View allAll Photos Tagged Introspective
Well she's walking through the clouds
With a circus mind that's running round
Butterflies and zebras
And moonbeams and fairy tales
That's all she ever thinks about
Riding with the wind.
Taken on location at MiaSnow's gorgeous sim.
Cover version, as I apparently missed the call for yesterday to be Hendrix day. *grins*
Tutto scorre là fuori, e tu ti fai trasportare. Sei immobile come la farfallina sul vetro. Godi della passività del tuo corpo in movimento. Perchè anche se sei qui tu non ci sei. Dentro di te scorri come il paesaggio là fuori.
1. anini beach, 2. blurring the lines, 3. red-eyed sentinel, 4. through the lens, 5. vaporous, 6. shadow of light, 7. curvaceous, 8. cls550 cornea, 9. scroll brother, 10. na pali cascade, 11. axis, bold as, 12. can you guess where?, 13. emanate, 14. in the shadows, 15. pssst, I want to tell you something, 16. fade away
created with fd's Flickr Toys.
looking at images from the archives, the brooklyn bridge had the most activity in 2007. it stands at 499 faves, with more than 300 of those occurring during this year, it seems driven by many Yahoo queries.
a brief look back at 2007 and the importance and beauty of flickr as a community. I really appreciate the time you've taken for visiting, comments, kind words and the sharing of your artistry. these are the 2007 posts most faved by you. I am 47 today on 12/31, as one of those ancillary side notes.
peace and happy new year.
West German postcard by Ufa/Film-Foto, Berlin-Tempelhof, no. FK 1705. Photo: Huster / NDF-Film / Allianz-Film. Erik Schumann in Griff nach den Sternen/Reaching for the Stars (Carl-Heinz Schroth, 1955).
Erik Schumann (1925-2007) was an intense, dark-haired leading actor of post-war German cinema, who often specialised in playing introspective or psychologically damaged characters. He appeared regularly on stage in Berlin, Frankfurt, Stuttgart and Munich from 1943. He was at the peak of his popularity, both in films and on television, during the 1950s and 1960s. A prolific voice-over artist, Schumann also provided the German voice for stars like Peter O'Toole, Marcello Mastroianni, Christopher Lee and Roger Moore.
Erich Heinz Schumann was born in 1925 in Grechwitz (now Grimma-Grechwitz), Germany. In addition to his musical training in piano and trombone, he took acting lessons at the Dresden Conservatory. Afterwards, he got his first engagements at the Staatstheater Dresden, at the Berlin Schloßparktheater as well as in Frankfurt am Main, in Stuttgart and in Munich from 1943. As a youth, he appeared in the Nazi Propaganda film Himmelhunde/Sky dogs (Roger von Norman, 1942) about young Germans at a Hitler Youth camp who engage in a program to learn how to build and fly gliders. His first film role as an adult was as a corps student in the DEFA film Semmelweis - Retter der Mütter/Dr. Semmelweis (Georg C. Klaren, 1950) starring Karl Paryla. In 1954 he played his first role in a Federal Republic film, in Konsul Strotthoff/Melody Beyond Love (Erich Engel, 1954). opposite Willy Birgel and Inge Egger. His breakthrough came with the East-West love drama Himmel ohne Sterne/Sky Without Stars (Helmut Käutner, 1955). From then on he appeared in various roles alongside Heinz Erhardt, Bernhard Wicki, Hansjörg Felmy, Ulla Jacobsson, Sonja Ziemann and Gunnar Möller among others. In 1960 he appeared in Fabrik der Offiziere/Operation Terror (Frank Wisbar, 1960) alongside Helmut Griem and Horst Frank.
Erik Schumann began dubbing in 1949 and till 2004 he lent his voice to 600 films and TV productions. He dubbed actors such as Tony Curtis in Manche mögen's heiß/Some Like it Hot (Billy Wilder, 1959), Cary Grant in Leopards Don't Kiss/Bringing Up Baby (Howard Hawks, 1938), and Jack Nicholson in Die Ehre der Prizzis/Prizzi's Honor (John Huston, 1985). His distinctive voice was also in great demand for radio drama productions, and in 1968 he voiced Dr. Watson in six Sherlock Holmes stories for Bayerischer Rundfunk. Erik Schumann was also heard in roles in numerous television series, such as for Martin Landau in the first dubbing phase of Kobra, übernehmen Sie/Mission: Impossible (1967-1973), for Pernell Roberts in Hawkins (1973-1974). or for Jack Klugman in Du schon wieder/You again? (1986). On the series Eine schrecklich nette Familie/Married... with Children (1987-1997), he dubbed and was heard as the voice of Buck the dog. In the Brazilian telenovela Sinhá Moça - Die Tochter des Sklavenhalters/Sinha Moça (1986-1987), he lent his voice to the Latin-American star Rubens de Falco as Colonel Ferreira. In 1987, he was the first Jedermann (Everyman) at the Berlin Jedermann Festival. In 2000, Schumann dubbed the role of the gold digger Stinky Pete, originally voiced by Kelsey Grammer, in the computer-animated film Toy Story 2 (John Lasseter, 1999) produced by Pixar. He also appeared in numerous television productions and made guest appearances in the popular Krimi series Der Kommissar/The Commissioner (1969-1975) and Derrick (1983). His work as an investigator in the television series Tatort/Crime Scene was limited to one episode in 1981. In the 1980s he appeared in the cinema in two Fassbinder classics, Lili Marleen (Rainer Werner Fassbinder, 1981) with Hanna Schygulla and Die Sehnsucht der Veronika Voss/Veronika Voss (Rainer Werner Fassbinder, 1982) with Rosel Zech. He also appeared in the Italian film L'inchiesta /The Inquiry (Damiano Damiani, 1987) starring Keith Carradine and Harvey Keitel. His last role was in the crime film Mörderischer Plan/Murderous Plan (Raoul W. Heimrich, 2003). Erik Schumann was married twice (in his first marriage to the actress Erika Dannhoff) and had two children. He last lived in Straßlach near Munich, where he succumbed to cancer in 2007 at the age of 82 and was buried there.
