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Having bagged his spot on a trolley, a spotter notes down 86030 as it runs through Crewe light engine on 30th May 1978. White Adidas bag is a classic!
Zenit EM Scanned from a Kodacolour negative
72/366
I haphazardly collect old and new hymn books. I bought these two from the historical library at Eastern Mennonite University in Harrisonburg, VA, while doing some research there. The open book is The Sacred Hymnal, a shape note tunebook from the Ruebush Kieffer Co., the main focus of my recent research efforts. Edited by J. H. Hall, J. H. Ruebush, and W. H. Ruebush, the book was published in 1899 and intended for worship services, prayer meetings, Sunday school, revivals, and other religious meetings. It contains 200 hymns divided into 7 sections: worship, man’s ruin and redemption, the Christian life, the Christian church, young people’s department, the life beyond, and miscellaneous.
The other book is Sacred Songs No.1, edited by Ira D. Sankey, James McGranahan, and George C. Stebbins. The book is in round notes and published by the Biglow and Main Company of New York in 1896. Sankey and Philip Bliss were instrumental in the formation of gospel music, publishing their first collection of songs for gospel meetings in 1875. The book includes many new songs along with “useful and popular pieces,” making it “practical and desirable.” Many sacred and gospel music publishers in the late 19th century issued new songbooks on a regular basis, suggesting that the public sang regularly from the published books and had an appetite for new songs. The editors express their hope that the book will be useful in churches and prayers meetings, as well as in the home so that “the good old-time custom of singing the praises of God in the home may again be revived.”
Canon AE-1 Program
Rollei Crossbird Experimental Film / Cross Processed
1/125th @ F/2.8
JOBO Developed
Scanned Epson V550
An age old form of communication. From the elementary notes passed furtively from desk to desk in the classroom between giggling children to the more serious messages of eternal love penned by lovestruck teenagers then stuck in lockers or jacket pockets. As parents we leave these in our children's lunches for them to find as a treat along with their cookies.
They served their purpose as they still do. Like a love letter they are by nature short and to the point; "see you, love you, til later, til then." Short on paper but long on meaning.
There is nothing better than to find one of these jewels, a touching note, a humorous jibe, a reminder to accomplish, or maybe a date. Handy little things these notes are. But mostly, they are a reminder that I'm thinking of you and soon I'll be with you; hopefully sooner, maybe later, but I am thinking about you enough to write it.
This particular love note embellished with one of phyl's anniversary roses.
Love you!
52 of Twenty Eleven - Theme: Love - Week #07
A parody of From First To Last's "Note To Self: I Miss You Terribly"
Explore: Aug 18, 2007 #86
Thanks, guys!
An African Wild Dog puppy (Lycaon pictus).
Note: African Wild Dogs are endangered.
Martin
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Achei uma pasta de fotos inéditas que esse mês completam um ano de registro. rs
=p
Ps. Fiz a iluminação com a lanterna do Smartphone #notinha
---- some "Sicilian photographic notes " about the beginning of this hot summer .... ----
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Notes Towards an African Orestes
Notes Towards an African Orestes
Notes Towards an African Orestes
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Song: www.youtube.com/watch?v=DMjYMStWwG4
I was inspired by the "Happy Days" music video by my KWEEN Brooke Candy! I love ha!
...don't leave your camera lying around. These are NOT my boobs. I carry my camera with me everywhere I go. Today I took it out of my purse and laid it on my desk. A coworker snapped this pic at some point without me knowing it. I think I know who this is and tomorrow i'll ask to see her boobs just to make sure. OK not really but other than me, there is only one other person at work who would do this...
It's been a while since i've posted anything here. I need to get my act together. I've been so busy with work and life and there was an unexpected death last week that just put us in a funk for a few days...not that any death is ever expected.
Some note cards I made at shutterfly.com, with sketches from my moleskine sketchbooks. Tapas sketch was don at Bar Cesar and sushi at Miyuki, both in Berkeley.
See more sketches at the Trumpetvine Sketchblog
Getting a note from our 3 1/2 year-old granddaughter in the mail is a wonderful surprise. Since I didn't have children of my own, it is an especial delight to see an envelope addressed to Nana (amd Papa). And no, I do not know why there's a rocket on here. Or wait, maybe it's something else entirely!
