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Sophie von Hellerman & Josh Smith at Museum Dhondt-Dhaenens, Deurle, Belgium.
This duo exhibition functions as an intense dialogue between the works of two very different artists. While Sophie von Hellermann (1975, Germany) makes large-scale compositions in which she develops a visual language that is both fairy tale-like and imaginative, Josh Smith (1978, USA) creates paintings in which his personal approach is always the underlying base of the work. The exhibition is an investigation into both identity and uniqueness, and fundamental approaches in painting. This project is curated by Anne Pontégnie and realised in collaboration with Le Consortium from Dijon.
www.vilmagold.com/newpages/artists/sophie1a.htm
www.leconsortium.com/?Expositions:Expositions_pass&ea...
"L'exposition associe et confronte les œuvres de deux peintres de la même génération : Sophie von Hellermann (Munich, 1975, vit et travaille à Londres) et Josh Smith (1976, Tennessee, vit et travaille à NY).
Tous deux partagent une approche de la peinture comme processus de création continue, un flux dont la quantité remet en cause la notion même de chef d'œuvre et ouvre des pistes pour ouvrir un espace pictural renouvelé. Pourtant, leur énergie et liberté communes s'expriment dans des projets radicalement différents.
Comme d'autres artistes de sa génération, von Hellerman s'autorise à puiser dans l'histoire de la peinture et des libertés progressivement acquises pour creuser sa voie singulière. A partir cet espace, l'artiste utilise la peinture comme un instrument qui lui permet tout à la fois de s'approprier et de s'absenter de la réalité. Les tableaux de Sophie von Hellermann condensent chacun une histoire, parfaitement contenue dans les limites du cadre, mais trouée de l'intérieur. Ces espaces vides donnent leur pouvoir d'évocation à ses œuvres, une capacité à absorber d'abord le regard avant d'ouvrir l'imaginaire et la mémoire de la sensation. Les sujets de sa peinture, essentiellement narrative, sont à l'intersection d'une histoire personnelle et d'une histoire collective qui nourrit son imaginaire, sans qu'une frontière bien définie existe entre les deux. Une exécution rapide et une production abondante, un style désinvolte, des narrations qui confondent son expérience quotidienne et des situations rencontrées dans la fiction ou dans l'histoire, un amalgame permanent entre le trivial et le grandiose sont autant d'instruments qu'elle utilise pour transgresser toutes les règles de la bienséance picturale.
Smith se réfère plus explicitement à une histoire de la peinture qui, dans son épuisement, pesait comme une menace castratrice sur ses aînés et qu'il transforme en un répertoire de formes, libre de droits. Avec ses références explicites à l'histoire de la peinture, son style « expressif », ses effets de signature et son absence de sujet, l'œuvre de Josh Smith pourrait paraître inactuelle. C'est que Smith refuse d'utiliser signes et sujets pour affirmer sa contemporanéité. Comme tous ceux auxquels il se réfère - Kirchner, Picasso, Haring ou Wool - Smith n'utilise pas la peinture pour illustrer un projet, mais choisit de penser « en peinture ». La quantité d'œuvres qu'il produit - un phénomène qu'il choisit de mettre en scène dans ses installations - témoigne de cette pensée en marche. Le tableau n'est pas envisagé comme le lieu clos d'un achèvement, mais comme une étape dans un processus continu de création. L'étanchéité de la frontière qui sépare l'original et de sa reproduction - déjà compromise depuis les années 60 par l'utilisation de la sérigraphie - est minée de l'intérieur par la prolifération des originaux. Cette stratégie permet à Smith de s'émanciper d'un système hiérarchique qui fait le tri entre œuvres majeures et œuvres mineures pour mettre en évidence le mouvement même de la création. Dans un monde de flux incessants, de marchandises et d'images, Smith parvient à proposer un flux alternatif, qui vient rompre la répétition du même. L'authenticité n'est pas à chercher du côté d'une subjectivité triomphante dont la signature et l'expressivité marqueraient le retour, mais d'une recherche frénétique où sujet et œuvre se coproduisent et se modifient sans cesse." (extrait)
Anne Pontégnie.
