View allAll Photos Tagged Expectations
When a woman finds the man she wants to marry, she sees the potential in him to become the man she knows he can be. When a man finds the woman he wants to marry, he sees exactly what he wants for the rest of his life. The woman of his dreams and things will always be the same. But boys are boys and it takes us a long time to grow up and women, they carry babies and become mothers and pick-up responsibilities and sensibilities quickly.
Christmas changes over time. So as a kid, presents could not be big enough and the tree not nice enough. My expectations have changed to have good talks, some good food, some candles and some small presents.
Best Viewed BLACK
Taken from the underground on my way back from a street shoot.. returning the gear to my office.. There she was .. wow. could not resist.. and fuzzed it just right... She looked despaired waiting for someone who perhaps never came... I captured this take just off the escalator, i had the cam in hand et voila.. instant reflex.. :-) It is awesome also in B/W.. Lol.
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Prise rapide du weekend.. je rentrais justement de ma sortie et me preparait a remettre mon equipement a mon bureau losquelle est apparue au sommet de l'escalateur.. J'avais toujours le D300 en main et vlan.. prise sur le vif avec juste l'effect broulle que je souhaitait.. Banco .. :-)
Bonne semaine a tous..
American consumers indulged in big cars; European buyers had to made do with cars that were far smaller, especially in the years immediately after World War II. This contrast in expectations is emphasised by the different scales of the 1947 Mercury coupe at left and the British Morris Minor of 1960 at the right.
Dana Point Marina Waterway early in the morning. Third of three shots from a spectacular sunrise.
Single Raw file with adjustments and toning in Topaz.
My kitchen window in september is filled with some old and some new,
light, mushrooms, small houses and figurines.
An autumn months full of adventures and expectations.
Ok I admit. As a portrait photographer it's not often that I use a tripod. Or that I use filters (Lee graduated ND saved the day here). It's also uncommon for me to use an ultra wide-angle lens (like the 14-24mm), nor do I recall ever taking a portrait with my aperture down to f/16. I love fusing my love of landscapes with portraiture. I think it's a win-win situation, wouldn't you say? :-)
Thanks to my little assistant for keeping the strobes pointed right where it needed to be, to our wonderful model for making the trek from 4 hours away (you're the best, Christina!), and to Sophie for being my radio DJ during the many hours we've spent on the road, and for her attention to posing, hair, wardrobe, and everything else that went into making this (couldn't have done it without you).
Badwater is an odd place. You're standing at a dry lake, 282 feet below sea level, while out in the distance, Mt. Whitney (just past that mountain range) soars at 14,505 feet. The lowest (and highest) point in the 48 states. Talk about extremes. But we didn't pick this place because it would be easy. What's the fun in that?
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My last series of photos inspired by Funny Face/Paris and my last Poppy! She was also my very first Poppy and therefore very special to me.
Gullah singer Bessie Jones plays her tambourine at the Sylvan Theater on the Washington Monument grounds at the first mass march on Washington, D.C. in protest of the Vietnam War April 17, 1965.
Exceeding all expectations, 25,000 gathered in the city to picket the White House and rally at the Sylvan Theater before marching to the U.S. Capitol and presenting a petition against the War.
The march was mainly sponsored by the Students for a Democratic Society (SDS) and the Student Non-Violent Coordinating Committee (SNCC). Other participating organizations included the Committee for Nonviolent Action, Women’s Strike for Peace, Student Peace Union, Women’s International League for Peace and Freedom, War Resisters League, Local 1199 of the Hospital Workers, District 65 of the Retail Workers and chapters of the
Congress of Racial Equality.
Gruening (D-Alaska) was the main speaker. He was one of two who voted against the Gulf of Tonkin resolution that was used as President Lyndon Johnson’s authorization for a full-scale military intervention in Vietnam.
Gruening said that America “has fumbled and bumbled along in Vietnam for over 10 years.”
“The ultimate control of the civil war in South Vietnam rests with the Viet Cong and they must be brought to the conference table.”
“We should do this by recognizing the clear facts of life. The war in South Viet Nam is basically a civil war, the control of which does not rest in the capital of North Vietnam—Hanoi—or in Communist china, which our war hawks are apparently baiting to come into the conflict.”
The biggest applause was saved for Paul Potter, the SDS president, who said that the U.S. was waging “cultural genocide” and that “I would rather see Vietnam communized than see it continue to be subject to the ruin that American domination has brought.”
Potter further called for a nationwide program of “massive civil disobedience” if the Indochina war is not stopped. He added that the movement would “support the growing number of young men in this country who refuse to fight in Vietnam.”
