I do, I will give it to them that when they got it right, they really got it right, and the Jaguar XJS is a fine sentiment to that.
However, even from before it was conceived the XJS was in boiling water, namely because of what it was replacing, the E-Type, a car which had cemented itself in the hearts and minds of so many as one of the greatest things mankind has ever made, so trying to build a car to emulate this machine of wonders was already going to be a difficult task. This was later compounded by the fact that the chief designer Malcolm Sayer, died in 1970 whilst the car was still in development, which meant that it was up to the British Leyland team in the Jaguar department to finish off the design. But in the end when the car was launched in 1975, the styling wasn't actually as bad as many make it out to be. Don't get me wrong, the car was absolutely hounded for its looks, its angular corners, ridiculous buttresses on the back that were feared to obscure rear visibility, and straight lines, not even remotely like the smooth, wind-tunnel designed E-Type, but when you get down to it, it is a lovely looking machine, it looks exactly like a sports car should, low, smooth, sleek, and generally pleasing to the eye.
The car was also one of only a handful of cars to be launched with a V12 engine, the only other cars being the extreme 200mph Lamborghini's and Ferrari's of the time such as the Countach. Putting a V12 in a luxury Limousine however was certainly a daring move by Jaguar, and with it's 5.3L powerhouse under the bonnet, the car could be whisked to a top speed of 143mph. However, putting the V12 in was not only daring, it was massively audacious as at the time there was a fuel crisis on, and thus the market for owning a gas-guzzling engine such as this was not exactly a big one. However, British Leyland were always one for product placement, and were able to promote the car by way of the TV Series 'The New Avengers' (along with a Triumph TR7 that broke down every 20 minutes, but that's another story). Build quality problems were also another major issue, including unreliable engines and being prone to rust, but the folks at Jaguar's factory in Coventry were willing to step up their act, and such the XJS became one of the more reliable models of the British Leyland range.
The car did eventually start to get sold though, primarily in America, where it became quite a fashionable Florida tourer for the new money. However, the car wasn't available as an open-roof cabriolet initially, which resulted in the Series II XJS in 1980, being known as the XJS-HE for its High Efficiency engine. In 1983 the XJS finally had it's roof partially cut off in the form of the XJS-SC, which also came with a much less thirsty 3.6L V6 for the more fuel sensitive new money millionaire. However, threats of legislation still lurked in the US about banning convertibles, so a roll-bar was placed over the passenger compartment in similar fashion to that of the Triumph Stag, so as to protect the occupants but still provide that wonderful sensation that only a convertible car can give. Eventually the car did get it's roof fully cut off when the legislation threats went away in 1988, although prior to this various coachbuilders would gladly take your regular XJS and remove its roof for you.
In 1986, during the breakup of British Leyland, Jaguar was made independent for a short while before being bought by Ford, who then wanted to give the XJS another update to keep it in the flow. So in 1990, the XJS Series III was launched, with a revised rear end to remove the two buttresses that had haunted its design from the beginning, a straight set of rear light clusters, and revised bumpers to make them look like part of the body rather than just yoked on at the last minute. These last XJS's were amongst the most reliable and popular sports cars on the market, selling in massive numbers both in Europe and the United States. The XJS once again was in the California sunlight, but the design from the early 70's was starting to look very tired. It was time for Jaguar to axe the XJS and in 1996 they did just that, replacing it with the surprisingly satisfying but sadly under-appreciated XK8. After 21 years of production, the British Leyland wonderchild ended off with 115,000 examples built.
Today you can find a fair few XJS's out and about in both Britain and America. In the UK you're more likely to find the later models from between 1988 and 1996, as most of the earlier British Leyland examples probably rusted away in someone's garage a long time ago. But although this car may receive a fair amount of bashing from classic Jag enthusiasts for committing the sinful crime of replacing the E-Type, the XJS certainly looked a lot more handsome than the MkIII E-Type, which looked like some kind of tugboat into which the passenger cabin had sunk!
Great Suffolk Street, off Borough High Street, London. The same sign is repeated round the corner as well.
I must say that with the mass closure of public lavatories in recent years it is becoming increasing difficult to avoid "committing a nuisance".
There is a fountain...this is from a hymn written by William Cowper in the 1772. Cowper experienced a period of temporary insanity. During this time, he felt that he had offended God so deeply with his sins that he could not continue living and tried repeatedly to commit suicide but failed each time. In one case, he tried to hang himself, but the garter broke and he fell to the floor- this happened twice. Eventually, Cowper came to his senses and after recovering, wrote the hymn “There Is a Fountain.” Here’s the first verse:
There is a fountain filled with blood drawn from Emmanuel’s veins;
And sinners plunged beneath that flood lose all their guilty stains.
Lose all their guilty stains, lose all their guilty stains;
And sinners plunged beneath that flood lose all their guilty stains.