View allAll Photos Tagged Rejection
SEESAW PLAY-GROW
Non-Equilibrium Ground
ŠKART (rejection/ ausschus/ scarto) (Ðorde Balmazovic, Dragan Protic, Goran Petrovic).
Commissario: Jovan Mitrovic.
Mostra Internazionale di Architettura
Exposition internationale d'architecture
Venezia / Venise
"People meet in architecture"
du 29/08 au 21/11/2010
le site de la Biennale
I walked to the Metro (Newcastle underground) station two stops away from my work as I often do but saw nobody of interest but today I was particularly disappointed because I'd had a rejection at lunchtime that I hadn't enjoyed and I really wanted to "bounce back". So I was really pleased when I saw Gabriel in the station - he was pretty much the first person I saw on the platform and my mind was immediately made up but there was a train drawing into the station which was of no use to me so I waited to see if he got onto it then approached him when he didn't. He was open to the idea once I'd explained the reason and so I introduced myself, learned that the gentleman I was talking to was called Gabriel, and then set about trying to take a portrait in what I knew was going to be really challenging (low) light ...
When I sized up the shot I was getting a really slow shutter speed and even after bumping the ISO to 800 it was still too slow for me so I tried the pop-up flash for speed but that was predictably horrible. At this point, however, I realised that Gabriel seemed content to humour me whilst he waited for his train. I asked him to move into the concourse instead where there was less people and I fished out my speedlight and pocket wizards and tried again with my left hand holding the flash positioned 45º/45º as best as I could (probably about 10º/10º). Again they did not fail me and thankfully I finally got a decent shot - and I am NOT kidding when I say the others (7 of them - ahem) were awful!!!
There was a moment I really loved when he commented that I had quite a bag load of gear and I said yes "all the gear but no idea" - corny I know but I then raised the camera to my eye ... complete blackness ... "see what I mean" I said as I lowered the camera and took the lens cap off ;). I have absolutely no idea why I put the lens cap back on - I knew I wasn't done and I hadn't changed lens or anything - must just be automatic.
I chatted to Gabriel throughout and he was really easy going, completely comfortable talking about whatever I asked.
Gabriel is from Nigeria and has been in the UK for the last 7 years moving about quite a bit having lived in Plymouth, Brighton, London, Leeds , Wales (Llandudno I think he said) where he did his Masters and now Newcastle to complete a PhD in Petroleum, Geology & Chemistry. If I followed correctly Newcastle is the only place he can do this as a PhD with everywhere else doing it as a Masters only.
In his spare time he enjoys chess and dancing - Hip-Hop and Salsa ... at this point I came to the conclusion that Gabriel gets quite passionate about everything he does and when the chat turned to music I realised we really had found a passion of his. It was inevitable that the conversation would go in this direction - the ubiquitous Dr Dre Beats adorning his head were part of why I asked him and eventually I got around to asking him what he was listening to. Once Gabriel started talking about Hip-Hop he was off ... Rakim is his favourite artist but I could only look at him blankly before finally admitting that he was talking about a different world to the one that I live in - he mentioned one or two other artists but the names meant nothing to me although I did learn that he likes modern Hip-Hop and older rap doesn't do it for him as he enjoys the more intellectual style of the modern artists. Our paths obviously didn't cross with my Rock leaning but we found some common ground as he likes to listen to Classical music on a Sunday, when he's relaxing ... but only on a Sunday! The rest of the time music is to waken him up and stimulate - not for relaxation.
As I heard our train approaching I decided to leave Gabriel alone - my hearing isn't perfect and I struggle to talk with my mates on the metro so I knew that trying to continue a chat with Gabriel would be strained at best and besides I'd already taken up a good chunk of his valuable time so I shook his hand and thanked him very much then wandered far enough up the platform (and therefore train) to be out of sight and out of mind.
Whilst mulling over the encounter and starting to think about my write up I suddenly realised that my camera was still set to ISO800 ... all the gear, no idea ;).
Gabriel, thank you very much for so much of your time today and moreover for your patience - it always amazes me how dim artificial light is but nonetheless the light conditions were right on the edge of my competence I think and your obliging and patient nature really helped me work through how to tackle the situation. I wish you well with your studies and wherever your qualifications take you.
