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My first published nonfiction book.
I'm a professional psychic and medium with 50 years expertise and a worldwide clientele. As a paranormal investigator/researcher I've experienced over 1,000 physical supernatural manifestations, some of which are documented on film and audio, and many times witnessed by others.
For over 15 years I've been a featured guest on many popular radio shows and podcasts, with 8 appearances to date on Coast to Coast AM with George Noory, and I filmed a TV pilot for The History Channel in which I psychically explored the assassination of President Abraham Lincoln. In the period of a year and a half I was interviewed over 100 times and I continue to be a featured guest on many prominent podcasts and radio shows in the United States and the UK.
And I've been an avid motorcyclist for over 50 years.
Now, as the multiple award-winning author of my first nonfiction book—Riding with Ghosts, Angels, and the Spirits of the Dead—I'll bring you along with me on a truly magical ride as I travel thousands of miles off the beaten path to explore the paranormal from the seat of my beloved motorcycle, Melissa. Everywhere I roam ghosts, angels, and the spirits of the dead come to greet me, communicating intriguing messages to me and providing me with an incredible array of otherworldly manifestations.
Come along with me on an exciting daylong ride filled with mind-blowing supernatural interactions that appear to have been instigated by the intelligences behind crop circles.
Hike with me through vast, lonely woods as I experience a lifesaving encounter with a ghostly owl and a Native American Indian Spirit in a haunted forest.
Let's enjoy together a day's ride from my home base in Florida to Georgia, arriving at Savannah's famed Bonaventure Cemetery for a revealing paranormal investigation that left me astounded, giving proof that invisible intelligences watch us and hear the words we speak.
And then, just imagine: making a phone call...to a ghost?
Encountering—and having interactions with—multiple UFOs.
In the aftermath of a notorious tropical storm ride along with me as I experience mystical weather events that are so bizarre that it makes me wonder if storms are controlled by intelligent entities, or if the tempests themselves may be cognizant.
Join me as I ride to a historic Civil War battlefield and share in my amazement when I'm treated to one of the most authentic battle reenactments possible...conducted by the phantoms of the soldiers who fought there.
Enjoy these and more incredible true stories of the paranormal. Come along for the ride! Buy your copy today.
LINKS FOR INFO:
www.amazon.com/Riding-Ghosts-Angels-Spirits-Dead-ebook/dp...
At Chatsworth Park Estate in Derbyshire, sometimes the sheep flocks are "super flocks" with several hundreds of sheep grazing together - if one moves on, they all move! :-)
With leadership comes great responsibilities...
like wherever we stop there had better be sweet tasting grass, fresh drinking water, definitely no foxes, dogs or mad humans in fast cars!
Oh to be a Shepherd! :-)
I'm presuming these are Swaledales. What i particularly like about them is that each face is so very individualistic - and strangely human like! :-) They have lovely facial characteristics if you care to zoom in and look at them closely.
New Edit ~ Previously published in colour.
Explore-d.
"Books are weapons in the war of ideas."
I'm reading Ernie Pyle's BRAVE MEN, a wonderful, anecdotal treatment of his experiences as a wartime correspondent/journalist in Europe (various parts). He tries to give a picture of the daily life, in and out of combat, of the soldier/sailor/airman, and he makes a wonderful and very readable job of it. Sadly, Ernie was killed on a small Pacific Island in 1945 and never got to appreciate a well-earned postwar life. He was awarded a Pulitzer Prize earlier that year. Ernie's previous book, which I also enjoyed, perhaps more so, was called HERE IS YOUR WAR, about experiences in North Africa.
For more on Ernie, see:
en.wikipedia.org/wiki/Ernie_Pyle
Ernie's stateside home was in Albuquerque, NM. The house is now a branch of the city's public library, functioning as such, as well as serving as a museum to Ernie's life, career, and contributions to literature and journalism.
a success where many had failed.
