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CARL ZEISS Planar C 80mm f2.8 T* Lens
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Rodinal developer 1+25 3min 20C developed in Apr 2016
Plustek OpticFilm 120 film scanner
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21Oct2015
The Time Warner Center is a mixed-use skyscraper developed by The Related Companies in New York City. Its design, by David Childs of Skidmore, Owings & Merrill, consists of two 750 ft (229 m) towers bridged by a multi-story atrium containing upscale retail shops. Construction began in November 2000, following the demolition of the New York Coliseum, and a topping-out ceremony was held on February 27, 2003. It is the property with the highest-listed market value in New York City, $1.1 billion in 2006.
Originally constructed as the "AOL Time Warner Center," the building encircles the western side of Columbus Circle and straddles the boarder between Midtown and the Upper West Side. The total floor area of 260,000 m² (2.8 million ft²) is divided between offices (notably the offices of Time Warner Inc. and an R&D Center for VMware), residential condominiums, and the Mandarin Oriental, New York hotel. The Shops at Columbus Circle is an upscale shopping mall located in a curving arcade at the base of the building, with a large Whole Foods Market grocery store in the basement. The complex is also home to a 1,200 seat theater for Jazz at Lincoln Center as well as CNN studios, from where Anderson Cooper 360°, among other shows, are broadcast live. CNN's Jeanne Moos, known for her offbeat ;man on the street reporting, frequently accosts her interview subjects just outside the building.
Construction was delayed for nearly 15 years after Mortimer Zuckerman's Boston Properties initially won a bidding contest to buy the property from the Coliseum's owners, the Metropolitan Transit Authority. Boston proposed to build two 63-story buildings to be designed by Moshe Safdie on the 4.5-acre (18,000 m2) Coliseum site in 1985. Unsuccessful competitors for the site included Donald Trump who proposed building a 137-story, 488 m high building which would be the world's tallest.
Boston's winning bid was $455 million for the site. It was to be the headquarters of Salomon Brothers. The building ran into intense opposition (including most prominently Jacqueline Kennedy Onassis) who were concerned it would cast a shadow on Central Park. In 1988 a court ruled that the building violated the city's own zoning ordinances. At about the same time, Salomon Brothers backed out.
A renegotiated deal called for the building to be 52-stories with Boston paying a lower price of $357 million for the site. David Childs was tapped to redesign the building.
The building still languished until 2000 when the Coliseum was finally demolished. The Center which now has 55 floors markets it as an 80-story building.
The Time Warner Center was the first major building to be completed in Manhattan after the September 11, 2001 attacks, although it was already under construction in 2001. While some New Yorkers noted the uncanny resemblance of the Time Warner Center to the fallen Twin Towers, the building's developer disclaimed to the press any intentional similarity
Red milkweed beetle playing dead. I walked past this same spot about two minutes later and this individual was walking on the leaf.
Lens was a Tokina 100mm macro on a 2x teleconverter.
Web--> Kowska Portofolio
Blog -> Kowska.blogspot.com
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Camera / Cámara: Voigtländer Superb
Lenses / Objetivo: Anastimat Skopar 75mm f/3.5
Film: Fuji Acros 100
Develop / Revelado: Rodinal 1+25 Revelado estandar
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Gracias por las visitas, comentarios y favoritos. Si pones un Award deja un comentario tambien. No uses esta fotografia en websites, blogs u otros medios sin mi permiso explicito.
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BAGRAM AIRFIELD, Afghanistan -An ISAF soldiers hands an Afghan girl a teddy bear, notebook and crayons during a visit to a hospital. (Photo by Capt. Thomas Cieslak)
Museums & Galleries NSW new site launched Friday, 27 September 2013.
Strategy and user experience by Pure and Applied, design by Toben and build by Interaction Consortium.
In 1997, the PA-46 was developed from the very successful PA-36 'Nove' as a special climate conditions version - namely for the use in desert regions. Tests and tactical reports from Africa had shown that Earth Defense Forces were in dire need for a more climate-resilient powered armor than the standard PA-36s and PA-58s, which suffered heavily under dust and extremely high temperatures.