_____________________________
Please feel free to provide constructive critique on the technical aspects of this photograph.
This picture is #77 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Double Negative: a typology of guys who have blocked my profile on the gay social networking apps Grindr or Scruff
per richiedere informazioni/preventivi sui servizi foto/videoclip proposti contattateci a questa mail: kh4nzo@gmail.com
In this shoot I took the word “reflections” on differently than I had previously. I chose to rather than concentrate on actual reflections, to concentrate on reflection on yourself and others. I chose to do this shoot to represent my fear of rejection. These photographs show how I used a spotlights and a black backdrop in a dark room to create the scene. The idea was to for someone to turn away after another has finally let that person into their lives and let them see the person they are inside. The fact that it is my hand holding the glass ball represents that I am the one who holds this fear.
Got an early rejection on this set but need to push the project to its home stretch. Just right on the same spot of (#88 Jennifer), I got Domila the next day. I stopped her while shes crossing the street and she was kind enough to take out her earphones and listen to me. I explained her the project and said that I like her hair. She agreed to be part of the project. Domila is a customer success specialist. Thank you miss for participating in the project!
Find out more about the project and see pictures taken by other photographers at www.flickr.com/groups/100strangers
Claude Monet -
The Magpie - 1868-1869
There is something magical about a landscape painted by Claude Monet. No matter the time or the season, he captures the nuanced variations of light. Monet was the founding artist of French Impressionism in the 1860s, and his style of loose, quick, and instantaneous painting revolutionized the Western art world. After decades of society’s rejection, French Impressionism eventually gained popularity, and it maintains its popularity today after more than 160 years since its birth. Magpie by Monet is a snowscape masterpiece that captures the artistry of French Impressionism and the spirit of the winter season.
Claude Monet painted Magpie during the winter of 1868-1869. It is an oil on canvas that measures 130 cm long by 89 cm high (51 in by 35 in). The canvas is almost a perfect 2:3 rectangle with the height being almost two-thirds its length. The composition is a winter landscape blanketed by snow. A stone wall perfectly divides the image into two equal horizontal spaces. The space below the wall is the foreground, and the space above the wall is the background. A black-gray magpie sits on a wooden gate near the left mid-ground. A house surrounded by pine and oak trees stands in the right background, immediately behind the wall. The bird, wall, and trees cast diagonal shadows upon the foreground snow, adding a sense of visual movement to an otherwise still moment. Only the occasional chirp of the magpie breaks the scene’s icy silence.
Approximately 80 km (50 mi) northwest of Rouen and 200 km (124 mi) northwest of Paris is the coastal town of Étretat. Claude Monet frequently visited Étretat because he appreciated its dramatic seaside cliffs. However, the interior landscape of Étretat also fascinated Monet because Magpie depicts an Étretat snowscape. During the winter of 1868-1869, the snow was particularly heavy in Étretat, and Monet captured the deep snow layer in this painting. The brown stone wall is almost entirely white with its hefty snowcap, the trees resemble ice sculptures, and the ground is a white carpet. However, Monet adds depth and interest to the snowscape with countless shades of cream, varied with countless infusions of blue and gray.
Claude Monet is most famous for his waterscapes featuring water lilies. Therefore, his snowscapes like Magpie receive far less attention and praise by the general public. However, the overshadowing of Magpie and other wintery scenes does not diminish their artistic merit. Monet became famous for his play of light upon water, but his play of light upon snow is just as majestic. Snow has a magical quality of simultaneously reflecting and absorbing light. Snow is the physical solid manifestation of water, hence it has similar refractive properties as liquid water. However, snow does not move and ripple as water because of its solid volume and mass. Therefore, illuminated snow can twinkle and shimmer like millions of diamonds as it catches the light upon its irregular solid surfaces.
10 People Who Turned the Impossible Into Possible
If you feel hopeless while achieving your goal and you need some motivation, read this. These are the people who don’t need to introduce themselves anymore because of their achievements in their lifetime. These people are particularly inspiring because they’ve gone through rejection and failures too, but that didn’t stop them from becoming who they are today.