Look at these Prices to develope Film!! My God! Thank goodness for Digital Cameras. $19.00 for 36 exporsure! Wow!
I guess Because it's such a "nichte" industry now. I haven't develope any Film in Years. thinking of "Fireing" up the Old Nikon N50 Film Camera. which i Love. I Have a Special Place that developes Film. if they are Still there!
Culfeightrin Parish Church, Cushendun , County Antrim (1838)
As the congregation dwindled the parish was amalgamated with Layde, and finally in 2003 the decision was taken to close and deconsecrate the church.
Since then a group of local people have formed the Cushendun Building Preservation Trust which is working to develop a new use for this charming and significant building as a broad-based community arts centre.
Behind me , the Mull of Kintyre in Scotland can clearly be seen.
My wife and I recently took a trip to Ho Chi Minh and Hoi An where we were able to photograph the life on the streets. For the first time since 2009, I decided that my main camera should be a film camera, and I shot a number of rolls of Ilford HP5+ and enjoyed every minute.
I absolutely loved the experience of shooting only film and I'm really happy with the way the scans have turned out. Developing the film was great and it makes you appreciate every shot.
This image marks the start of a forthcoming photo series which I'm really proud of. I hope you like it.
All images were made with one camera, one lens, and one film, a Voigtlander R3A, 50mm Nokton and Ilford HP5+. All images were developed in Ilfosol 3 and scanned with a Epson V550.
All images from this series can be found on my new website: richardharmerphoto.com
Under a dim red light, I first removed the paper backing from the roll of film, seesawed the film up and down in the developer tray for 5 minutes, then through the shortstop (acetic acid) for a minute, next to the hypo tray. After several minutes I turned on the light to see the results.
I think the photo was taken in early 1937.
I set this up in the basement of the family home north of Worthington, Ohio. I had to work at night and didn't build a darkroom until several years later. There was almost no ambient light at night back in the thirties, so it worked well.
The film was probably 620 Verichrome which, as I recall, cost 30 cents a roll.
The E-Type Series 3 was introduced in 1971, with a new 5.3 L twelve-cylinder Jaguar V12 engine, uprated brakes and standard power steering. Optionally an automatic transmission, wire wheels and air conditioning was available. The brand new V12 engine was originally developed for the Le Mans series. It was equipped with four Zenith carburettors and built by connection of two six-cylinder XK engines. The final engine was claimed produced 203 kW (272 hp), massive torque and an acceleration of 0-60 mph in less than 7 seconds. Although this bhp figure was reduced in later production. The short wheelbase FHC body style was discontinued and the V12 was available only as a convertible and 2+2 coupé. The newly used longer wheelbase now offered significantly more room in all directions. The Series 3 is easily identifiable by the large cross-slatted front grille, flared wheel arches, wider tyres, four exhaust tips and a badge on the rear that proclaims it to be a V12. Cars for the US market were fitted with large projecting rubber bumper over-riders (in 1973 these were on front, in 1974 both front and rear) to meet local 5 mph (8 km/h) impact regulations, but those on European models were considerably smaller. US models also have side indicator repeats on the front wings. There were also a very limited number of six-cylinder Series 3 E-Types built. These were featured in the initial sales procedure but the lack of demand stopped their production. When leaving the factory the V12 Open Two Seater and V12 2 ± 2 originally fitted Dunlop E70VR − 15 inch tyres on 15 × 6K wire or solid wheels.
The Jaguar factory claimed that fitting a set of Jaguar XJ12 saloon steel-braced radial-ply tyres to a V-12 E-Type raised the top speed by as much as 8 mph. The production car was fitted with textile-braced radial ply tyres. This fact was reported by the Editor of Motor magazine in the Long-term test of his E-type edition dated 4 August 1973, who ran a V-12 Fixed head for a while.