Field modifications and enhancement packages were hastily developed, but these proved to be unsuitable for the battlefield. The biggest problem was overheating and fine dust getting anywhere, especially into the engines and the joints of the legs.
As a consequence, the PA-46 was to be a complete package for tropic and subtropic climate and harsh conditions like low air pressure in great heights. While being based on the PA-36 hull, the 'Nettai' became an independant PA development and finally received its own designation, PA-46. As a PA-36 evolution, Its bulky hull offered enough space for additional installments like a heavy duty heat exchanger, various dust filters, a dust-repelling system based on compressed air (ducted from enhanced and dust-proof engines), an enhanced sensor package and an improved climate control for the pilot.
Basically, the duty profile of the PA-36 was to be kept, which included the PA's ability to make a jet-assisted jump of at least 820m at 85 km/h and keep a ground running speed of 28km/h. In order to keep up with this profile and the additional systems running in the backgorund, more powerful engines had to be installed, raising the power output from 34ps to 42ps. As a side effect, dry weight rose dramatically so that the PA-46's suspension had to be augmented, too. All in all, the PA-46's weight even outclassed the beefed-up PA-36K 'Berlon', but the PA-46 was ordered into production since no short-term alternative was in sight for troop introduction in 1999, where this special profile PA was desperately needed.
Around 140 specimen of the PA-46 were built and mainly used on the African continent and in Middel East Asia. While the original PA-46 was not delivered with internal wepaons, it was compatible with the full weapon range of the PA-36, what made the PA-46 very versatile. Weapon field packs like the simple HR-670 'Wrist Racate' (a set of six single 70mm 'Thunder Crush' artillery missile launchers) were other frequent additions, as well as modified and sometimes improvised communication systems.
Despite its sheer weight and bulk which limited its use, the PA-46 became a reliable weapon in the Northern and Middle African conflict theatre against Idelian forces and saw frequent use until 2013, when it was retired or used to retrofit PA-36 units with spare parts.
nrhp # 66000731- Beale Street Historic District- Beale Street was created in 1841 by entrepreneur and developer Robertson Topp (1807–1876), who named it for a forgotten military hero. The original name was Beale Avenue. Its western end primarily housed shops of trade merchants, who traded goods with ships along the Mississippi River, while the eastern part developed as an affluent suburb.[5] In the 1860s, many black traveling musicians began performing on Beale. The first of these to call Beale Street home were the Young Men's Brass Band,[5] who were formed by Sam Thomas in 1867.
In the 1870s, the population of Memphis was rocked by a series of yellow fever epidemics, leading the city to forfeit its charter in 1879.[5] During this time, Robert Church purchased land around Beale Street that would eventually lead to his becoming the first black millionaire from the south.[5] In 1890, Beale Street underwent renovation with the addition of the Grand Opera House, later known as the Orpheum. In 1899, Church paid the city to create Church Park at the corner of 4th and Beale. It became a recreational and cultural center, where blues musicians could gather. A major attraction of the park was an auditorium that could seat 2,000 people.[7] Some of the famous speakers in the Church Park Auditorium were Woodrow Wilson, Booker T. Washington, and Franklin D. Roosevelt.[5]
In the early 1900s, Beale Street was filled with many clubs, restaurants and shops, many of them owned by African-Americans. In 1889, NAACP co-founder Ida B. Wells was a co-owner and editor of an anti-segregationist paper called Free Speech based on Beale. Beale Street Baptist Church, Tennessee's oldest surviving African American Church edifice built in 1864, was also important in the early civil rights movement in Memphis.