J. K. Rowling
Before she earned millions, she had to face a failed marriage, being almost entirely broke while raising a child on her own and going to school. When she finally finished writing Harry Potter, she was rejected by a number of publishing companies before getting published. She even had to depend on welfare to survive but now, she’s just one of the richest women in the world.
Winston Churchill
He failed his sixth grade because he struggled in school. He failed in politics for many years every time he ran for the public office. At 62, he became the prime minister of the United Kingdom. He was twice elected as such and was also awarded a Nobel Prize in Literature in the year 1953.
Theodor Seuss Geisel
Publishers think his books are not sellable so they rejected him; in fact, 27 of them did. Now, his books are read by children all over the world. He wrote under the pen name, Dr. Seuss.
Ludwig van Beethoven
He was very awkward on the violin. His teachers thought he was not brilliant enough but it did not stop him there. He composed five of the best-loved symphonies of all time even when he was going deaf.
Michael Jordan
He was kicked out of his high school basketball team. He missed more than 9,000 shots and lost 300 games. Now, he is known as the best basketball player of all time.
Henry Ford
He was broke five times and his early businesses failed. Now, he owns the one of the considered as best motor companies in the world.
Walt Disney
He was fired by his newspaper editor believing that he lacked imagination and had no good ideas. He went bankrupt and failed a number of businesses. He is now the owner of the billion-dollar company profiting from the most famous merchandise, movies, and theme parks.
Thomas Edison
His teachers said he was “too stupid to learn anything.” He got fired from two of his jobs because he was unproductive. He failed 1,000 times with his invention. Now, we are using his idea to light our homes.
Charlie Chaplin
He was always rejected because his acting was nonsense and will supposedly never sell. Now, he is an icon for making the best pantomimic comedy movies.
Vincent Van Gogh
He sold only one painting his whole life to a friend who paid him a not so considerable amount. He was never successful in life, sometimes even starved. Now, he is one of the best-known artists.
So if you ever feel you’re in an impossible terrible situation right now, just look at their lives. It should be enough to tell you to go on and get that dream. It should be enough to push you to dream more and work more for it.
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Fear of rejection, mostly.
I can point to any number of roots feeding this fear: a natural-born wiring for shyness, a somewhat isolated childhood with few friends, an older brother with an infinite talent for psychological abuse, a life blessed with enough shelter and abundance that I rarely had to leave my comfort zone, fear of being discovered as gay, fear of embarrassment, and a powerful reflex for self-criticism, just to name a few. But the fact remains that fear of rejection is the single most powerful barrier I have to overcome in my life, and it’s one I battle daily.
Of course, I’m afraid to even post this, for fear it will make me seem like some completely neurotic basket case. But the truth of the matter is that I hide it well enough that virtually everyone who knows me seems genuinely shocked when I describe myself as painfully shy and lacking in self-confidence. To the extent that anyone notices it, they seem to think it’s (at best) that I’m distracted or quiet, or (at worst) in a bad mood or aloof.
That’s not to say that I succeed in pushing aside my fears; I’m simply an expert in avoidance and disguise.
Burning alive. Drowning. Being buried alive. Introducing myself to strangers. That’s about the order of things. “Hi, my name is” is somewhere around “having my eyes pecked out by vultures” in the pantheon of fears.
I wish it stopped there, but it doesn’t. Parachuting out of a plane at 10,000 feet? No problem—sign me up (I’ve done it). Asking an acquaintance out to the movies? Inviting myself to join a table of casual friends at the coffee shop? Bring out the IV drip, because that’s what it’s gonna take.
To some degree, it’s dependent on my mood, and to be sure it’s situational. If someone new walks into my edit suite, then I’m the guy in charge and I don’t generally have a problem. They’re here because they need me. But if I want someone to join me for a social occasion... or want to meet a hot guy in a bar... or just want to see if anyone’s doing anything interesting this weekend? Not a chance.
For 18 of the last 20 years, my partner did virtually all the social planning. He’s the guy who can pick up the phone and call someone he hasn’t seen in 15 years, and have a great conversation. I have a hard time calling someone I’ve known for 5 or 10 years—my brain says it’s a great idea, but my gut screams, “If they wanted to get together with you, they would have called!” I have this relentless feeling in the pit of my stomach that people tolerate me, but don’t really like me. Even when I know better.