Robson lists production at 15,290.[37]
Series 3 production numbers:[38]
Mayor Bill de Blasio holds a media availability introducing a new equitable ownership requirement to strengthen the role of Minority-and-Women-Owned Business Enterprises (M/WBEs) and non-profits on affordable housing projects developed on City-owned sites. Joining the Mayor are Commissioner Louise Carroll, Department of Housing Preservation and Development and Francilia Wilkins Rahim, R.F. Wilkins Consultants. City Hall. Thursday, November 19, 2020. Credit: Ed Reed/Mayoral Photography Office.
This photograph is provided by the New York City Mayoral Photography Office (MPO) for the benefit of the general public and for dissemination by members of the media. The photograph may not be manipulated in any way and may not be used in commercial materials, advertisements, emails, products or promotions that in any way suggests approval or endorsement of the City of New York, the Mayoral administration, or the de Blasio family without prior consent from the MPO (PhotoOffice@cityhall.nyc.gov). Any use or reprinting of official MPO photographs must use the following credit language and style: “Photographer/Mayoral Photography Office”, as listed at the end of each caption.
Transaid is developing a project designed to improve the livelihoods and security of female market traders through the development of Women’s Transports Co-operatives. Transport and Trade for Market Women, in Accra, will provide women market traders with a transport system to satisfy their specific needs.
Presently most women use “tro-tros”, passenger mini-buses or taxis to get their goods to market. This means women are spending more money and time that they would need if they had an appropriate transport system in place.
These Co-operatives will aim to reduce transport costs, bringing economic benefit, and providing a fast, reliable and secure means of transporting their goods.
I have finally developed the second roll of film shots taken with my Nikon F65 camera on Preston Street at the Ottawa Ferrari Festival held by the Ottawa chapter of the Ferrari Club of America on June 13th, 2008. After I took these remaining photos, I didn't use my film camera again until March 2009, so I took a couple of shots downtown to burn off the rest of the roll and had these shots developed at Wal-Mart.
On New Year's Day, I had previously uploaded, in a single batch, the entire previous roll so I thought I might as well upload the rest of the film shots at once too.
Taken in the Georgetown neighborhood of Seattle
Pentax PC550 28mm
Kodak Portra 400VC
Lab C41
Epson 4490
Mamiya-16 Automatic with unnamed colour negative film, develop before April 2011, originally 200 ISO, rated EI 100, developed in Rollei Colorchem C41 kit.
As I sat and did this I became even more aware of how amazing the development of chn is and how lucky we are when natures order for growth is working to plan, This is Hunter who now at 6mths old is finding new and exciting things he can now do - eat solid foods - touch toes - put things into his own mouth - roll over almost at will - giggle - recognize people - show emotions - LOVE HIS PARENTS SO MUCH - just to see him makes you want to burst with joy. Such power is LOVE :-)))
Newly developed into a sport crag, this is Watch House East, on the southern coast of the Gower Peninsular. Gower is an Area of Oustanding Natural Beauty, the rock is limestone and this crag offers gorgeous evening sun.
A film with my Zorki-4K camera and its Jupiter-8 1:2 f=50 mm normal lens.
The Zorki was loaded with a Silberra Pan160 exposed for 160 ISO using a Minolta Autometer III lightmeter fitted with a 10° viewfinder for selective measuring privileging the shadows. After exposure the film was processed at 20°C using Tetenal Ultrafin developer at dilution 1+20 for 7min45 and 20°C. Compared to the first Silberra Pan160 I did on July 15, 2022 (flic.kr/s/aHBqjzYh6r) and developped using the "T-Plus" version of the Ultrafin developer (1+6, 6min30s at 23°C), the film is a little less developed. This right time with Ultrafin 1+20 (not. "T-Plus") my be rather around 8min30 to 9min at 20°C.