In 1903, Mayor Thornton was looking for a music teacher for his Knights of Pythias Band and called Tuskegee Institute to talk to his friend, Booker T. Washington, who recommended a trumpet player in Clarksdale, Mississippi named W. C. Handy. Mayor Thornton contacted Handy, and Memphis became the home of the famous musician who created the "Blues on Beale Street." Mayor Thornton and his three sons also played in Handy's band.[8]
In 1909, W. C. Handy wrote "Mr. Crump" as a campaign song for political machine leader E. H. Crump. The song was later renamed "The Memphis Blues." Handy also wrote a song called "Beale Street Blues" in 1916 which influenced the change of the street's name from Beale Avenue to Beale Street. From the 1920s to the 1940s, Louis Armstrong, Muddy Waters, Albert King, Memphis Minnie, B. B. King, Rufus Thomas, Rosco Gordon and other blues and jazz legends played on Beale Street and helped develop the style known as Memphis Blues. As a young man, B. B. King was billed as "the Beale Street Blues Boy." One of Handy's proteges on Beale Street was the young Walter Furry Lewis, who later became a well known blues musician. In his later years Lewis lived near Fourth and Beale, and in 1969 was recorded there in his apartment by Memphis music producer Terry Manning.
In 1934, local community leader George Washington Lee authored Beale Street: Where the Blues Began; the first book by a black author to be advertised in the Book-of-the-Month Club News.[9]
In 1938, Lewis O. Swingler, editor of the Memphis World Newspaper, a Negro newspaper, in an effort to increase circulation, conceived the idea of a "Mayor of Beale St.," having readers vote for the person of their choice. Matthew Thornton, Sr., a well-known community leader, active in political, civic and social affairs and one of the charter members of the Memphis Branch of the NAACP, won the contest against nine opponents and received 12,000 of the 33,000 votes cast. Mr. Thornton was the original "Mayor of Beale St." an honorary position that he retained until he died in 1963 at the age of 90.
By the 1960s, Beale had fallen on hard times and many businesses closed, even though the section of the street from Main to 4th was declared a National Historic Landmark on May 23, 1966.[1][3] On December 15, 1977, Beale Street was officially declared the "Home of the Blues" by an act of Congress. Despite national recognition of its historic significance, Beale was a virtual ghost town after a disastrous urban renewal program that razed blocks of buildings in the surrounding neighborhood, as well as a number of buildings on Beale Street.
In 1973, the Beale Street Development Corporation (BSDC) was formed by George B. Miller and others as a racially diverse, cooperative effort for the redevelopment of Beale Street. The corporation was selected by the City of Memphis to participate in the redevelopment of the blocks on Beale between Second and Fourth streets in August, 1978. The corporation dedicated its efforts to the success of the Beale Street project for the preservation of the street's rich history, and to its cultural as well as physical development. The BSDC secured 5.2 million dollars in grants for the renovation of Beale Street.
In 1982, the City of Memphis recommended that the BSDC hire a management company led by John A. Elkington to assist in the development of the street by securing new tenants, collecting rents and handling certain maintenance and security issues. Each new lease had to be agreed upon by BSDC, the City of Memphis and the management company, Performa.
The day-to-day management of Beale Street was turned over to the City of Memphis in an October, 2012 court decision after a long legal dispute involving the city, BSDC and Performa.[10]
During the first weekend of May (sometimes including late April), the Beale Street Music Festival brings major music acts from a variety of musical genres to Tom Lee Park at the end of Beale Street on the Mississippi River. The festival is the kickoff event of a month of festivities citywide known as Memphis in May
from Wikipedia
Leica M3 and Zeiss Opton 50mm f/1.5 Sonnar (with adapter)
Fujifilm Neopan 1600 developed @ 3200 in Xtol (1:1)
Certificates distribution ceremony held of Developing Critical Mass
for Educational Reform in Chitral
CHITRAL: Since its inception in 2003, the Aga Khan University’s
Professional Development Centre in Chitral (AKU-PDCC) has been
offering a variety of high quality innovative programs for building
the capacity of schools and key stakeholders in Chitral, other parts
of Pakistan, and Afghanistan. Over 2600 teachers, head teachers, and
education managers have thus far attended various Certificate and
short courses offered by this institution. PDCC. has also developed a
number of schools as model in multi-grade teaching and ECED. Its
faculty have engaged in research and published a number of articles
and book chapters in various national and international journals and
books. PDCC has recently won a very competitive research grant award
from Higher Education of Pakistan to study the role of civil society
institutions in promoting cultural diversity and pluralism in Chitral.