I went to my next door neighbor’s birthday party last night. I’ve lived here for 30 months now, and only know my immediate neighbors on either side and across the street. He seems to know everyone. I managed to punch my way through the shyness and met one woman from down the street and a young straight couple that moved in recently. After that, I was toast...everyone else, I just had to smile at. I enjoyed myself, and had some really interesting conversations with those three neighbors, and I’m proud of myself for managing to do what I did, but if there had been anyone there I already knew, I probably would have gone through the entire evening without meeting anyone.
On one level, I know this is probably fairly ordinary, garden-variety shyness, but it feels so... crippling (no offense to crips, Craigers, if you’re reading this...). Especially since it’s a major impediment in my career. I’m at a point now where I really need to be marketing myself, networking, finding new clients, schmoozing... and I find any imaginable excuse to avoid doing it. I’m not sure I even know how.
The funny thing is...I think I present fairly well when I’ve been thrust into those kinds of situations. I just can’t bring myself to make the call, wade into the crowd, stick out my paw, whatever.
This post probably isn’t going to do wonders for my popularity, but there ya go. It’s who I am.
Every day over the following week, K. expected another summons to arrive, he could not believe that his rejection of any more hearings had been taken literally, and when the expected summons really had not come by Saturday evening he took it to mean that he was expected, without being told, to appear at the same place at the same time. So on Sunday, he set out once more in the same direction, going without hesitation up the steps and through the corridors; some of the people remembered him and greeted him from their doorways, but he no longer needed to ask anyone the way and soon arrived at the right door. It was opened as soon as he knocked and, paying no attention to the woman he had seen last time who was standing at the doorway, he was about to go straight into the adjoining room when she said to him "There's no session today." "What do you mean; no session?" he asked, unable to believe it. But the woman persuaded him by opening the door to the next room. It was indeed empty, and looked even more dismal empty than it had the previous Sunday. On the podium stood the table exactly as it had been before with a few books laying on it. "Can I have a look at those books?" asked K., not because he was especially curious but so that he would not have come for nothing. "No," said the woman as she re-closed the door, "that's not allowed. Those books belong to the examining judge." "I see," said K., and nodded, "those books must be law books, and that's how this court does things, not only to try people who are innocent but even to try them without letting them know what's going on." "I expect you're right," said the woman, who had not understood exactly what he meant. "I'd better go away again, then," said K. "Should I give a message to the examining judge?" asked the woman. "Do you know him, then?" asked K. "Of course I know him," said the woman, "my husband is the court usher." - Franz Kafka
A rooster...from the backside.
Alpine Crest Elementary School
Red Bank, Tennessee, USA.
5 October 2018.
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👎 Rejection.
On 2 September 2025, an administrator for the Flickr group "As Aves que me Rodeiam | Birds Around Me" rejected this photo for NOT displaying a bird (i.e., chicken) in nature. You cannot be serious!!!?!
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Morales, Nelson. Fantastic woman. Special edition. México: Inframundo, 2019.
Marsha Tegard is a sixty-seven year-old trans woman who lives in North Carolina and transitioned in 2015. Since I met her, I realized she wanted to show people what her life was like and that she might be an example, an inspiration to others. She became my muse--a very special one. I was able to hear her fascinating story, from the time she was adopted as a newborn to her confused and hectic adolescence. My explorations went further with her collection of photographs, which she generously lent me and allowed me to use. For several months I photographed her more in spirit than in the flesh. Speaking of transgender seniors is a relatively new topic. Although the politics around the issue are still tense--given the present US government's conservative bias--on a day-to-day basis Marsha defies a society that subjects her to a certain degree of rejection. She's a woman who lives intensely, who enjoys things, who explores her sensuality and takes pleasure in it at the slightest provocation. She challenges the viewer to observe a different, very fragile, human body. For all of this, Marsha is an absolutely fantastic woman.--Publisher's website.
See MCAD Library's catalog record for this book.