Parc de la Tête d'Or, September 26, 2022
69006 Lyon
France
After process the film was digitalized using a Sony A7 body and a Minolta Slide Duplicator with a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5.
After several films, and the range finder adjusted, I found the Zorki-4K very pleasant to use. The camera is clearly very reliable and the film smoothly advanced and rewound. I equipped the lens with a FOCA UV-protection filter (Made in France) and the hood of my Focaflex. All views are presented either framed or full-size.
About the camera :
This camera was manufactured in 1977 by KMZ company ( Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. KMZ also manufactured the ZENIT SLR's among many other productions. Zorki 4K was produced between 1972 to 1978 and the previous Zorki models were inspired by the Leica II since 1949. This model 'Made in USSR" is branded in roman characters, intentionally for exportation. Other Zorki 4K were also branded in Cyrillic as "Зоркий". Zorki 4K was sold basically either with this Jupiter-8 lens 1:2 f=50mm or the Industar lens1:3.5 f=50mm. The Jupiter-8 is a Sonnar Zeiss optical formula and fits to the Zorki body using the screwing M39 Leica mount.
Its was sold to me in August 2022 from Austria with its original ever-ready leather bag, a front lens cap and a small shade hood accessory Minolta D42KA. The shade hood and filter of my Focaflex also fit to the Jupiter lens (Leica standard 42 mm filter)
The last few times I have developed Sahnaghai GP3 film in Rodinal 1:200 stand development for 2 hours, I have noticed a recurring problem.
You can see in the top right hand corners of the image, the blotches that are throughout the image.
Perhaps not enough developer is getting to the film throughout the stand development process?
I thought my Fixer may be exhausted but I have developed other films without this problem.
This problem seems to be consistent with the Shanghai GP3 .... Any thoughts on why this may be happening ?????
Hasseblad + 80 mm + Shanghai GP3 + Rodinal 1:200 Stand Developed @ 2hours
First pictures developed from my "new" (expired 1993) 9x12 Fuji 160 NSP film.
9x12 is the european equivalent of 4x5. Film holders have the same external dimensions, but film area and dark slides are different.
I shot the film at ISO 100 with my Crown Graphic. Developed in Tetenal Colortek C41.
Although a 19 year old film, I am pleased with the results - colours are good, film is a bit grainy, but acceptable.
A local Afghan offers a French soldier tea in eastern Afghanistan. (Photo Courtesy of Task Force Lafayette/French)
The Buck's Unlimited Oak was developed at the Horticulture and Agroforestry Research Center in New Franklin as a variety of swamp white oak that produces more acorns, sooner. Many oaks do not produce a strong crop of nuts till 15 years, but the Buck's Unlimited Oak ca nproduce acorns at year six. This allows growers a chance of a beneficial nut crop sooner for wildlife such as deer and turkey.
Research involved Marc Coggeshall, MU assistant research professor of forestry, and other researchers to select varieties that showed more desirable traits. Grafts of scion wood became clones of the favorable trees.
Photo by Kyle Spradley | © 2014 - Curators of the University of Missouri
On December 8th, 2012 P4K and EPN launched the Farmers of the Future program officially in Gueriguinde. Both the Minister of Education and the Minister of Livestock participated in front of a huge crowd of 400! This program is being piloted in three schools in Libore, with the goal of changing the mindset of children about agriculture -- teaching them that it is a business not merely a way to subsist.
U.S. Department of Agriculture USDA Agricultural Research Service ARS Sugarcane Research Unit scientists developed and released a new high-fiber variety of sugarcane, or energy cane, Ho 06-9002, in Houma, LA, and continue their research on December 13, 2021. Sugarcane is one of the most efficient producers of biomass of all plant species and can be used as a renewable fuel. The new variety has a high fiber content, excellent regrowth ability over 4 to 5 years, is cold-tolerant, has a high stalk population, and produces excellent biomass yields. Ho 06-9002 showed no symptoms of brown rust or smut when exposed to high levels of natural inoculum. Mosaic disease, caused by either sugarcane mosaic virus or sorghum mosaic virus, was not observed in the variety under natural field conditions. Its most significant attribute is cold tolerance and the ability to yield high biomass in non-traditional sugarcane growing regions.