A colorful ceremony was organized at PDCC to celebrate the successful
completion of two Certificate Courses in ‘Educational Leadership and
management’ and ‘Primary Education’. A total of 39 head teachers and
teachers graduated from these two courses. 22 out of 39 were from
government schools. Executive District Officer primary and elementary
schools Muhammad Siraj was chief guest on the occasion while there
ceremony was presided over by Sultan Mehmood Regional Program
Manager Hashoo Foundation. The ceremony was attended by
educationists, leaders of the civil society institutions, and teachers
community.
Speaking at the ceremony, Dr. Mir Afzal Tajik, Head Outreach AKU-IED
and Head PDCC highlighted key issues and hurdles in the way of
improving the quality of education in the district. He also
highlighted how these courses have helped the graduates to address
these issues and thus bring about positive changes in their schools.
He urged that bringing about positive changes in schools is possible
but the head teachers and teachers have to initiate the change. The
purpose of these courses was to develop the ‘change agents’ needed to
initiate and lead the change.
Siraj Muhammad, EDO Education Chitral, thanked AKU-PDCC for its
continuous efforts to enhance the capacity of schools and to develop
leadership and change agents for schools in Chitral. He urged the
graduates to implement what they have learnt in the courses and
assured them of his full support. He particularly thanked PDCC
leadership for their cooperation with the government education. He
also advised the graduates that they should work with full enthusiasm
and diligence.
Sultan Mehmood and others also lauded AKU-PDCC for its valuable
contributions to capacity building of key stakeholders in Chitral.
Mrs. Commandant Chitral Scouts while talking on the occasion expressed
her great sorrow on trend of cheating. She said that mostly graduate
and post graduates students could not speak transparently and they are
very poor in general knowledge. Although they have degrees but no
knowledge it means that they use unfair-means in examinations or warm
palm of Board and university staff. She said that during recruitment
of Chitral scouts some 31 candidates were pulled out from test hall
because of involving in cheating. She said that our head teaches and
teachers can bring positive changes. She appreciated decision of
provincial government to bound government schools teaches to enroll
their children in Govt. schools not in private one so as to couscous
about the future of their own children and they will teach honestly to
their students. At last Certificates were distributed amongst the
graduates.
G.H. Farooqi C/O Manager bank Islami Main branch Chitral phone No
0943-320737, 0943-316052, 0943-414418 , 03025989602, 03337069572,
03159698446, 03469002167
email: gulhamad@gmail.com
Developed from the earlier Six-20 Kodak, this camera retains the art-deco chrome pin-stripes and black enamel of the earlier model, but now features a simplified strut mechanism and a folding eye-level frame finder to augment the brilliant waist-level viewfinder. This particular example has an f/6.3 10.5cm K.S. Anastigmat lens in a three-speed No.0.V. shutter.
produced between : 1933 - 1937
lens : Various
shutter : Various
film type : 620
picture size : 6 x 9 cm
Seen at the Keighley Festival of Transport at Ingrow Station on 4th July 2010.
Taken with a Zeiss Ikon Contaflex IV and Tessar 50mm f2.8 lens on Fuji Superia Reala 100 film, home developed in Tetenal C41 chemistry.
Camera: Bronica S2; Lens: Nikkor-P 75mm f/2.8; Film: Ilford FP4+ 125;
Developed in Rodinal (1+50) @ 19.6C for 15:30 minutes.
Photography is a great passion and the use of film is the highlight of it. This is the photograph of the equipment necessary in order to develop black and white film.
Fuji Superia 200, developed and scanned for all of £2.99 at Asda. And you even get an index print. It's the first time I've got a film processed at Asda and I was well pleased with the result.