© 2009 Steph Goralnick - Please do not publish or repost without permission
This will be published in the Dec.- Jan. issue of Our Canada This will by my 3rd time in the magazine and several times featured in their blog and on facebook
I am very excited to inform you my photo "Violin" is published in the winter issue of the "Photo News" Magazine. This is my first publication. Above is the page from the electronic edition of the magazine. The flickr group of the magazine can be found over here, if you would want to check it out.
I would like to thank you the Photo News Editor for giving me the opportunity to be the part of this wonderful magazine. I would like to thank you all of you for constant support of my work. Thank you!
You can also find me on Instagram: tekapa_pictures
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See one more "live" image below.
My image, Water Art: A spring poplar canvas, (View On Black) is on the cover of the 2014 Zen Mountain Monastery Retreat Calendar. Yes, it is always a thrill!
the image of the two girls running down the path is mine...
www.samsung.com/global/microsite/galaxys4/
my original image: flic.kr/p/cRyBNL
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My abstract work was published last week in Advanced Images Travelution.
Advanced Images Issue 75 with theme of the month ABSTRACT UNLIMITED is ready for download via this link
www.dropbox.com/s/75rduhzxmcwiz66/AdvancedImages75_Online...
You can also find me on Instagram: tekapa_pictures
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Bonjour Tristesse (English: "Hello Sadness") is a novel by Françoise Sagan. Published in 1954, when the author was only 18, it was an overnight sensation.
Samples of the diverse colours and textures of the Mojave Desert.
I was flying from Las Vegas to Los Angeles when I was treated to this never ending and amazingly varied view of the desert. With no vegetation to speak of the nartural contours and fine textures are visible, and the colours of the soil were starkly visible.
The colours are strongly emphasised for effect and artistic licence, but they are taken from the landscape itself.
"Is it a bit draughty around here, or is it just me?"
Sexy Rockstar Energy drink promo babe wows the crowds at the Autosport International show, NEC, Birmingham UK.
Nikon D-300, Nikkor 18-200mm f3.5/5.6 ED, Speedlite SB-800.
© MSI Ireland 2017. All rights reserved.
Please note:
These images are not public domain and are protected by copyright law.
All images © MSI (Motorsport Images Ireland) 2017. All rights reserved.
COPYRIGHT: The copyright and intellectual property rights of this image are owned by MSI (Ireland), and are protected by copyright laws of Ireland and international intellectual property right treaties. You may not copy any portion of the images in any form whatsoever. You may not alter the images in any way.
UNAUTHORISED USE: You may not use, copy, rent, lease, sell, claim ownership, publish to a website, blog or other such electronic hosting medium, modify, de-compile, disassemble, otherwise reverse engineer, or transfer images in any form whatsoever whether electronically, mechanically or any other method. Any such unauthorised use shall result in immediate and automatic termination of this license and may result in civil and/or legal action against you/your company or representative.
If you are interested in the use of this digital photographic image, please contact (via e-mail) at msiireland@yahoo.com or motorsportimagesireland@gmail.com
......................................................................................................................
Photography by JOB/MSI Ireland
© John O’Brien / MSI Ireland 2017
All Rights Reserved
Have you seen the new 2016 R.M. Williams Outback Magazine calendar guys?
My shot of Sheringa on the remote west coast of SA scores January, while my photo of the Sturt's Desert Pea in the Gawler Ranges National Park takes out June!
Cheers n beers,
Rob
You can also find me on Instagram: tekapa_pictures
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I'm not one for bragging, but I just can't help it with this one!
I got the front page and also an 8 page article inside the magazine. What a great start to 2014!
Huge thanks to everyone who follows and supports me, and to everyone that's helped and inspired me along the way in the light painting world :)
Press F to 'Fave'
Press L to view Large on 'black'
Twitter | Google+ | Tumblr | 500px | Facebook Page
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I posted a few of my Monarch migration photos on a local facebook site and they were spotted by the local newspaper ! Over 350 people liked my photos and I got to meet a few of them at Lakeland Park ! Some days you just get lucky !!