Sources: Deutsche Synchron-kartei (German), Wikipedia (German and English) and IMDb.
And, please check out our blog European Film Star Postcards.
The eye explores,
with vivid and childlike curiosity,
the much-loved and less well known places in the French capital.
The photograph uses a long-exposure technique,
and refusing the use of a solid tripod,
he walks around, discovers and experiences Paris during the same shoot,
creating introspective, expressive and dreamy images,
that describe the vibration of his exploration of the urban space.
Enough with the introspective junk, let's get to the photos. ^_^'
Been trying to retake the photo with the bridge covered in clouds ever since I got the new lens. Nearer isn't necessarily better.
9/30 I know. I know. I'm looking ultra serious here. Or maybe its moody. Or introspective. You decide. But the truth is, at this exact moment, I was trying to grab a quick, light-hearted BAM while playing with my nephew in the garden. But he was on the move, and I quickly turned around in time for the camera to snap off this picture. So this is what I look like during a split second of time. A bammer, even though I have absolutely no idea exactly what BAM means.
It started out 18 weeks ago as an exercise to get behind the camera. Not something particularly new to me, as we all used to shoot each other back in the design school days of photographics. But, its been fifteen years and my life has changed. My future is no longer something ahead of me, I'm living it right now. And four years ago, my eyes were opened to the revolutionary idea that I could be happy just being me. And even bigger than that, was the idea that happiness is a choice. That I could consciously choose to be happy instead of just reacting to the craziness around me. Since then, i've been trying my best to live a happier life, and now that i've rediscovered photography, its almost like i've found a voice that's been silent all these years. So moody or not, this is me. Very serious and very grateful for finding the happier side of me. And very grateful to have found 52 Weeks of BAM.
Decay theory states that when something new is learned, a neurochemical, physical "memory trace" is formed in the brain and over time this trace tends to disintegrate, unless it is occasionally used.
Day 26 Feb
Daily In Challenge
K3II with Super-Multi-Coated Macro Takumar 1:4.0, 50mm
Theme: Selfie (with my take on it as introspective)
This was one of those candid moments, where she wasn't posing and wasn't expecting me to take a pic... they really are my fave type of shots
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German postcard by Ross Verlag, no. A 2299/1, 1939-1940. Photo: Metro-Goldwyn-Mayer / Schostal.
Robert Taylor (1911- 1969) was called "The Man with the Perfect Profile". He won his first leading role in Magnificent Obsession (1935). His popularity increased during the late 1930s and 1940s with appearances in A Yank at Oxford (1938), Waterloo Bridge (1940), and Bataan (1943). He was the quintessential MGM company man until the demise of the studio system in the late 1950s.
Robert Taylor was born Spangler Arlington Brugh in 1911, in Filley, Nebraska. Taylor was the only child of Ruth Adaline (née Stanhope) and Spangler Andrew Brugh, a farmer turned doctor. During his early life, the family moved several times, and by September 1917, the Brughs had moved to Beatrice, Nebraska, where they remained for 16 years. As a teenager, Taylor was a track and field star and played the cello in his high school orchestra. Upon graduation, he enrolled at Doane College in Crete, Nebraska. While at Doane, he took cello lessons from Professor Herbert E. Gray, whom he admired and idolised. After Professor Gray announced he was accepting a new position at Pomona College in Claremont, California, Taylor moved to California and enrolled at Pomona. He joined the campus theater group and was eventually spotted by an MGM talent scout in 1932 after a production of Journey's End. He signed a seven-year contract with Metro-Goldwyn-Mayer. The studio changed his name to Robert Taylor. He made his film debut on loan-out to Fox in the comedy Handy Andy (David Butler, 1934) starring Will Rogers. His first leading role came by accident. In 1934 Taylor was on the MGM payroll as "the test boy," a male juvenile who would be filmed opposite various young ingenues in screen tests. In late 1934, when MGM began production of its new short-subject series Crime Does Not Pay with the dramatic short Buried Loot (George B. Seitz, 1935), the actor who had been cast fell ill and could not appear. The director sent for the test boy to substitute for the missing actor. Taylor's dramatic performance, as an embezzler who deliberately disfigures himself to avoid detection, was so memorable that Taylor immediately was signed for feature films. In 1935, Irene Dunne requested him for her leading man in Magnificent Obsession (John M. Stahl, 1935), again on loan-out, this time to then struggling Universal Pictures. He played a happy-go-lucky party guy who inadvertently causes blindness to the young lady he wishes to impress and then becomes a doctor in order to cure her. The film was a big hit, and Taylor had a taste of instant box-office stardom. Along with his good looks, Taylor already showed solid dramatic skill in Camille (George Cukor, 1936) with Greta Garbo. Throughout the late 1930s, Taylor appeared in films of varying genres including the musicals Broadway Melody of 1936 (Roy Del Ruth, 1935) and Broadway Melody of 1938 (Roy Del Ruth, 1937), and the British comedy A Yank at Oxford (Jack Conway, 1938) with Lionel Barrymore and Vivien Leigh.