(Poor excuse for posting another snow picture, I know.)
The Rise
Regency Square Mall was originally developed in the mid-to-late 1960s. The project was initiated by Regency Centers, a now-powerful retail real estate trust based in Jacksonville that was at the time just getting started.
The mall was constructed at a cost of $12 million upon a giant clump of sand dunes, and opened its doors to the public in 1967. It featured three anchor stores – JC Penney, Furchgott’s, and May-Cohens – as well as an adjacent movie theater.
Regency quickly became a hit, owing a lot of its success to its location. At the time the Arlington area was among Jacksonville’s fastest-growing neighborhoods, and Regency Square Mall was by far the closest retail hub for its residents as well as shoppers coming into town from the beaches. It also helped that the mall was built in an era where shopping malls were quickly becoming a ubiquitous part of life in America.
The surrounding area experienced a development boom, with shopping centers, car dealers, office parks, and restaurants popping up all along neighboring stretches of Atlantic Blvd. Some of this was a result of continued growth in Arlington, but much was the direct result of traffic brought in by Regency’s success.
By the late ’70s, Regency was one of the country’s most active malls, and completely dominated the Jacksonville shopping landscape. The only “nearby” mall that could claim to compete with Regency’s offerings at the time, Orange Park Mall, was over 24 miles away.
Naturally, the mall’s ownership wanted to capitalize on this success, so around this time plans were developed to double the size of the mall at a cost of around $30 million.
Bizarrely, developers opted to tack on the additional space to the opposite side of May-Cohens, creating two wings divided by an anchor store. Ivey’s and Sears became the anchors of the newly-opened west wing.
Shortly thereafter, the east wing would get upgrades in the form of an AMC theater and a large food court.
All the while, business continued to boom at Regency Square, perhaps more so than ever.
The Fall
There’s an old proverb based on a Bible passage that states, “Pride comes before a fall.”
In the mid ’80s, Furchgott’s announced their merger with Stein Mart. While most of the chain’s stores were converted to the Stein Mart branding, Regency’s operators proudly believed the brand to be too low-class for their mall and opted to pursue a replacement anchor.
At the turn of the decade, Regency faced stiff new competition in the form of The Avenues. This new two-story mall, constructed along the intersection of Philips Highway and Southside Blvd., offered a slightly more upscale shopping experience and threatened to lure customers from the then-thriving Baymeadows area away from Regency.
Around this same time, cracks began to show in the foundation at Regency. The mall changed ownership, being sold off to Chicago-based General Growth Properties.
A couple of anchor stores began a decade-long game of musical chair. Dillard’s moved to yet another new wing, vacating the former Ivey’s, which would then become a Montgomery Ward. May-Cohens would become a Gayfer’s, then later a Belk.
Most significant, however, was the rapidly-growing issue of crime. By the early ’90s, yearly crime reports at the mall reached quadruple digits. Over the following decade, the mall rapidly developed a reputation among locals as “the sketchy mall”.
The mall’s management made attempts to fix their reputation, but for the most part the damage had been done. The addition of a JSO substation in 1998 did little to curb the crime epidemic, and the addition of an aggressively-enforced mall dress code the next year only served to alienate its remaining customers.
It seemed clear that despite the mall’s shortcomings, its management felt as though it was still an elite retail hub. In other words, they let pride take the place of rationality.
Another round of renovations in the late ’90s brought an upgraded food court and theater. When Montgomery Ward left in 2001, management pursued big-name anchors rather than simply looking to fill the vacated spot. As a result, Ward’s spot stayed empty for five years.
In 2005, the opening of the St. Johns Town Center made Regency’s survival even less likely. The Town Center now catered to the upscale crowd, with The Avenues’ savvy management team rolling out renovations around the same time to keep up appearances.
Meanwhile, Regency’s crime rate grew worse and vacancies began piling up within its corridors.
