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This is an image taken from Lake Elizabeth in Allegheny Commons Park on the North Side. Got some reflections of a few city lights on the lake's calm waters and a few building tops from downtown. It was a nice quick visit on our way down for Light-up Night and fireworks.
Pittsburgh, PA
🎵I might be a tad naïve
But I learn quick
I will shatter your belief
That I’m so innocent
So savor your surprise
I could tip you like a vintage wine
A whisper down your neck
I could wrap your muscles tight
Or sing your silhouette
Darlin’, please don’t make me guess
How do you like it best?
How do you like it?
You are such a gentleman
You touch me like a flower
Like a petal that could bend
When we talk we sound like friends
I don’t want to take the heat
You rise in me so secretly
And let it go unsaid
So dainty in my head
Cuz, baby, all the time
I could tip you like a vintage wine
A whisper down your neck
I could wrap your muscles tight
Or sing your silhouette
Darlin’, please don’t make me guess
How do you like it best?
How do you like it?
You might have a few years on me
But I’m no little girl
I’m no little lady
Yeah, you might have a few years on me
So if you’re such a man
Tell me how you take me
When you sip me like a vintage wine
I could tip you like a vintage wine
A whisper down your neck
I could wrap your muscles tight
Or sing your silhouette
Darlin’, please don’t make me guess
How do you like it best?
How do you like it?🎵
“Mere color, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways.”
Oscar Wilde
This image was made on Ektachrome 200 film with a Nikon F3 camera equipped with a Nikkor 105mm f2.8 Macro lens. Using a 12 inch in diameter 8ft. focal length circular parabolic mirror placed exactly 8ft. from the film plane of the camera which was mounted on a tripod, I taped a Vivitar 283 flash opened and laid flat to the top of the lens so that the light would go directly into the mirror and be reflected into the lens. Using a gridded focusing screen to precisely place the three circles (mirror) in the frame, I made three separate exposures on the same frame of film; one with a #25 red filter, another with a #47B blue filter and the third with a #58 green filter carefully overlapping the three circles so that the three primary colors (red, green and blue) would produce their complementary colors (cyan-complement of red, magenta-complement of green and yellow-complement of blue). Where all three overlap it is white, as white light is composed of red, green and blue light.
Amb l'Inazio treient el cap per la finestra i amb mitja associació de Bilbo saludant-nos allà on ens trobava, proseguiem la persecució encara en territori basc. Uns 5 minuts després de fer la foto a Saratxo, ja ens trobàvem a la corva de Lekamaña, on un filferro d'arç em foradaria el pantaló, pel fet de saltar-ne forces per a fer aquesta fotografia.
Con Inazio sacando la cabeza por la ventana y con media asociación de Bilbo saludándonos allí donde nos encontraba, proseguíamos la persecución aún en territorio vasco. Unos 5 minutos después de hacer la foto en Saratxo, ya nos encontrábamos en la curva de Lekamaña, donde un alambre de espino me agujeraría el pantalón, al saltar varios para hacer esta fotografía.
I am glad they are online and I can now get my laser hair removal delivered.
Hate having to go out for it.
Local shopping centre - during a covid "lockdown".
.
how fuckered are you that,
seeing a familiar face
in the eye of a storm,
say,
with a shit eating grin,
hello, again old friend.
Follow me on: Instagram
Camera: Sony ILCE-7M3
Lens: Tamron 28-75mm f/2.8 at 28mm
Settings: 1/200sec at f/4 ISO 100
How strange that water the world over wants to rejoin the seas and oceans of the planet.
2015 04 13 122800 Cyprus Hantara WaterFall
Black and Blue: The Invisible Men and the Masque of Blackness, a mass of identical two-metre-tall figures, is a striking statement within the Park’s 18th century landscape. Powerful and totemic, the impact of the group is amplified through their repeated forms, facing forward to confront the viewer en masse.
The installation builds on Ové’s 2016 project for the 1:54 Contemporary African Art Fair which saw 40 figures sited in the courtyard of London’s Somerset House. In this location, the installation directly referenced Ben Jonson’s play The Masque of Blackness, which was enacted by Anne of Denmark and members of her court at Somerset House in 1605. Featuring white actors in blackface, the play was reflective of the societal shift towards a preference for lighter skin in the early 17th century. Ové also alludes to Ralph Ellison’s acclaimed novel The Invisible Man, a pioneering consideration of racism and marginalised communities in America told through the eyes of its black protagonist.
Ové says he seeks to “reignite and reinterpret lost culture using new-world materials, whilst paying tribute to both spiritual and artistic African identity”. In this work, he uses graphite to explore what he describes as “future world black”. The artist is constantly seeking ways to express recognisable, traditional African forms whilst avoiding the predictable use of ebony, and exploring the sculptural possibilities of more contemporary materials, such as plastic. The form of the figure on which Black and Blue: The Invisible Men and the Masque of Blackness is based is a small dark wood sculpture given to him as a child by his father, acclaimed filmmaker Horace Ové, in the 1970s. The way in which the original sculpture has travelled across land and time, has been adapted and re-shaped, thereby acquiring new layers of meaning, is a metaphor for the complexities of contemporary identity. Although the gesture is taken from a traditional, existing form, the raised hands resonate with and reference current tensions and the Black Lives Matter protest movement.
Ové works with sculpture, film and photography to explore African identity, the African diaspora and African history, building on his own experience of growing up in a mixed-race family in both London and Trinidad, or as he says “black power on one side and… social feminism on the other”.
There. Now you know what the artist was thinking.............
How High Is Too High?
Creating images like this is a balance for me (pun intended) when I am away on my own. Although it looks outrageously dangerous, it is only really dangerous. The area that I am standing on, well rotating in the dark on, is actually quite large.
I need to say that I do not advocate risking your life for the sake of art. If you go out and try this on your own, miles from any people and in the dark you have to be mad!
I made sure that everyone knew where I was.
Damn I love going to this place though, it rocks my soul!
Peace, Denis
How do you do what you do to me?
I wish I knew
If I knew how you do it to me
I'd do it to you
~Gerry & The Pacemakers videolink
Makeup and styling by Kelayla.
IMG_7213
8 Aug 18
after a hours of waiting for a bird to perch in front of some buttercups, this field sparrow took the initiative and posed nearby amongst some hawkweed
Saw this jumping spider at my house, eating a queen ant. When I chased him to phorograph, he dropped the ant and made me run all around.
D300 + Tamron 90mm + sb-800 set to Manual at 1/64
Fired off camera to the right with the help of my son.
More details on black
It's a small world and Natasha doesn't think much of it!
For the All New Scavenger Hunt #10 - It's a small world. This is not what I had in mind for this shot, but it is funny and she bailed out on me after I took it.
A pair of CSX GP40-2s roll the R173 westward through Elkridge on the way down the Eastern Seaboard back in 1994.
This vantage point has become overgrown over the last few decades, making this another spot you can no longer shoot from.
With the hoards of CSX GEVOs now running around, it's really not a big deal to have lost this view.
..configure a Cali. I don't mind the colour but the rims.. no. Opinions?
(Yes my trip to London didn't yield particularly good results but I paid the damn rail fair so this is going up.)