Throughout 1940 and 1941 Robert Taylor argued in favour of American entry into World War II and was sharply critical of the isolationist movement. During this time he said he was "100% pro-British". In 1940, he reteamed with Vivien Leigh in Mervyn LeRoy's drama Waterloo Bridge, a personal favorite by both Leigh and Taylor. After being given the nickname "The Man with the Perfect Profile", Taylor began breaking away from his perfect leading man image and began appearing in darker roles beginning in 1941. That year, he portrayed Billy Bonney (better known as Billy the Kid) in Billy the Kid (David Miller, 1941). The next year, he played the title role in the Film Noir Johnny Eager (Mervyn LeRoy, 1942) with Lana Turner. After playing a tough sergeant in the World War II drama Bataan (Tay Garnett, 1943), Taylor contributed to the war effort by becoming a flying instructor in the U.S. Naval Air Corps. During this time, he also starred in instructional films and narrated the documentary The Fighting Lady (Edward Steichen, 1944). After the war, he appeared in edgy roles in the Film Noirs Undercurrent (Vincente Minnelli, 1946) opposite Katharine Hepburn, and High Wall (Curtis Bernhardt, 1947). In 1949, he co-starred with Elizabeth Taylor in the Film Noir Conspirator (Victor Saville, 1949), which Hedda Hopper described as "another one of Taylor's pro-British films". Taylor responded to this by saying "And it won't be the last!" However, both Hopper and Taylor were members of the anticommunist organisation the Motion Picture Alliance for the Preservation of American Ideals. Taylor landed the role of General Marcus Vinicius in Quo Vadis (Mervyn LeRoy, 1950) with Deborah Kerr. The epic film was a hit, grossing US$11 million in its first run. The following year, he starred in the film version of Walter Scott's classic Ivanhoe (Richard Thorpe, 1951), again with Elizabeth Taylor. It was followed by two more historical adventure films, Knights of the Round Table (Richard Thorpe, 1953) and The Adventures of Quentin Durward (Richard Thorpe, 1955), all filmed in England. Of the three only Ivanhoe was a critical and financial success. Taylor also filmed Valley of the Kings (Robert Pirosh, 1954) in Egypt.
By the mid-1950s, Robert Taylor began to concentrate on Westerns, his preferred genre. He starred in a comedy Western Many Rivers to Cross (Roy Rowland, 1955) co-starring Eleanor Parker. In 1958, he shared the lead with Richard Widmark in the edgy Western The Law and Jake Wade (John Sturges, 1958). William McPeak at IMDb: "That he usually comes across on screen as having a confident, commanding presence is more of a testimony to his acting talent than his actual personality. He held rigid right-wing political beliefs that he refused to question and, when confronted with an opposing viewpoint, would simply reject it outright. He rarely, if ever, felt the need to be introspective. Taylor simply felt blessed to be working behind the walls of MGM. His affection for the studio would blind him to the fact that boss Louis B. Mayer masterfully manipulated him for nearly two decades, keeping Taylor's salary the lowest of any major Hollywood star. But this is also indicative of how much trust he placed in the hands of the studio's leaders. Indeed, Taylor remained the quintessential MGM company man and would be rewarded by remaining employed there until the demise of the studio system in the late 1950s."In 1958, he left MGM and formed Robert Taylor Productions, and the following year, he starred in the television series The Detectives Starring Robert Taylor (1959–1962). Following the end of the series in 1962, Taylor continued to appear in films and television shows, including A House Is Not a Home and two episodes of Hondo. In 1963, NBC filmed but never aired, four episodes of what was to have been The Robert Taylor Show, a series based on case files from the United States Department of Health, Education and Welfare. The project was suddenly dropped for lack of coordination with HEW. In the same year, he filmed Miracle of the White Stallions for Walt Disney Productions. In 1964, Taylor co-starred with his former wife Barbara Stanwyck in William Castle's psychological horror film The Night Walker. Taylor traveled to Europe to film the Western Savage Pampas (Hugo Fregonese, 1966), the adventure film The Glass Sphinx (Luigi Scattini, 1967), and the comedy spy-thriller The Day the Hot Line Got Hot (Etienne Périer, 1968) with Charles Boyer. In 1965, Taylor took over the role of narrator in the television series Death Valley Days when Ronald Reagan left to pursue a career in politics. Taylor would remain with the series until his death in 1969. Taylor married Barbara Stanwyck in 1939 and they divorced in 1951. Taylor met German actress Ursula Thiess in 1952. They married in 1954. The couple had two children, a son, Terrance, (1955), and a daughter, Tessa, (1959). Taylor was stepfather to Thiess' two children from her previous marriage, Manuela and Michael Thiess. On 26 May 1969, shortly before Taylor's death at only 57 from lung cancer, Ursula Thiess found the body of her son, Michael, in a West Los Angeles motel room. He died from a drug overdose. One month before his death, Michael had been released from a mental hospital. In 1964, he spent a year in a reformatory for attempting to poison his father with insecticide.
Sources: William McPeak (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
All Saints, Holbrook, Suffolk
The Shotley Peninsula is a pastoral scattering of gentle hamlets along high hedged lanes which thread over hills and through woodlands. Other settlements line the Orwell estuary, the full drama of the wide water and forests beyond constantly on show. The road along the northern shore is a busy one, as is the Ipswich to Manningtree road which cuts the Peninsula off from the rest of Suffolk, but otherwise this is an introspective, secretive landscape, especially on the southern side. No wonder people long to live there.