ODC: Note
Read about the project here...
Silvered Sky
Between the boughs I am silvered sky, I am cloud and flock and flare,
I am fox, I am vole, I am badger, mouse, I am otter, stoat and hare.
Minerals aplenty, I am silt and mud and stone,
I am even parts of perished things, I am flesh and blood and bone.
Twisted lines and knotted forms, I am branch and stem and shoot,
Wooded shapes and shadows show I am twig and trunk and root.
Shelter, roost and hideaway, a place to nest and perch,
Texture made of leaf and bark, I am willow, alder, birch.
Beaks and feathers, wings and eyes, I am swoop and brilliant flash,
I am also fin and gill and scales, a twisting, turning dash.
Kingfisher, duck and moorhen, I am swan and heron too,
I am pike and carp and rainbow trout and tench, to name a few.
Come closer and you'll start to see, I am many smaller things,
Fallen leaves and heavy rain, gifts each season brings,
Torrent, trickle, snow and ice, fog and pelting hail,
I am toad and newt and dragonfly, I am beetle, snake and snail.
There’s magic left to show you, a favourite trick of mine,
I’ll flicker bright and beautiful, despite the gloom I’ll shine.
And into dusk we're nearer still, you won’t believe it’s me,
Performance unlike those before, just you wait and see.
I am yellow, orange, pink and red, fluorescent green and blue,
But wait please just a moment, that's not my usual hue.
I think I may be poorly, I am feeling off today,
I am usually quite proud of all my colours on display.
Something’s wrong, I know it now, I am clearly not the same,
And as I swell to ocean, I'll wonder who's to blame.
I am metal and I am plastic, not things I am meant to be,
I should be clean and pure and free, as I become the sea.
Impurities and poisons, no longer just the wild,
I am chemicals and solvents too, it seems I’ve been beguiled.
Ashamed to be pollution, this surely is a crime,
I hope this is reversible, and if so that there’s still time.
When darkness falls and closes in, my midnight show is on,
Ten million lucid stars reborn, I am each and every one.
Between the boughs I am silvered sky, tonight still bold and true,
Consider me is all I ask. Don’t forget I am also you.
David Thackwell
Note : - Ref Nos 283, 294 and 364 are from the same manuscript.
This is an historiated initial from the superbly illuminated Llangattock Breviary produced in Ferrara, Italy, c.1441-1448.
Set within the swirls of the initial "S" a bearded old man in a green cloak, with yellow modeling, hands up in prayer, and with a halo The size of the initial is 23mm x 20mm (9/10ins. x 8/10ins.).
The initial opens the Third Epistle of saint John which is addressed to Saint Gaius who became Bishop of Ephesus. This could be a depiction of Saint Gaius or it could be a depiction of Saint John as an old man (which would be very unusual).
19:365
If anyone wants to know why I have a grey buddy icon ... its a (peaceful) protests against Getty giving away lots of our images to Google without even bothering to ask the contributors if its OK. Google then stripped all the metadata off the images and started giving them away. I had hoped the contributors meant more to Getty than that! :(
Bit late with my new year check in having not posted since mid December. Had a quiet Christmas and New Year some family time on Christmas day itself then I was pretty much on my own for a week or so after. To be fair I enjoyed the quiet time to myself in any case, as I very much prefer my own company.
I did however head to Leeds first Friday last weekend for the first time in almost five years. As is me I hadn't organised to meet anyone and after attending a more casual event in the afternoon I found myself a little lost at sea on the night itself. I was about to jump ship as it were, but got stopped by someone who recognised me. Got chatting to her for a little bit which calmed my anxiety for a while (thanks Abbie) and then ran into a friend who I've known for a few years, and spent an entertaining evening with her and a couple of others until around about 4am when I eventually called it a night.