A couple of years ago I was contacted asking if my Mt Gower photo could be used in a book about Mountains in Australia published by the National Library of Australia. I was happy to oblige and after delays due to Covid, a copy arrived in the mail last week. These show my photo and the cover (not my photo).
Self published my first book a couple months back. Havent posted a pic on here in a bit. The book is a non-profit book and is a completely independent venture. You can read more about it at www.bookofbeards.com You can also buy a copy there.
Bears, illustrated is a free downloadable calendar for 2010 featuring twelve artists from around the world homaging the men they love and admire: Charlie Hunter, Álvaro Barruylle Ayala, Tabo Ayala, Kenzie LaMar-Rubens, LÚ, Rodrigo Muñoz Ballester, Fuzzbelly, AP Bear, Harry Soup, José Manuel Hortelano-Pi, Christian Trippe and me, Christian Fernández Mirón. This is my illustration for October. Visit the website to see them all and download the calendar!
Bears, illustrated es un calendario descargable y gratuito para 2010 con doce artistas internacionales homenajeando a los hombres que aman y admiran: Charlie Hunter, Álvaro Barruylle Ayala, Tabo Ayala, Kenzie LaMar-Rubens, LÚ, Rodrigo Muñoz Ballester, Fuzzbelly, AP Bear, Harry Soup, José Manuel Hortelano-Pi, Christian Trippe y Christian Fernández Mirón. Ésta es mi ilustración para el mes de Octubre. ¡Visita el enlace para verlas todas y bajarte el calendario!
NightBridges: StyleWork by »LHS«, spottet inside a bridge-staircase at night. Mid October 2011. First published on Streetfiles.Org 2010–2013
My photobook published here: www.magcloud.com/browse/issue/1877698?__r=3085170
www.magcloud.com/browse/issue/1881730?__r=3085170
Photos are shared only on this physical copy, never on the internet.
(Published in Photo Technique, Spring 2013)
(Explore #1)
'What do all these buttons do again?!'
So went my text message to Keith Aggett earlier today, suddenly finding myself alone in a wet and muddy field, camera in hand and innapropriate flip-flops (foolish given yesterday's downpour) adorning my feet. A combination of incessant rainfall with no respect for the season, home decorating, family commitments, long hours at work (I manage a team doing twelve hour shifts and it's surprising how often twelve can become sixteen), and my own general dislike for summer imagery had left me precious little time to get out and take any photographs. In fact, it's fair to say I was feeling slightly disconnected - not good for any photographer - although I was pleased to note it didn't take long before my camera began to feel reassuringly familiar in my grasp, apparently forgiving me for it's period of impromptu hibernation.
My phone rang in response. Answering it, Keith's query of "You're out shooting then mate?" was met with a spluttering cough before I could reply properly. Oh, didn't I mention above the cold I'm recovering from? No? Oh well, never mind... Keith's revelation that there was some excellent racing cloud (LE practitioners will understand) where he currently was in Exeter - some twenty miles from me - didn't do a great deal to inspire, although several minutes into our conversation and I suddenly cut him off with the news that the singularly ominous, dramatic bank of cloud I'd been waiting to head nearer was gaining position...
'That cloud is full of rain. I'm now wet.'