The Peninsula has only two places of any real size; broad functional Shotley itself, at the eastern tip, and Holbrook to the west, a rather more prosperous proposition. Holbrook is home to the famous Royal Hospital School, a vast 1930s neo-classical confection designed for the sons and daughters of the Navy. Its campanile tower is a landmark for miles around; you can see it from tower blocks in the centre of Ipswich. The school inhabits a large campus to the south of the village, and injects lifeblood into the local economy.
So here we still have jobs, and shops, a high school and a couple of pubs. Oh, and a pretty village church, behind a high hedge. The village is rather a suburban one; such an economy generates and thrives on traffic, and all the peninsula comes here to stock up.
At first sight, the arrangement of the church is a bit odd. This is one of the 14th Century south-east towers commonly found in the Ipswich area, and the nave to the north of it was probably contemporary with it. But a small, low south aisle was built a century later, running eastwards of it, and the effect now is of a tiny church with a huge north aisle. In fact, there is a 19th century north aisle beyond the nave, the work of Diocesan architect Richard Phipson; it has a rather awkward juxtaposition with the nave at the west end, with an angled doorway. The nave west window appears to be made of terracotta. The best feature of the exterior is the clerestory, somewhat hidden by the south aisle, but picked out beautifully in red brick.
The interior is almost entirely Victorian, again the work of Richard Phipson. Although it now has a fairly rustic and simple Low Church feel to it, which is very pleasant, a glance at the chancel shows that Phipson fitted it out for the kind of mystical, incense-led 19th Century High Church worship which he loved, and for which his St Mary le Tower in Ipswich is the crowning moment in Suffolk. Most of the fittings are now gone, but the sense of the past remains.
Holbrook church contains one major pre-Victorian survival. This is the monument to one of the arch-villains of the English Reformation. It is a huge memorial at the east end of the south aisle. Sir John Clenche is the figure above his daughter-in-law on the huge memorial in the south aisle. Clenche was High Sheriff of Suffolk, but is more famous, and more notorious, for being the judge who sentenced Saint Margaret Clitherow to death.
In 1586, Margaret Clitherow, the middle-class wife of a York butcher, was accused of treason against the state. This was a catch-all charge designed to root out Catholicism; she was told, as all martyrs of the time were, that the charges would be dropped if she renounced Catholicism, and conformed to the Anglican church. This she refused to do, and also refused to enter a plea, saying that "having made no offence, I need no trial". Failure to make a plea was a capital crime in itself, of course, and Clenche's sentence was that you shall return to the place from whence you came, and in the lower part of the prison be stripped naked, laid down upon the ground, and so much weight laid upon you as you are able to bear, and thus you shall continue for three days; the third day you shall have a sharp stone laid under your back, and your hands and feet shall be tied to posts that, more weight being laid upon you, you may be pressed to death.
Popular Catholic martyrology has it that Clitherow's only problem with her sentence was the bit about being stripped naked; the night before she was crushed, she supposedly made a shift to wear. This was not allowed her, but it was placed over the lower part of her body to preserve her modesty from the paying spectators. The final sentence was carried out on the 25th of March 1586. Brennan's Martyrs of the English Reformation recalls that a stone the size of a man's fist was placed under her back, her arms were stretched out and tied with cords provided; a door was placed upon her, and stones piled upon it by some beggars hired for the purpose. Her last words were 'Jesu have mercy upon me!' and when her chest was crushed her ribs protruded, and she was left in this postion for six hours.
The body was thrown on a dunghill on the outskirts of the city, but was rescued after six weeks by local Catholics, who found it 'free of putrefaction'. In May 1970 she was canonised as one of the martyrs of England and Wales by Pope Paul VI. There are images of her at Holy Family church in Kesgrave, a few miles off, and at Our Lady Star of the Sea in Wells in Norfolk, and the story of her martyrdom can be seen in stained glass just across the border at the church of Our Lady and the English Martyrs in Cambridge.
British postcard by Heroes Publishing LTD, London, no. SPC 2581. Photo: Cary Elwes, Richard Grant, Anthony Hopkins, Keanu Reeves, and Billy Campbell in Dracula (Francis Coppola, 1992).
Keanu Reeves (1964) is a Canadian actor, producer, director and musician. Though Reeves often faced criticism for his deadpan delivery and perceived limited range as an actor, he nonetheless took on roles in a variety of genres, doing everything from introspective art-house fare to action-packed thrillers. His films include My Own Private Idaho (1991), the European drama Little Buddha (1993), Speed (1994), The Matrix (1999) and John Wick (2014).
Keanu Charles Reeves was born in 1964, in Beirut, Lebanon. His first name means ‘cool breeze over the mountains’ in Hawaiian. His father, Samuel Nowlin Reeves, Jr., was a geologist of Chinese-Hawaiian heritage, and his mother, Patricia Bond (née Taylor), was a British showgirl and later a costume designer for rock stars such as Alice Cooper. Reeves's mother was working in Beirut when she met his father. Upon his parents’ split in 1966, Keanu moved with his mother and younger sister Kim Reeves to Sydney, to New York and then to Toronto. As a child, he lived with various stepfathers, including stage and film director Paul Aaron. Keanu developed an ardor for hockey, though he would eventually turn to acting. At 15, he played Mercutio in a stage production of Romeo and Juliet at the Leah Posluns Theatre. Reeves dropped out of high school when he was 17. His film debut was the Canadian feature One Step Away (Robert Fortier, 1985). After a part in the teen movie Youngblood (Peter Markle, 1986), starring Rob Lowe, he obtained a green card through stepfather Paul Aaron and moved to Los Angeles. After a few minor roles, he gained attention for his performance in the dark drama River's Edge (Tim Hunter, 1986), which depicted how a murder affected a group of adolescents. Reeves landed a supporting role in the Oscar-nominated period drama Dangerous Liaisons (Stephen Frears, 1988), starring Glenn Close and John Malkovich. Reeves joined the casts of Ron Howard's comedy Parenthood (1989), and Lawrence Kasdan's I Love You to Death (1990). Unexpectedly successful was the wacky comedy Bill & Ted's Excellent Adventure (Stephen Herek, 1989) which followed two high school students (Reeves and Alex Winter) and their time-traveling high jinks. The success lead to a TV series and a sequel, Bill & Ted's Bogus Journey (Pete Hewitt, 1991). From then on, audiences often confused Reeves's real-life persona with that of his doofy on-screen counterpart.