No visit to Cambodia is complete without attending at least one traditional Khmer dance performance, often referred to as 'Apsara Dance' after one of the most popular Classical dance pieces. Traditional Khmer dance is better described as 'dance-drama' in that the dances are not merely dance but are also meant to convey a story or message. There are four main modern genres of traditional Khmer dance: 1) Classical Dance, also known as Court or Palatine Dance (lakhon preah reach troap or lakhon luong); 2) Shadow theater (sbeik thom and sbeik toot); 3) Lakhon Khol (all-male masked dance-drama.); 4) Folk Dance (Ceremonial and Theatrical).
As evidenced in part by the innumerable apsaras (celestial dancers) that adorn the walls of Angkorian and pre-Angkorian temples, dance has been part of Khmer culture for well more than a millennium, though there have been ruptures in the tradition over the centuries, making it impossible to precisely trace the source of the tradition. Much of traditional dance (especially Classical) is inspired by Angkorian-era art and themes, but the tradition has not been passed unbroken from the age of Angkor. Most traditional dances seen today were developed in the 18th through 20th centuries, beginning in earnest with a mid-19th century revival championed by King Ang Duong (reigned 1841-1869). Subsequent Kings and other Khmer Royals also strongly supported the arts and dance, most particularly Queen Sisowath Kossamak Nearireach (retired King Norodom Sihanouk's mother) in the mid-20th century, who not only fostered a resurgence in the study and development of Khmer traditional dance, but also helped move it out of the Palace and popularize it. Queen Sisowath Kossamak trained her grand daughter Princess Bopha Devi in the art of traditional dance from early childhood, who went on to become the face of Khmer traditional dance in the 1950s and 60s both in Cambodia and around the world. Many traditional dances that are seen in performances today were developed and refined between the 1940s and 1960s under the guidance and patronage of Queen Sisowath Kossamak at the Conservatory of Performing Arts and the Royal University of Fine Arts in Phnom Penh. Almost all of the Theatrical Folk dances that are presented in modern performances were developed during this period. Like so much of Cambodian art and culture, traditional dance was almost lost under the brutal repression of the Khmer Rouge regime of the late 1970s, only to be revived and reconstructed in the 1980s and 90s due, in large part, to the extraordinary efforts of Princess Bopha Devi.
Classical dance, including the famous 'Apsara dance,' has a grounded, subtle, even restrained, yet feather-light, ethereal appearance. Distinct in its ornate costuming, taut posture, arched back and feet, fingers flexed backwards, codified facial expressions, slow, close, deliberate but flowing movements, Classical dance is uniquely Khmer. It presents themes and stories inspired primarily by the Reamker (the Cambodian version of the Indian classic, the Ramayana) and the Age of Angkor.
Folk Dance come in two forms: ceremonial and theatrical. As a general rule, only Theatrical Folk Dance is presented in public performances, with Ceremonial Folk Dances reserved for particular rituals, celebrations and holidays. Theatrical Folk Dances such as the popular Good Harvest Dance and the romantic Fishing Dance are usually adaptations of dances found in the countryside or inspired by rural life and practices. Most of the Theatrical Folk Dances that are seen in performances today were developed at the Royal University of Fine Arts in Phnom Penh in the 1960s as part of an effort to preserve and perpetuate Khmer culture and arts.
Shadow theatre comes in two forms: Sbeik Thom (big puppets that are actually panels depicting certain characters from the story) and Sbeik Toot (small articulated puppets). The black leather puppets are held in front of a light source, either in front or behind a screen, creating a shadow or silhouette effect. Sbeik Thom is the more uniquely Cambodian, more formal of the two types, restricting itself to stories from the Reamker. The performance is accompanied by a pin peat orchestra and narration, and the puppeteers are silent, moving the panels with dance-like movements. Sbeik Toot has a far lighter feel, presenting popular stories of heroes, adventures, love and battles, with or without orchestra and with the puppeteers often doing the narration.
Lakhon Khol is all male masked theatre presenting exclusively stories from the Reamker.