That was exactly how my next text message read. Determined to embrace the stalwart British tradition of perseverance, I ignored my sodden shirt and the rain dripping from my nose (at least I think it was rain - damn that cold), keen on removing the lens cap now that the shower had moved on. Quickly assembling my ND filter lens housing, eager to capture something of the remaining brooding sky without the threat of droplets ruining the shot, I turned briefly to see an enormous dog bounding towards me. I mean enormous. Had I meant big, or slightly larger than average I would have said so. This dog was clearly related to The Hound Of The Baskervilles, and looking beyond it I could see it had two similarly apportioned siblings - both of which seemed unsure whether to rush me or bide their ground in case the first one failed to take me out alone, a feat that seemed highly likely at that point. I barely had time to register it's unseen owner's shout of beckoning as the animal skidded to a halt, it's intended leap limited to just two dirty pawprints on my jeans. I didn't care - I was alive! It's not that I don't like dogs - far from it in fact, I had my own for a good ten years and intend to get another eventually. It's just that in my experience, most dog owner's I encounter when I'm out taking shot's seem to assume that everyone else loves their pet too. The number of times I've had to loft my backpack high to stop some beast urinating on it, or shout at one myself as an insidious hind leg begins to cock itself against my tripod - while simultaneously the owner remains conveniently oblivious. Perhaps next time I'll run after the person concerned, jumping up at them and popping a flash unit in their face manically! At least on this occasion the owner did make some half-mumbled words of apology as he trudged by with his trotting trio of Satan, Lucifer and Beelzebub... Looking down I realised I'd been stood all the time just inches away from a pile of what I shall politely describe as canine excrement, judging by the size of which I (perhaps unfairly) attributed to my new four-legged friend.
Deciding it was time to try a different subject from the telegraph poles it had been my intent to capture (I haven't yet reviewed the images but feel I will be lucky if I nailed the shot), I went on to a second nearby site where I've tried several times to shoot a particular item. Minutes after I got out of the car it started to rain again, leading me to take shelter beneath some overhanging trees at the side of a path, crouching down to gain better cover and trying not to let my resolve weaken. A second dog walker passed me by, eyeing me suspiciously in my lair as I raised a hand in the universal symbol of 'I'm ok, really I am.' Several email checks later, a quick game of Angry Birds and a catch up on my flickr contact's recent uploads and the rain suddenly cleared. Hurrying on to my destination, I was confronted by the newly revealed sun placed directly behind my subject - creating huge contrasts and glare. I did actually set up my gear, frame everything up, focus and get my filters and cable release ready hoping for a fresh bout of obscuring cloud but it wasn't to be. That didn't happen until half an hour or so later when I was back in my car heading for home...
Nobody said landscape photography was easy! It isn't, but all of you I'm sure have had occasions like these - and I'm sure you'll agree the good times are all the more sweet because of them. Yin and yang in all things.
Consequently, this shot is one from my archives taken almost a year ago on a day when things went my way a little more easily...
On a separate note, I'm happy to announce my 'Snake' image (elsewhere on my photostream) was a Nominee in the Fine Art category of the recent international Black & White Spider Awards - www.thespiderawards.com/. It's my first year of entering and I submitted two images in just the one category, so am pleased with the outcome. Congratulations also to Keith Aggett (he's like a bad penny!) for similar recognition in the competition, alongside Bill Allen, Marina Chen, Michael Diblicek, Gavin Dunbar, Robert Moran, and Vassilis Tangoulis who all also enjoyed success(es). My sincere apologies to anyone I've inadvertently missed.
Today my wife and I did the Seven Bridges walk in Sydney. From Milsons Point across the major harbour crossing bridges to Hunters Hill. 17 km taking in: Sydney Harbour Bridge, Pyrmont Bridge, Anzac Bridge, Iron Cove Bridge, Gladesville Bridge, Tarban Creek Bridge and Fig Tree Brigde.
(There was an extra 10km on offer without any bridges, but we declined that offer!)
What a great way to view this great harbour of ours and experience the variation in surrounds and lifestyles.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
This was a 3-image, handheld HDR shot -- taken from an area near the southwest corner of Central Park, looking east towards Fifth Avenue.
Note: this photo was published in a Dec 13, 2009 blog titled "How to Get the Perfect Composition in your Digital Photography."