In the following years, Keanu Reeves tried to shake the Ted stigma. He developed an eclectic film roster that included high-budget action films like the surf thriller Point Break (Kathryn Bigelow, 1991) for which he won MTV's ‘Most Desirable Male’ award in 1992, but also lower-budget art-house films. My Own Private Idaho (1991), directed by Gus Van Sant and co-starring River Phoenix, chronicled the lives of two young hustlers living on the streets. In Francis Ford Coppola’s adaptation of Bram Stoker’s Dracula (1992), Reeves embodied the calm resolute lawyer Jonathan Harker who stumbles into the lair of Gary Oldman’s Count Dracula. In Europe, he played prince Siddharta who becomes the Buddha in Bernardo Bertolucci’s Italian-French-British drama Little Buddha (1993). His career reached a new high when he starred opposite Sandra Bullock in the hit action film Speed (Jan de Bont, 1994). It was followed by the romantic drama A Walk in the Clouds (Alfonso Arau, 1995) and the supernatural thriller Devil’s Advocate (Taylor Hackford, 1997), co-starring Al Pacino and Charlize Theron. At the close of the decade, Reeves starred in a Sci-fi film that would become a genre game changer, The Matrix (Andy and Lana Wachowski, 1999). Reeves played the prophetic figure Neo, slated to lead humanity to freedom from an all-consuming simulated world. Known for its innovative fight sequences, avant-garde special effects and gorgeous fashion, The Matrix was an international hit. Two sequels, The Matrix Reloaded (Andy and Lana Wachowski, 1999) and The Matrix Revolutions (Andy and Lana Wachowski, 1999) followed and The Matrix Reloaded was even a bigger financial blockbuster than its predecessor.
Now a major, bonafide box office star, Keanu Reeves continued to work in different genres and both in bid-budget as in small independent films. He played an abusive man in the supernatural thriller The Gift (Sam Raimi, 2000), starring Cate Blanchett, a smitten doctor in the romantic comedy Something’s Gotta Give (Nancy Meyers, 2003) opposite Diane Keaton, and a Brit demon hunter in American-German occult detective action film Constantine (Francis Lawrence, 2005). His appearance in the animated science fiction thriller A Scanner Darkly (Richard Linklater, 2006), based on the novel by Philip K. Dick, received favourable reviews, and The Lake House (Alejandro Agresti, 2006) , his romantic outing with Sandra Bullock, was a success at the box office. Reeves returned to Sci-fi as alien Klaatu in The Day the Earth Stood Still (Scott Derrickson, 2008), the remake of the 1951 classic. Then he played a supporting part in Rebecca Miller's The Private Life of Pippa Lee (2009), which starred Robin Wright and premiered at the 59th Berlin International Film Festival. Reeves co-founded a production company, Company Films. The company helped produce Henry's Crime (Malcolm Venville, 2010), in which Reeves also starred. The actor made his directorial debut with the Chinese-American Martial arts film Man of Tai Chi (2013), partly inspired by the life of Reeves' friend, stuntman Tiger Chen. Martial arts–based themes continued in Reeves's next feature, 47 Ronin (Carl Rinsch, 2013), about a real-life group of masterless samurai in 18th-century Japan who avenged the death of their lord. Variety magazine listed 47 Ronin as one of "Hollywood's biggest box office bombs of 2013". Reeves returned as a retired hitman in the neo-noir action thriller John Wick (Chad Stahelski, David Leitch, 2014). The film opened to positive reviews and performed well at the box office. There were two sequels, John Wick: Chapter Two2 (Chad Stahelski, 2017) with Riccardo Scamarcio, and John Wick: Chapter 3 - Parabellum (Chad Stahelski, 2019) with Halle Berry. He could also be seen in the psychological horror film The Neon Demon is (Nicolas Winding Refn, 2016), the romantic horror-thriller Bad Batch (Ana Lily Amirpour, 2016) and Bill & Ted Face the Music (Dean Parisot, 2020), in which he reunited with Alex Winter. Reeves’ artistic aspirations are not limited to film. In the early 1990s, he co-founded the grunge band Dogstar, which released two albums. He later played bass for a band called Becky. Reeves is also a longtime motorcycle enthusiast. After asking designer Gard Hollinger to create a custom-built bike for him, the two went into business together with the formation of Arch Motorcycle Company LLC in 2011. Reported to be one of the more generous actors in Hollywood, Reeves helped care for his sister during her lengthy battle with leukemia, and has supported such organizations as Stand Up To Cancer and PETA. In January 2000, Reeves's girlfriend, Jennifer Syme, gave birth eight months into her pregnancy to Ava Archer Syme-Reeves, who was stillborn. The strain put on their relationship by their grief resulted in Reeves and Syme's breakup several weeks later. In 2001, Syme died after a car accident.