Other speakers included journalist I. F. Stone, Yale professor and antiwar activist Staughton Lynd and civil rights leader Robert Parris Moses, Entertainment included Joan Baez, Len Chandler, Phil Ochs, Judy Collins and Barbara Dane,
Mary Elizabeth "Bessie" Jones was born February 8, 1902, in Smithville, Georgia. Music was as important as storytelling in her family. Her Uncle Gene sang and played guitar. All the men in her family played guitar or banjo, and they made their own banjos. Jet played the accordion and made banjos out of wood. Her mother played autoharp.
Bessie finished her last year of formal schooling in 1913, and the following year she met and married Cassius Davis, and soon thereafter gave birth to her first child, Rosalie. Davis lived on St. Simons Island, but had come to the mainland looking for work. Bessie began working as a farmhand, taking Rosalie to the fields with her.
After Davis's death around 1926, Bessie and her cousin decided to go to Florida to find better jobs. In 1928, she met and married George Jones. Together, they became migrant workers and followed the crop harvests from Florida to Connecticut. During these years she also traveled to Brunswick, Georgia, and St. Simons Island, visiting both George's family and her deceased first husband's family.
By 1933, Bessie and George settled on St. Simons Island. They continued to do migrant work, but kept their home on the island. In the off-season, Bessie worked as a maid and cook, and joined Lydia Parish's Spiritual Singers Society of Coastal Georgia.
Her second child, George L., was born in 1935, followed by her third child, Joseph, in 1937.
From 1939 to 1945, Bessie also took jobs as a nurse for the children of wealthy white families who lived or vacationed on the Georgia coast. In 1945, her husband George died. Bessie continued living and working on St. Simons Island, and was active in the founding of the Harlem Church of God in Christ.
In the mid-1950s Bessie met folklorist Alan Lomax, who was conducting fieldwork in the Georgia sea islands and working to collect the music of the Spiritual Singers Society.
In 1960, Bessie was "called to teach" — to pass on to others what she knew about slavery through songs and stories that she learned as a child.
While participating in Lomax's film on the Spiritual Singers Society, she went to sing for a child's birthday party. She was going to start off the party by singing a lullaby, then changed her mind.
"But when I got up," she recalled, "I said I was glad to do it because this is where my grandfather was brought up at, and that gave me a head to speak right there. When I said that, they stopped the beer right there, and everything, and I was getting ready to sing to the child, but wasn't nobody saying nothing. Then something told me 'You got to tell them everything in your mind.'"
That was the first time in public that Jones began to tell the stories she had heard as a child.
"The Lord blessed me not to forget these things," she explained, "and keep them up among people who weren't studying it. White people know our backgrounds, but they're going to try to hold it back and keep us back as long as they possibly can."
Guided by the "spirit," Jones recognized she had an opportunity to share the stories and songs about little-known aspects of the history of African Americans to others.
The Georgia Sea Island Singers would perform at Carnegie Hall benefits for the Highlander Folk School; at the Newport Folk Festival; at The Ash Grove in Northridge, California; at the Montréal World’s Fair; in an outdoor concert at Central Park (1965); and at successive annual Smithsonian Folk Life Festivals in Washington, D. C.; among other venues.
In 1964 they were featured in the Sing for Freedom Workshop in Atlanta, Georgia (organized by Guy Carawan, Dorothy Cotton, Andrew Young, and Bernice and Cordell Reagon and sponsored by the Highlander Folk School, SCLC, and SNCC) along with SNCC Freedom Singers from active civil rights movements in Albany, Selma, Birmingham, and several towns in Mississippi.
They were joined by northern folksingers, Len Chandler, Phil Ochs, and Tom Paxton. SNCC Freedom Singer Bernice Johnson Reagon,
Jones, who felt strongly about civil rights, was also member of a prayer band that marched with Martin Luther King, Jr., in Beulah, Mississippi.
Throughout the 1970s, Jones remained active singing with the Georgia Sea Island Singers and performing at inaugurations, in schools, and at festivals throughout the country.
Jones’ music, based on songs handed down from generation to generation, provided a window into the life of Gullah and others enslaved in the southern United States.
--Jones' biography partially excerpted from National Endowment for the Arts website.
For more information and additional images, see flic.kr/s/aHsk6rvH8V
Photograph by Diana Davies. The image is from a contact sheet from Diana Davies Photographs, Series 11: Social Justice, courtesy of the Ralph Rinzler Folklife Archives and Collections, Smithsonian Center for Folklife and Cultural Heritage.