It was also published in an undated (Jun 2010) blog titled "New York City Parks Worth Visiting." And it was published in an Aug 16, 2010 blog titled "CENTRAL PARK IN NEW YORK COULD SUPPORT 100 BIG DINOSAURS." It was also published in an undated (mid-Oct 2010) blog titled "The Best of Autumn in New York." And it was published in an Oct 20, 2010 blog titled "The Top 5 Places to see Fall Foliage in Central Park."
Moving into 2011, it was also published in an undated (mid-March 2011) Kathika travel blog titled "Visiting Central Park in New York City." And it was published in an Aug 15, 2011 blog titled "The Central Park Conservancy: a model for park conservation around the country." It was also published in an Aug 17, 2011 "Photography Digital World" blog titled " Interested in learning about digital photography?" And it was published in a Sep 2, 2011 blog titled "5 business travel tips for the fall," as well as a Sep 22, 2011 blog titled "Biophilic Cities." It was also published as a home-page illustration in an undated (mid-Oct 2011) blog titled Where to Live Next?
Moving into 2012, the photo was published in an undated (late Jun 2012) blog titled "20 Great Pictures of Central Park NYC." It was also published in a Jul 17, 2012 blog titled "New York Picnic Spots," as well as a Sep 20, 2012 blog titled "OTOÑO EN NUEVA YORK." And it was published in an Oct 29, 2012 blog titled "The Top 5 Rooftop Bars in New York," as well as an Oct 29, 29012 blog titled "Incredible Fall Foliage Shots" and an Oct 30, 2012 blog titled "Famous TV and Movie Landmarks to see in New York." It was also published in a Dec 3, 2012 blog titled "Parks to Visit in New York City."
Moving into 2013, the photo was published in a Jan 21, 2013 blog titled Timekeeper "Blog Tour: Alexandra Monir on Central Park + giveaway!" And it was published in an Aug 16, 2013 blog titled "10 Things for Startups to Do Before Autumn Arrives."
Moving into 2014, the photo was published in an Apr 14, 2014 blog titled "Green Space Keeps You from Feeling Blue."
Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "NYC HDR" gallery by clicking here.
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On Nov 6, 2009 a group of roughly 150 members of the NYC Digital Photography Meetup Group (which comprises some 2,556 members, according to its website) assembled at the southeast corner of New York's Central Park for a "meetup" that consisted of a walk through Central Park to capture the fall foliage. A few people knew each other from previous meetups, but most of us were there for the first time, and knew only that we were in the midst of a lot of people with "serious" cameras. Introductions were made, hands were shaken, cameras were compared, but with rare exceptions, names were quickly forgotten -- except for lyman91, who served as the organizer for the afternoon's activities. After all, it wasn't a college mixer; we were there to get some nice photographs...
Once we got started, we walked past the pond in the southeast corner of the park, up to a picturesque bridge, and then along the southern edge of the park until we reached another picturesque bridge by the southwest corner of the park. From there, we ventured north, past Tavern on the Green, past the Sheep Meadow, up to the 72nd Street entrance (where many photos were dutifully snapped of Strawberry Fields, and the Dakota apartment building where John Lennon lived at the time of his death). We then walked around parts of the boat pond, and a little further north into the Ramble ... at which point, the late-afternoon shadows were dark enough that I decided to call it a day and head on home.
As someone observed early in the walk, "fall foliage" in New York City is not the same as it is up in Vermont and New Hampshire. There are no fiery reds, no mountainsides of bright orange trees. Our trees are more subdued: there were a few bright yellow ones (don't ask me what kind they were; I have no idea), but most of the trees were "rust-colored" at best.
Still, it was a pleasant walk; the temperature was a little cool, but the skies were a brilliant blue, and there wasn't a cloud to be seen. I took fewer photos than I would have expected -- only about 300 -- and I'll upload the "keepers" throughout the week, as I edit them and put them in reasonable shape... and I'll look forward to another photo meetup sometime in the future. Next time, hopefully I will remember a few names...