Sources: Biography.com, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
I try not to get too introspective here on Flickr, but let me list a few answers:
--fulfillment
--satisfaction
--contentment
--pleasure
You gals out there can probably think of others, perhaps some that are more specific to you
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Eu vi, li, ouvi e vivi apenas o que meus olhos podiam compreender, meu coração sentir e minha mente projetar. O resto são vozes dispensáveis de um ideal semi projetado de beleza conveniente.
Eu fiz o que devia ser feito.
Eu sou quem eu queria ter sido.
Correndo muito galera só FDS eu visito todos vocês um grande abraço pra quem sempre passa por aqui ;)
Eu não tive o que queria, mas tive o suficiente.
As vozes que se calem, os sonhos que se findem.
Tiros de papel e criticas à queima roupa.
Calem-se.
Eu sobrevivi.
Eu não venci, mas eu vivi.
Viver é o bastante.
I could pretend and say I was intentionally trying for a moody, introspective pic, but actually it was just the flash not acting properly
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The Chi Lin Nunnery has understated majesty. A truly beautiful environment where everything, the buildings, foliage, pools and religious artifacts are orchestrated into an awesome whole, an inspiring environment that calls on the visitor to be introspective and at peace. Sadly, I was stalked by the security team who were convinced (quite rightly I might add) that here was a visitor who was about to violate the no photos in the inner sanctum rule and hence, I've nothing to show here of that inspiring place.
'Chi Lin Nunnery is a large Buddhist temple complex located in Diamond Hill, Kowloon, Hong Kong. It was founded in 1934 as a retreat for Buddhist nuns and was rebuilt in the 1990s following the traditional Tang Dynasty architecture. The temple halls have statues of the Sakyamuni Buddha, the goddess of mercy Guanyin and other bodhisattvas. The Chi Lin Nunnery uses the traditional Tang Dynasty architecture. It is constructed entirely with cypress wood, without the use of any nails, and is currently the world's largest hand-made wooden building. This construction is based on traditional Chinese architectural techniques that uses special interlocking systems cut into the wood to hold them in place.' (Wikipedia)
Here again just so stunning. This is from my archives from my first shoot with her in the summer of 2012. You can see more of her many moods and expressions in my set "Alexis". Best in lightbox. Canon 5D Mark ii taken in Hopeland Gardens Aiken South Carolina.
I finally got to spend some time with the new girl! She was a Christmas present and her name is Henry. Still learning about her, but so far I know she likes Sherlock Holmes, Agatha Christie, milk and cookies and she is 13 years old. She sat right down at the desk to write her New Year's resolutions. She is much more introspective than I thought she would be.
All Saints, Holbrook, Suffolk
The Shotley Peninsula is a pastoral scattering of gentle hamlets along high hedged lanes which thread over hills and through woodlands. Other settlements line the Orwell estuary, the full drama of the wide water and forests beyond constantly on show. The road along the northern shore is a busy one, as is the Ipswich to Manningtree road which cuts the Peninsula off from the rest of Suffolk, but otherwise this is an introspective, secretive landscape, especially on the southern side. No wonder people long to live there.
The Peninsula has only two places of any real size; broad functional Shotley itself, at the eastern tip, and Holbrook to the west, a rather more prosperous proposition. Holbrook is home to the famous Royal Hospital School, a vast 1930s neo-classical confection designed for the sons and daughters of the Navy. Its campanile tower is a landmark for miles around; you can see it from tower blocks in the centre of Ipswich. The school inhabits a large campus to the south of the village, and injects lifeblood into the local economy.
So here we still have jobs, and shops, a high school and a couple of pubs. Oh, and a pretty village church, behind a high hedge. The village is rather a suburban one; such an economy generates and thrives on traffic, and all the peninsula comes here to stock up.
At first sight, the arrangement of the church is a bit odd. This is one of the 14th Century south-east towers commonly found in the Ipswich area, and the nave to the north of it was probably contemporary with it. But a small, low south aisle was built a century later, running eastwards of it, and the effect now is of a tiny church with a huge north aisle. In fact, there is a 19th century north aisle beyond the nave, the work of Diocesan architect Richard Phipson; it has a rather awkward juxtaposition with the nave at the west end, with an angled doorway. The nave west window appears to be made of terracotta. The best feature of the exterior is the clerestory, somewhat hidden by the south aisle, but picked out beautifully in red brick.
The interior is almost entirely Victorian, again the work of Richard Phipson. Although it now has a fairly rustic and simple Low Church feel to it, which is very pleasant, a glance at the chancel shows that Phipson fitted it out for the kind of mystical, incense-led 19th Century High Church worship which he loved, and for which his St Mary le Tower in Ipswich is the crowning moment in Suffolk. Most of the fittings are now gone, but the sense of the past remains.
Holbrook church contains one major pre-Victorian survival. This is the monument to one of the arch-villains of the English Reformation. It is a huge memorial at the east end of the south aisle. Sir John Clenche is the figure above his daughter-in-law on the huge memorial in the south aisle. Clenche was High Sheriff of Suffolk, but is more famous, and more notorious, for being the judge who sentenced Saint Margaret Clitherow to death.
In 1586, Margaret Clitherow, the middle-class wife of a York butcher, was accused of treason against the state. This was a catch-all charge designed to root out Catholicism; she was told, as all martyrs of the time were, that the charges would be dropped if she renounced Catholicism, and conformed to the Anglican church. This she refused to do, and also refused to enter a plea, saying that "having made no offence, I need no trial". Failure to make a plea was a capital crime in itself, of course, and Clenche's sentence was that you shall return to the place from whence you came, and in the lower part of the prison be stripped naked, laid down upon the ground, and so much weight laid upon you as you are able to bear, and thus you shall continue for three days; the third day you shall have a sharp stone laid under your back, and your hands and feet shall be tied to posts that, more weight being laid upon you, you may be pressed to death.