I really should know better than just turning up to these sort of things on a whim, especially as big gatherings (even with friends) are prone to turn my anxiety up to ten. I did also get recognised later on by a girl whose name I can't remember (and it was very loud where we were). But being recognised from my photos always makes me embarrassed and a little uncomfortable, (there's so many pics on here with me wearing sometimes very little) so hopefully I didn't come across as being too standoffish. I also happened to walk past her the following day (along with her friend, whose name I also can't remember) both of whom were looking somewhat more glamorous than I. Thankfully they either didn't spot me, or recognise me in drab old bloke mode.
Belated happy new year everyone
Maker: Marion Post-Wolcott (1910-1990)
Born: USA
Active: USA
Medium: color dye transfer print
Size: 6.5" x 10 in
Location: USA
Object No.2016.042
Shelf: A-6
Publication:
Other Collections: Library of Congress Prints & Photographs Division
Notes: Kodak was experimenting with the final formulation of its new Kodachrome film in the late 1930’s and decided to give some unknown number of rolls of 35mm Kodachrome film to the photographers of the FSA project to use as a pilot program. The FSA photographic project itself was historic employing some of the photographers who would become some of the most famous photographers of their generation including Walker Evans, Marion Post Wolcott, Arthur Rosenstein, Dorothea Lange, Jack Delano, Russell Lee, John Vachon and others. Only a very small amount of color film was shot- there were only 1600 color images made compared to the more well-known black and white photos of which there were over 164,000 images. In an article about the photography produced by the FSA photographers Fortune Ryan and Penelope Dixon said, “The result of Stryker’s project (the FSA photography) was the radical enlargement of Americans’ capacity to to conceive redeeming images of minorities and victims of plight in general, and the elevation, at least temporarily, of photo-journalism to an aesthetic plateau equal to any previously achieved by art photography.”
The original transparency was lent to the Light Gallery in the 1980’s by the Library Of Congress in order to make a definitive print record of the image by the dye transfer method because of its archival and longevity characteristics and its ability to accurately reproduce the full range of the transparency. In this case the original was quite dark and had suffered color shifts which were brought to a visually acceptable balance by adjusting the color separation negs. The Light Gallery had proposed to make 250 copies each of about 60 different Kodachromes from the FSA files but the project was abandoned far short of its completion. At the best some images may have had as many as 35 copies made but others may have had as few as 10. This print is an exceedingly rare printer's proof which was the color test for this planned edition of 250 prints. The back has notes made by the printer. The dye transfer printing method was also a Kodak product that was introduced in the mid 30’s to reproduce color transparencies of the Ektacolor and later the Kodachrome type. The method involved the making of enlarged color separation negatives on black and white film through a red, a green, and a blue filter which were in turn used to make relief positives on a gelatin matrix film at the size of the print which were put in colored dye baths of cyan(red filter negative), magenta(green filter negative) and yellow(blue filter negative) and finally transferred in register onto a prepared piece of photographic paper which itself had no chemistry incorporated into it (enhancing its archivality). The dyes were very stable and very bright which enabled the dye transfers to have a larger color gamut than any other color photographic printing method and longevity of up to 150 years with good handling. Kodak discontinued the manufacture of the dye transfer materials in the late 1980’s with the introduction of computerized retouching since the largest audience for the prints had been advertising agencies and publications which used the pictures to retouch and refine photos of products and portraits.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Birds on wires in Paull, East Yorkshire. I can't read music, but if I could would these music notes formed by these birds be Leonard Cohen's 'Bird on a Wire"?
Sweater, Takeout (thrifted). Skirt, Carole Little (thrifted). Shoes, Naturalizer. Earrings, street fair. Bag, Imoshion.
EXPLOREEE!! [#246]
okay.. so im having a battle with these 2 girls to see who can get the most notes on their pic. so PLEASE help me out.. :D click the button above the top left corner of my pic and ill love you forever.. and honestly type whatever you want!! :)
thanks guys!! and lets win this thing!! :)
ps,,, lets beat this pic too :P.. www.flickr.com/photos/acastellano/181730235/
[its not in the contest though..]
I had this idea in my head for a while now. I'm not sure if I really like it... Those are some actual things I think sometimes^.^
Press 'L'
All team credits
photography & editing: Soumya Benkacem
producer: G.Paolo Sperotto
model: Anna Dal Maso
make-up artists: Giulia Marzaro & Valentina Carollo
assistant: Erica Morbin