Most dance performances in Siem Reap offer a mixture of Classical and Theatrical Folk dances. A few venues offer Shadow Theater. Many of the dance performances in Siem Reap consist of 4-6 individual dances, often opening with an Apsara Dance, followed by two other Classical dances and two or three Theatrical Folk dances. The Apsara Dance is a Classical dance inspired by the apsara carvings and sculptures of Angkor and developed in the late 1940s by Queen Sisowath Kossamak. Her grand daughter and protégé, Princess Bopha Devi, was the first star of the Apsara Dance. The central character of the dance, the apsara Mera, leads her coterie of apsaras through a flower garden where they partake of the beauty of the garden. The movements of the dance are distinctly Classical yet, as the dance was developed for theatrical presentation, it is shorter and a bit more relaxed and flowing than most Classical dances, making it both an excellent example of the movements, manner and spirit of Classical dance and at the same time particularly accessible to a modern audience unaccustomed to the style and stories of Khmer dance-drama.
Another extremely popular dance included in most traditional dance performances in Siem Reap is the Theatrical Folk Dance known as the 'Fishing Dance.' The Fishing Dance is a playful, energetic folk dance with a strong, easy-to-follow story line. It was developed in the 1960s at the Royal University of Fine Arts in Phnom Penh and was inspired by the developer's interpretation of certain rather idealized and stereotyped aspects aspects of rural life and young love. Clad in rural attire, a group of young men and women fish with rattan baskets and scoops, dividing their attention between work and flirtatious glances. Women are portrayed as hardworking, shy, demurring and coy, whereas the young men are strong, unrestrained, roguish and assertive. As the dance continues a couple is separated from the group allowing the flirtations between them to intensify, only to be spoiled by the male character playing a bit too rough, leading to her coy rejection. He pokes and plays trying to win her back, bringing only further rejection. Eventually he gently apologizes on bended knee and after some effort, draws a smile and her attention once again. Just as they move together, the group returns, startling the couple and evoking embarrassment as they both rush to their 'proper' roles once again. The men and women exit at opposite sides of the stage, leaving the couple almost alone, but under pressure of the groups, they separate, leaving in opposite directions, yet with index finger placed to mouth, hint of a secret promise to meet again. (In an interesting side note, placing one's index finger to the lips to denote quiet or secrecy is not, generally speaking, a gesture found in Cambodia, but is common in the West. Its employment in the dance probably indicates a certain amount of 'foreign influence' amongst the Cambodian choreographers when the dance was developed in the 1960s.)
Source: Canby Publications Co., Ltd.
For a writer who sculpts word pictures, man I suck at it sometimes.
On Saturday, I spent $5 in a Sydney Northern Beaches public library to belt out 1200 words as my first assignment for three publications and got the most brilliant rejection letter.
I'll still use it but will re-tool and re-purpose it first. Update: an edited version made it into the 'Forum' section.
Today for the second time in almost exactly 48 hours, I had my soul touched by another human so deeply that I reeled back and nearly collapsed into the car coming up beside us.
I later sat on the steps outside the Hurstville multi-storey carpark and wrote down as much as I could muster so it wouldn't get foggy. Or so I thought.
No dice, Chicago. The sixth instance of Facebook that I use on various devices has no consistency with the other five and when I went to add a location, it disappeared all the text.
Meh. I shrugged and figured that was the universe saying, "Calm Your Tits".
Which by curious coincidence is exactly what I'd suggested (bellowed in a friendly voice) to a very stocky weight-lifter body-builder type as he was leaning on his horn outside Vinnies at Hurstville, summoning his wench to stop her womanly trivialities and get her bits over to the passenger side of his hoonomobile.
If I were more in tune with my ape ancestors, I would have checked my exits better. I was in a carpark lane to zip out and away, but a sudden surge of traffic and I was snookered: he was there at my window and I was looking into a fierce warrior face and he wanted any excuse to attack.
I still have all my teeth. Just. I talk fast and effectively when I need to. It's a service I provide. And it got me out of a knuckle sandwich and a paper bag to collect my molars.
It's Semiotics 101.
I noticed something around his neck.
When he drove past 20mins later, just after I had a life-changing experience in Westfields carpark, I made a certain hand gesture and he nodded in my direction as if to say, "We cool There is no more you and me. But you have no more Hurstville privileges. Get out of town.".
Semiotics.
This was just after I'd greeted a muse and seer and shaman in Persian, thanked her in Turkish, and parted with the international symbol of love for humanity: a smile and friendly wave, eyes wide open, and welcoming stance.
16:14 on 8.4.14. More adventures to come...