Popular Catholic martyrology has it that Clitherow's only problem with her sentence was the bit about being stripped naked; the night before she was crushed, she supposedly made a shift to wear. This was not allowed her, but it was placed over the lower part of her body to preserve her modesty from the paying spectators. The final sentence was carried out on the 25th of March 1586. Brennan's Martyrs of the English Reformation recalls that a stone the size of a man's fist was placed under her back, her arms were stretched out and tied with cords provided; a door was placed upon her, and stones piled upon it by some beggars hired for the purpose. Her last words were 'Jesu have mercy upon me!' and when her chest was crushed her ribs protruded, and she was left in this postion for six hours.
The body was thrown on a dunghill on the outskirts of the city, but was rescued after six weeks by local Catholics, who found it 'free of putrefaction'. In May 1970 she was canonised as one of the martyrs of England and Wales by Pope Paul VI. There are images of her at Holy Family church in Kesgrave, a few miles off, and at Our Lady Star of the Sea in Wells in Norfolk, and the story of her martyrdom can be seen in stained glass just across the border at the church of Our Lady and the English Martyrs in Cambridge.
Gear: Canon 40d and 50mm 1.8 MKII
Strobist info: Using available light
Part of Advanced Lighting Workshop
Model: Lauren
sometimes safety is dangerous
sometimes forever is a lie
sometimes change is necessary
and sometimes love hurts
All Saints, Holbrook, Suffolk
The Shotley Peninsula is a pastoral scattering of gentle hamlets along high hedged lanes which thread over hills and through woodlands. Other settlements line the Orwell estuary, the full drama of the wide water and forests beyond constantly on show. The road along the northern shore is a busy one, as is the Ipswich to Manningtree road which cuts the Peninsula off from the rest of Suffolk, but otherwise this is an introspective, secretive landscape, especially on the southern side. No wonder people long to live there.
The Peninsula has only two places of any real size; broad functional Shotley itself, at the eastern tip, and Holbrook to the west, a rather more prosperous proposition. Holbrook is home to the famous Royal Hospital School, a vast 1930s neo-classical confection designed for the sons and daughters of the Navy. Its campanile tower is a landmark for miles around; you can see it from tower blocks in the centre of Ipswich. The school inhabits a large campus to the south of the village, and injects lifeblood into the local economy.
So here we still have jobs, and shops, a high school and a couple of pubs. Oh, and a pretty village church, behind a high hedge. The village is rather a suburban one; such an economy generates and thrives on traffic, and all the peninsula comes here to stock up.
At first sight, the arrangement of the church is a bit odd. This is one of the 14th Century south-east towers commonly found in the Ipswich area, and the nave to the north of it was probably contemporary with it. But a small, low south aisle was built a century later, running eastwards of it, and the effect now is of a tiny church with a huge north aisle. In fact, there is a 19th century north aisle beyond the nave, the work of Diocesan architect Richard Phipson; it has a rather awkward juxtaposition with the nave at the west end, with an angled doorway. The nave west window appears to be made of terracotta. The best feature of the exterior is the clerestory, somewhat hidden by the south aisle, but picked out beautifully in red brick.
The interior is almost entirely Victorian, again the work of Richard Phipson. Although it now has a fairly rustic and simple Low Church feel to it, which is very pleasant, a glance at the chancel shows that Phipson fitted it out for the kind of mystical, incense-led 19th Century High Church worship which he loved, and for which his St Mary le Tower in Ipswich is the crowning moment in Suffolk. Most of the fittings are now gone, but the sense of the past remains.
Holbrook church contains one major pre-Victorian survival. This is the monument to one of the arch-villains of the English Reformation. It is a huge memorial at the east end of the south aisle. Sir John Clenche is the figure above his daughter-in-law on the huge memorial in the south aisle. Clenche was High Sheriff of Suffolk, but is more famous, and more notorious, for being the judge who sentenced Saint Margaret Clitherow to death.
In 1586, Margaret Clitherow, the middle-class wife of a York butcher, was accused of treason against the state. This was a catch-all charge designed to root out Catholicism; she was told, as all martyrs of the time were, that the charges would be dropped if she renounced Catholicism, and conformed to the Anglican church. This she refused to do, and also refused to enter a plea, saying that "having made no offence, I need no trial". Failure to make a plea was a capital crime in itself, of course, and Clenche's sentence was that you shall return to the place from whence you came, and in the lower part of the prison be stripped naked, laid down upon the ground, and so much weight laid upon you as you are able to bear, and thus you shall continue for three days; the third day you shall have a sharp stone laid under your back, and your hands and feet shall be tied to posts that, more weight being laid upon you, you may be pressed to death.
Popular Catholic martyrology has it that Clitherow's only problem with her sentence was the bit about being stripped naked; the night before she was crushed, she supposedly made a shift to wear. This was not allowed her, but it was placed over the lower part of her body to preserve her modesty from the paying spectators. The final sentence was carried out on the 25th of March 1586. Brennan's Martyrs of the English Reformation recalls that a stone the size of a man's fist was placed under her back, her arms were stretched out and tied with cords provided; a door was placed upon her, and stones piled upon it by some beggars hired for the purpose. Her last words were 'Jesu have mercy upon me!' and when her chest was crushed her ribs protruded, and she was left in this postion for six hours.