Here, research technicians and collaborators take samples from the field and weigh them before being fed into a traditional 3-roller mill. The extracted juice is collected for analysis to determine the Beix, percent soluble sugar by refractometer; and sucrose by polarization. From this information and the use of a Varietal Correction Factor VCF, an estimated yield of theoretical recoverable sugar per ton of cane can be calculated.
The ongoing studies are conducted in cooperation with the Department of Energy; University Extensions, and industry organizations.
usda.gov
ars.usda.gov
ars.usda.gov/southeast-area/houma-la/sugarcane-research/
USDA Media by Lance Cheung.
Taken in the Mid 1980's, probably on N street NW, near Logan Circle. This was shot on Agfa 100, probably pushed to 400 and developed in Edwal Super 111, which was my favorite developer at the time (still would be if were still made...).
Together with Karel and neighbor boy Afra we made a new board game and tested it - the boys' sisters played along, too. Most of the rules were my idea, but they're subject to change as we test the game.
Everybody rolls 2 dice at every turn. One special die (made with the Lego die) and one regular one.
The special die has the following sides:
CLOSE - close the gates on the board
OPEN - open the gates
MONEY - get a chip
PURPLE - pay a chip
The regular die is for walking, of course. The figures can pick their route on crossings, but cannot go backwards.
Every player gets a 4x10 plate to put the chips (round 2x2 tiles) on; objective of the game is to collect 10 chips so that the plate is full.
There are the following special fields:
- White jumper plate = sing a song and earn a chip
- Brown jumper plate = do a dance and earn a chip
- Red jumper plate = make a drawing and earn a chip
- Tan jumpuer plate = go two steps forward and earn a chip
- Field with a gold or silver ball = earn a chip and put the ball in the bucket. When the fourth ball goes in the buckets, all balls come back in the game at random
- Golden gate: must be open to pass. Earn a chip
- Start gate: must be open to pass
- 'Hit the wall': if you land on the field adjacent to the outer wall with the castle windows, you skip two turns
- Shelter: skip one turn
- Stop sign: skip one turn
- Arrow tile: roll again
- Field with soccer ball: go to the field before the golden gate and put the soccer ball somewhere else
- Antenna: go to the field before the golden gate
Things that need to change:
- Maybe the routing isn't clear enough. Madelief insisted on turning left where she couldn't (hence the pout), maybe I should add an arrow sign. (The way she went about, she'd skip the bit with the gate)
- I designed the game with just one OPEN and two CLOSE sides on the special die, but kids are waiting behind closed gates too much.
- That START gate was annoying. Everybody was waiting for the gate to open and got fed up. It should go.
-Reaching 10 chips may take too long. Maybe I should use smaller plates or let the game end when the first player reaches the slide.
hey :D
okay so today i woke up.
got dressed.
& i didn't eat anything for breakfast,
cause i was surprisingly not hungry o.O
i still felt full from everything i ate yesterday lol.
so i just drank chocolate milk,
& took a snack in my bag just in case if i get hungry later.
so i left,
went to Starbucks.
met Amber & Kyra there.
we talked & chilled at Starbucks for a bit.
then i had to go back home really quick,
to print out my homework that i had forgot to print out.
so i went back home,
& Amber met me there.
& i tried printing it out.
it failed cause my laptop was being stupid -___-
so we just left,
cause we didn't wanna be late for class.
when we got to school,
we met up again in one of the buildings,
& we hung out for a bit like always before class starts xD
then finally i went to class.
it was whatever.
it was long -_-
& i was sooo sleepy.
after class,
i went straight home.
i took a shower,
changed into my pajamas.
made tacos for lunch.
