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A broken piggy bank on a bed of dollar bills
I am the designer for 401kcalculator.org. I have put all these images in the public domain and welcome anyone to use them however please credit our site as the source if you do:http://401kcalculator.org
"If a building falls you wouldn't care to notice
Unless you were in it
Then no one cares about climbing stairs,
Nothing at the top no more"
~Audioslave
All rights reserved - Copyright Pedro Díaz Molins© [Facebook] [500px] [Web]
This photo is exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the author. If you are interested, you should write me to pdiazmolins@yahoo.es
This week's theme is broken
I had this style of image in mind when I saw the theme, but putting my limited photoshop skills into practice was "challenging". Not overly happy with the end result, but I have a new technique to practice. It's what I wanted to use this project for though, to push myself in areas that I wouldn't normally go.
I ruined my reflection glass :'( but small sacrifices must be made!
Wondering how to take highspeed photos? The technique used for this kind of images is described in lesson 3 (freeze the motion with your flash) of my highspeed photography 101.
In Lektion 3 (Einfrieren von Bewegung mit dem Blitz) erklaere ich, wie man solche Highspeed Bilder erstellt.
Strobist: Setup picture
SB28: 1/16th power left behind "table", blue gel
SB28: 1/16th power right behind "table", magenta gel
Sony A550
Sony 100m
ISO 200, f8, 5 sec
WB: 5500K
Triggered with hiviz.com audio trigger and arduino for preflash delay (50ms)..
Highest position on explore: #81 on Sunday, December 12, 2010
© All rights reserved to Faisal Al Suliman
This Series Called (Bye Sydney)
still hear your voice, when you sleep next to me.
I still feel your touch in my dreams.
Forgive me my weakness, but I don't know why
Without you it's hard to survive.
'Cause everytime we touch, I get this feeling.
And everytime we kiss I swear I could fly.
Can't you feel my heart beat fast, I want this to last.
Need you by my side.
NOTE: I am not in love with someone but I just love this song :p
Broken bottles at the WinCo store recycling, I thought it would make for a nice abstract photo opportunity.
DE1014 (LK09ENR) after working route 117.
This bus suffered a flat tyre when working the 117 so everyone was turfed off! Passengers had to wait 20 minutes for DE1002.
Second roll with my first Oktomat to find out, if it really is broken. Well, so much for that. I had it exchanged for a new one. Lomography Oktomat, Lomography X-Pro 200, cross-processed
Milan Knizak
Book + Broken Flexi :
Broken Music
Various Artists
Ursula Block & Michael Glasmeier
Primary Information
2017
Broken Music is an essential compendium for records created by visual artists. The publication was edited by Ursula Block and Michael Glasmeier and originally published in 1989 by DAAD Galerie Berlin. Broken Music focuses on recordings, record - objects, artwork for records, and record installations made by thousands of artists between WWII and 1989.
Works chosen for the publication revolved around four criteria
1 . Record covers created as original work by visual artists.
2 . Record or sound-producing objects (multiples / editions / sculptures).
3 . Books and publications that contain a record or recorded-media object.
4 . Records or recorded media that have sound by visual artists.
Includes essays by both editors as well as Theodor W. Adorno, René Block, Jean Dubuffet, Milan Knizak, László Moholy-Nagy, Christiane Seiffert, and Hans Rudolf Zeller, as well as a flexi disc of the Arditti Quartet performing Milan Knizak’s 'Broken Music'. The centerpiece of the publication is a nearly 200-page bibliography of artists’ records.
Artists documented in the volume include Vito Acconci, albrecht/d., Laurie Anderson, Guillaume Apollinaire, Karel Appel, Arman, Hans Arp, Antonin Artaud, John Baldessari, Hugo Ball, Claus van Bebber, John Bender, Harry Bertoia, Jean-Pierre Bertrand, Joseph Beuys, Mel Bochner, Claus Böhmler, Christian Boltanski, KP Brehmer, William Burroughs, John Cage, Henri Chopin, Henning Christiansen, Jean Cocteau, William Copley, Philip Corner, Merce Cunningham, Hanne Darboven, Jim Dine, Marcel Duchamp, Max Ernst, Lawrence Ferlinghetti, Fischli and Weiss, R. Buckminster Fuller, Allen Ginsberg, Philip Glass, Jack Goldstein, Peter Gordon, Hans Haacke, Richard Hamilton, Bernard Heidsieck, Holger Hiller, Richard Huelsenbeck, Isidore Isou, Marcel Janco, Servie Janssen, Jasper Johns, Joe Jones, Thomas Kapielski, Allan Kaprow, Martin Kippenberger, Per Kirkeby, Cheri Knight, Milan Knizak, Richard Kriesche, Christina Kubisch, Laibach, John Lennon, Sol Lewitt, Roy Lichtenstein, Annea Lockwood, Paul McCarthy, Meredith Monk, Josef Felix Müller, Piotr Nathan, Hermann Nitsch, Albert Oehlen, Frank O’Hara, Claes Oldenburg, Yoko Ono, Dennis Oppenheim, Nam June Paik, Charlemagne Palestine, A.R. Penck, Tom Phillips, Robert Rauschenberg, The Red Crayola, Ursula Reuter Christiansen, Gerhard Richter, Jim Rosenquist, Dieter Roth, Gerhard Rühm, Robert Rutman, Sarkis, Thomas Schmit, Conrad Schnitzler, Kurt Schwitters, Selten Gehörte Musik, Richard Serra, Robert Smithson, Michael Snow, Keith Sonnier, Strafe für Rebellion, Jean Tinguely, Moniek Toebosch, Tristan Tzara, Ben Vautier, Yoshi Wada, Emmett Walsh, Andy Warhol, William Wegman, and Lawrence Weiner.
'In 1963-64 I used to play records both too slowly and too fast and thus changed the quality of the music, thereby, creating new compositions. In 1965 I started to destroy records: scratch them, punch holes in them, break them. By playing them over and over again (which destroyed the needle and often the record player too) an entirely new music was created - unexpected, nerve-racking and aggressive. Compositions lasting one second or almost infinitely long (as when the needle got stuck in a deep groove and played the same phrase over and over). I developed this system further. I began sticking tape on top of records, painting over them, burning them, cutting them up and gluing different parts of records back together, etc. to achieve the widest possible variety of sounds. A glued joint created a rhythmic element separating contrasting melodic phrases... Since music that results from playing ruined gramophone records cannot be transcribed to notes or to another language (or if so, only with great difficulty), the records themselves may be considered as notations at the same time.'
Milan Knizak
Use Hearing Protection
GMA
Ross, Manette and I hiked through a parking lot, under a bridge, over a bridge across a long stretch of beach, then up several switchbacks just in time to get a view of the sunset at Broken Hill. Now to get back...in the dark.
Sorry everyone, I was not often here these last days, but I was very busy..
Fujifilm Finepix HS10 + Raynox DCR250
Like my photography? Check out my music! It's free!
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