The body was thrown on a dunghill on the outskirts of the city, but was rescued after six weeks by local Catholics, who found it 'free of putrefaction'. In May 1970 she was canonised as one of the martyrs of England and Wales by Pope Paul VI. There are images of her at Holy Family church in Kesgrave, a few miles off, and at Our Lady Star of the Sea in Wells in Norfolk, and the story of her martyrdom can be seen in stained glass just across the border at the church of Our Lady and the English Martyrs in Cambridge.
All Saints, Holbrook, Suffolk
The Shotley Peninsula is a pastoral scattering of gentle hamlets along high hedged lanes which thread over hills and through woodlands. Other settlements line the Orwell estuary, the full drama of the wide water and forests beyond constantly on show. The road along the northern shore is a busy one, as is the Ipswich to Manningtree road which cuts the Peninsula off from the rest of Suffolk, but otherwise this is an introspective, secretive landscape, especially on the southern side. No wonder people long to live there.
The Peninsula has only two places of any real size; broad functional Shotley itself, at the eastern tip, and Holbrook to the west, a rather more prosperous proposition. Holbrook is home to the famous Royal Hospital School, a vast 1930s neo-classical confection designed for the sons and daughters of the Navy. Its campanile tower is a landmark for miles around; you can see it from tower blocks in the centre of Ipswich. The school inhabits a large campus to the south of the village, and injects lifeblood into the local economy.
So here we still have jobs, and shops, a high school and a couple of pubs. Oh, and a pretty village church, behind a high hedge. The village is rather a suburban one; such an economy generates and thrives on traffic, and all the peninsula comes here to stock up.
At first sight, the arrangement of the church is a bit odd. This is one of the 14th Century south-east towers commonly found in the Ipswich area, and the nave to the north of it was probably contemporary with it. But a small, low south aisle was built a century later, running eastwards of it, and the effect now is of a tiny church with a huge north aisle. In fact, there is a 19th century north aisle beyond the nave, the work of Diocesan architect Richard Phipson; it has a rather awkward juxtaposition with the nave at the west end, with an angled doorway. The nave west window appears to be made of terracotta. The best feature of the exterior is the clerestory, somewhat hidden by the south aisle, but picked out beautifully in red brick.
The interior is almost entirely Victorian, again the work of Richard Phipson. Although it now has a fairly rustic and simple Low Church feel to it, which is very pleasant, a glance at the chancel shows that Phipson fitted it out for the kind of mystical, incense-led 19th Century High Church worship which he loved, and for which his St Mary le Tower in Ipswich is the crowning moment in Suffolk. Most of the fittings are now gone, but the sense of the past remains.
Holbrook church contains one major pre-Victorian survival. This is the monument to one of the arch-villains of the English Reformation. It is a huge memorial at the east end of the south aisle. Sir John Clenche is the figure above his daughter-in-law on the huge memorial in the south aisle. Clenche was High Sheriff of Suffolk, but is more famous, and more notorious, for being the judge who sentenced Saint Margaret Clitherow to death.
In 1586, Margaret Clitherow, the middle-class wife of a York butcher, was accused of treason against the state. This was a catch-all charge designed to root out Catholicism; she was told, as all martyrs of the time were, that the charges would be dropped if she renounced Catholicism, and conformed to the Anglican church. This she refused to do, and also refused to enter a plea, saying that "having made no offence, I need no trial". Failure to make a plea was a capital crime in itself, of course, and Clenche's sentence was that you shall return to the place from whence you came, and in the lower part of the prison be stripped naked, laid down upon the ground, and so much weight laid upon you as you are able to bear, and thus you shall continue for three days; the third day you shall have a sharp stone laid under your back, and your hands and feet shall be tied to posts that, more weight being laid upon you, you may be pressed to death.
Popular Catholic martyrology has it that Clitherow's only problem with her sentence was the bit about being stripped naked; the night before she was crushed, she supposedly made a shift to wear. This was not allowed her, but it was placed over the lower part of her body to preserve her modesty from the paying spectators. The final sentence was carried out on the 25th of March 1586. Brennan's Martyrs of the English Reformation recalls that a stone the size of a man's fist was placed under her back, her arms were stretched out and tied with cords provided; a door was placed upon her, and stones piled upon it by some beggars hired for the purpose. Her last words were 'Jesu have mercy upon me!' and when her chest was crushed her ribs protruded, and she was left in this postion for six hours.
The body was thrown on a dunghill on the outskirts of the city, but was rescued after six weeks by local Catholics, who found it 'free of putrefaction'. In May 1970 she was canonised as one of the martyrs of England and Wales by Pope Paul VI. There are images of her at Holy Family church in Kesgrave, a few miles off, and at Our Lady Star of the Sea in Wells in Norfolk, and the story of her martyrdom can be seen in stained glass just across the border at the church of Our Lady and the English Martyrs in Cambridge.
The Beautiful Christina. This was a lot of fun. Shot at night in a friend's pool. The shoot was all about experimenting with lighting water. I tried to light this one in a way that would freeze the water and show it's volume.
More images from this shoot to come.
Large Softbox camera right with home made flash bracket. A little fill from the front with a second flash bounced into umbrella several feet away and a touch of a third flash hitting the water/bottom of the poo l positioned in a way to also give some edge lighting. PW triggers.
Contact me for image availability. Signed model release.
In a dusky alley of Hong Kong,
Where neon lights flickered like distant stars,
Mei Lin wandered, lost in thought,
Her heart a canvas, stretched taut with yearning.
Vivid hues of a mural danced along the brick walls,
Each stroke a memory of splendor and struggle,
A rendition to the human spirit,
In an eternal quest for meaning.