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Project details: www.buildcircuit.com/digital-object-counter-diy-kit/
Objectif n° 6439786 acquis en 1973 pour 430 FF (360 euros compte tenu de l'inflation) Mise au point à partir de 0,3 m. 45(50) mm x 57 mm, 190 g. Filtre diamètre 46 mm, ouverture minimum f:16.
Objects in the shelf for the RoboCup@HOME task "Go Get It" at the German Open in Magdeburg, Germany.
There are now 25 Ordinary Objects and to mark that number, I made an extra air mail envelope and I'm having a giveaway. Do you own one? Do you want one? Which is your favorite Object or is it too difficult to choose? Leave a comment on my Facebook fan page to enter and while you're at it, like the page to keep up with all my goings on.
More than 60 objects on view in this Driehaus Museum exhibition, representing this artist’s work over his prolific 50-year career with the Tiffany Glass & Decorating Company and Tiffany Studios. The exhibition includes examples of Tiffany windows, lamps, vases, and accessories from the Driehaus Collection.
I shook the rain from my hat and walked into the room. I'm a freelance photographer who doesn't believe in red tape. I never did object to a little snap 'n run. I shoot fast and I hit what I shoot at.
The beautiful blond at the piano didn't even notice me, and that's the way I like it. She was my target for the night, though she didn't know it. Mr. Big gives the orders, and he wanted her shot--tonight.
The Bartender caught my eye with a frown--he knew there'd be no tips from me, not even any drinks--though if he offered, I'd be glad for a free cup of Joe. It wasn't. No surprise there.
Rebecca Kilgore--the lady is jazz royalty, and her love of 30s and 40s jazz always takes me back to Phillip Marlowe, classic Bogart films, pin-striped double-breasted suits and ladies who wear hats and gloves.
She's a regular at jazz festivals, cruise ships, and municipal jazz concerts in the park. But lounging beside the hotel's grand piano--Dave Frishberg at the keys--her black dress against the Honduran Mahogany--this is the lady in her native habitat.
I crouch, get low, put my elbows against my ribs, breath and release, and get my shot, and I'm out the door--no one the wiser.
Mr. Big is waiting back at the office. "Ya got the girl?" he asks. I nod, show him the print--though the 30s jazz mood almost had me working in black and white.
"Mmmm" mumbled Mr. Bigg, "you shot the piano player, too, right?" Damn. No way to keep this guy happy. I reach for my hat...it's still wet.
This is an owl glass art made by Multi Gass workshop @ fukuoka, Japan.
マルティグラス制作のふくろうのガラス工芸品です。苦労知らずの不苦労はどうですか？
owl art glass single object ふくろう フクロウ
Artist: Antony Gormley
Title: Object
Material: life-sized cast iron sculpture
Antony Gormley - OBJECT
7 September 2016 - 21 May 2017
Portrait Gallery
London, England, UK
Maker: Alfred Stieglitz (1864-1946)
Born: USA
Active: USA
Medium: photogravure
Size: 8.25 in x 6.5 in
Location: USA
Object No. 2009.134
Shelf: framed
Publication: Pollack, Peter. --The Picture History of Photography.-- New York: Harry N. Abrams, Inc., 1958. p. 269.//
Norman, Dorothy. --Alfred Stieglitz, 1864-1946.-- New York: Duell, Sloan and Pearce, 1960. p. 14.//
Norman, Dorothy. --Alfred Stieglitz: An American Seer.-- New York: 1973. pl. XIX.//
American Photography, 1890-1965, Peter Galassi, MOMA, Pg 92
Alfred Stieglitz, The Key Set, Vol One 1886-1922, National Gallery of Art, 2002, pl 334
Camera Work, A Pictorial Guide, Dover 1978 pg 99
Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997 pg585
20th Century Photography, Museum Ludwig Cologne, Taschen, 1996 pg116
Stieglitz, A Beginning Light, Katherine Hoffman, Yale Univerisyt Press, 2004, pl 223
Alfred Stieglitz, New York, Bonnie Yochelson, Seaport Museum/Rizzoli, New York, 2010, pl 15
Sarah Greenough, Alfred Stieglitz, The Key Set, Volume One, 1886-1922, National Gallery of Art, Washington D.C., 2002, pg 206
Other Collections: GEH, Philadelphia Museum of Art, Musee d'Orsay
Provenance: Swann Galleries
Rank: 1369
Notes: Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery and in 1929 opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. (source: The Phillips Collection)
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