Billy Quinn
Overheard Productions
www.overheardproductions.webs.com
P.S. The Daily Telegraph is there to take the p!ss and then for the dogs to give the same.
(Dolomedes scriptus) Having had the temerity to touch her foot with his, the female turns her wrath on her suitor, but it's not a total loss, he's still alive.
Our memory is a landscape, our bodies are its map. We can trace lines with our fingers that will take us down roads, we can find markings that symbolize a monument in our past; these are our scars.
For a series on mapping, I took to photographing the physical and psychological impression scars leave on a person. The ambiguity of the physical in the photograph is to pair with the ambiguity of the quote, not depicting the incident or injury, but acting as a brief view into the human psyche. Rather than romanticized and sensationalized, the photographs are gritty depictions of gritty truths.
The series Memory Markings has been made into a limited edition book which can be bought at Toronto's Gladstone Hotel briefly.
yeah yeah, its from 2 separate games. All text from in-game
Anyways, the order doesn't look as stationary~ish or "old" as Vault-Tec .. 'cause.. duuh! Its relatively new in that timeline.
Was going for that "how does formatting in not computer??" look with the terrible spacing & serious lack of margins
Also the back actually has a big bloody handprint, but the paper turned out too thick to 'bleed' it thru (seriously Staples, your cheapest prints needs crap paper)
this is a new magazine i've designed in the magazine design course in my college (lectured by ankati). it's called "High & Low Tide".
this is a magazine that deals with the human creativity. this issue deals with the bad sides of the creativity, like Failure, Low creativity, rejection, lazyness, and lack of inspiration.
many thanks to:
ankati - you'r course was AMAZING!
Aya Rozen - for writing me an article and drawing.
"Cofee-Print" Noam - for being as kind and as generous as you can.
My very first rejection slip (not this exact one) came from Galaxy, which was also the first science fiction magazine to which I ever subscribed. I think I was a high school freshman at the time, which would have made the year 1972-1973. My reaction to the rejection was that this now made me a real writer!
I treasure these things, and appreciated the note ("Some parts do show a mature style") left by the reader on the rejection shown here. Far from being discouraged, I just kept on submitting. Galaxy is no longer publishing, but I've had stories in Asimov's (Nov. 1984, mid-Dec. 1986), Amazing (May 1988), Full Spectrum (Bantam Books, 1988), and various smaller publications.
My website has more recent publications news, including information about my Deviations Series.
As a minor with a very limited budget back in my high school days, I had sent everything, including the self-addressed stamped envelope, by fourth class mail. That taught me patience!
Arka Pana in Nowa Huta, Kraków, Poland, was build in the 1970ies dispite the rejection by the communist government. Even before it was built there was a wooden cross erected with the purpose to build a church and there were bloody fights with the Government about the plan and the cross (which was successfully defended by the people). Karol Wojtyła, later Pope John Paul II and then Archbishop of Kraków supported the plan and consecrated the church one year before he became Pope. As pope he was refused by the government a year later to visit the church. He is now seen as a hero and saint by the Polish people, especially in Kraków.
Arka Pana in Nowa Huta, Krakau, Polen, ist in den Siebzigern gebaut worden gegen den Widerstand der kommunistischen Regierung. Vor dem Bau haben die Menschen ein Holzkreuz aufgestellt, das Anlass für blutige Kämpfe mit der Regierung war (es wurde erfolgreich vom Volk verteidigt). Karol Wojtyła, der spätere Papst Johannes Paul II und zu der Zeit Erbischof von Krakau, hat das Vorhaben unterstützt und die Kirche ein Jahr vor seiner Papstwahl eingeweiht. Ein weiteres Jahr später wurde ihm der Besuch der Kirche durch die polnische Regierung verweigert. Heute wird er als Held und Heiliger in Polen verehrt, besonders in Krakau.
Sony Nex-7, Voigtländer Nex VM Adapter, Zeiss Biogon 25mm 2.8
"Trove", the exhibition of the Scottish Glass Society at Perth Museum and Art Gallery.
Another of Carrie's pieces in blown glass, silver and found objects, relating to the relationship of Effie Gray to John Ruskin.
Taken with Voigtländer Nokton 50mm f1.1 lens on Panasonic G1.