& i layed in my bed,
& watched my Adventure Time recordings,
as you can see in the picture above{:
<3
i really had gotten obsessed with this show :D
i don't know why,
but just something about this show makes me love it soooo back flipping much :D<3
wow i haven't said back flipping in forever O.O
literally forever ! lol xD
okay anyways,
after 2 hours of Adventure Time[x
i still hadn't finished with all the recordings,
i left to Walgreens,
to develop some of my pictures that i've taken[:
to start a portfolio :D
the photos were ready right there to be paid & to take home.
when i was ready to pay for them,
the cash register froze & broke -_-
so i waited & waited as the manager tries to fix it.
then he finally said that if i can come back later,
& they will call me when i can be able to pay for it.
so i left.
got home.
continued with my Adventure Timeness,
& then a couple of minutes later,
they called said i can go pay.
so i drove back,
paid, got my pictures,
& got back home.
i had BBQ for dinner :D
& i continued watching Adventure Time{:
when i finally finished watching the recordings xD,
i watched all the YouTube videos i needed to watch.
after that,
i just chilled watching Charlie & The Chocolate Factory,
the Tim Burton version<3{:
Johnny Depp<3{x<3
& halfway through the movie,
i remembered i had homework that MIGHT be due tomorrow,
so i did that during the rest of the movie.
which i just finished a couple of minutes ago :D
& now i'm just on the laptop,
watching Friends<3
today was whatever i guess lol.
so yea.
PeAcE<3
Kodak Tri-x iso 400
Developed in Ilford ID-11/ 8 minutes
Kodak Scanner
The bridge itself was constructed in the late ’60s/early ’70s by New Jersey Bell so they could run telephone poles across the swamp. They left it standing after the work was completed. In its day, the bridge was a popular spot for crabbing. At one time you were able to drive to the top of the bridge and park, but you could never actually cross it because you could easily get stuck in the swampy marsh on the other side. The bridge has been vandalized and actually set on fire a couple of times (hence, half a bridge) It is only a matter of time before the township decides to tear it down.
Nikon F3
Six Gates Films Orwell BW @400 iso
developed in Tmax dev 7''
epson v700
almost all of this picture were taken by Luca (Laszlo K.) while i was developing.
it has been a glorious day. We developed over 23 rolls of color negative cinema film in a vintage Morse G3 tank. We had some major fixing issue but we saved some good frames & had a good time.
Bottom line:
1)ECN2 is totally feasible for home processing
2) Morse G3 tank agitation could not be the best for these films.
3) we took a little step forward for DIY film photography
See how we developed the best courtyard landscape in all of Korea within one year! I combined three clips of how the landscape looked.
In the beginning of 2016, the Wolmyeongdong Recreation Center started carving the cliff. I took the first clip while standing on the path they made. At that time, one of the offices was in front of the mountain. You can see all of that in the first video.
A few months later, they completely torn down the office in front of the mountain. It looks a bit surreal. If you visited Wolmyeongdong after this, you would have never guessed there was an office originally! The only way you can tell is because the bronze Jesus statue was left intact.
However, a year later, they finished developing the courtyard landscape. The courtyard space itself didn't change much. Is was mainly the mountain that changed. If you look closely, there is a groove in the mountain that we turned into the waterfall.
For the bronze Jesus statue, we moved it into the sports field. You can find it in front of Prayer Hill at the base of the mountain. It is at the entrance of the steps going up the hill.
As for the office, everyone moved into the offices across from the old offices. The place we moved to was actually a souvenir store. But we moved the store into the Culture Center.
So even within one year, Wolmyeongdong has changed so much! If you want to see more of these types of videos, please let me know! I will try to include more before and after videos. It's kind of hard to get resources. I happened to have this one, so I put it together.
If you have any videos you'd like me to compile of Wolmyeongdong, please send it!
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