By the late 2000s, it was clear that the mall was dying. Crimes at Regency outpaced those at The Avenues and St. Johns Town Center combined.
The mall’s west wing became a ghost town. Dillard’s converted their location to a clearance center. A shooting in 2008 involving an off-duty JSO officer only served to further solidify the mall’s reputation as a bad place. Many locals refused to shop at the mall by themselves, or after dark.
By 2014, the mall’s occupancy rate slipped well under 50%. Belk, which occupied the anchor space that separated the east and west wings, announced that they planned to bolt to a standalone store further down Atlantic Blvd. General Growth Properties, finally accepting that they wouldn’t be the ones to save the mall, put it up for sale in 2013, and got rid of it just a year later.
When new ownership took over, they opted to close down the west wing and move any remaining tenants over to the east wing in hopes of saving at least one part of the mall.
OLYMPUS OM-D E-M1 Mark II + OLYMPUS M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO
“ 80M High Res Shot ”
Developed by Adobe Lightroom Classic 9.0
The LOST production team has really developed a fondness for the historic YWCA on Richards Street in downtown Honolulu. They returned again this evening for a third-floor shoot. Even though they didn't get started 'til the sun was going down, crane mounted lamps could easily have given the interior shoot the look of a daytime scene. Evangeline Lilly was spotted, as was an unfamiliar actress.
In early spring small maple flowers are transformed in a matter of days into winged seeds. I caught this maple tree in the action as its tiny red ovaries began to enlarge into seeds.
Maple flowers lack petals but they provide wonderful color when they are massed on the tree, reminiscent of the color maples provide in the winter.
Please join me in my blog “Botany Without Borders: Where Design Meets Science”
The Broadstone Gate will provide a key access to the Grangegorman site once complete and is being developed as part of the Luas Cross City works. It will be finished as a public plaza and the access will provide a major linkage between Grangegorman and Dublin city. The plaza is situated off Constitution Hill on the site of the old royal canal at the former Great Weatern Railway Station commonly known as Broadstone, and will mark a prominent entrance to the Grangegorman urban quarter.
The Broadstone site, which borders Grangegorman on its east side, was subject to a Part VIII planning process in 2014 in order to facilitate the site development and gate access.
Under the Grangegorman Masterplan, the primary urban path through Grangegorman – St Brendan’s Way will link with the Broadstone Gate which when completed will reach as far as Prussia Street. The link with Broadstone can also be seen as an extension to the 18th century historic spine of Dublin City which covered Dublin Castle across Grattan Bridge, along Capel Street/Bolton Street, Henrietta Street and King’s Inn.
In May 2016, the boundary wall dividing Broadstone and Grangegorman was removed, creating a historic pathway joining the two sites for the first time. The Broadstone Gate entrance will mark the first access to the Grangegorman site from Constitution Hill. The Luas Stop at Broadstone opened in late 2017. Works to the Plaza are ongoing and due to be completed by summer 2020.
I have a collection of old Sigma cameras.
The oldest working one is a DP2
The one that I like best is a DP3 Merrll
The most recent is the DP0 Quattro
The Sigma DP1 was a high-end compact digital camera introduced by the Sigma Corporation. It featured a 14-megapixel Foveon X3 sensor (2652 × 1768 × 3 layers), a fixed 16.6 mm F4.0 lens (28mm equivalent), a 2.5” LCD and a pop-up flash. It was the first "compact" camera that featured an APS-C sized sensor, a feature that Sigma claimed would result in DSLR quality images from a small, pocketable camera. My copy of that camera stopped working, on a very cold day in Brussels, about nine months after I purchased it.
A follow-up camera, the Sigma DP2, was released in 2009; it features a different lens, and they are being sold in parallel. An improved version called Sigma DP1S was announced on November 17, 2009.
Both the DP1 and the DP2 were close to unusable and did not really work above ISO 100. Both cameras were criticised for poor low-light performance and slow speed, summarised as "a great concept that needs a considerable amount of additional work".The user interface has also been criticised. Also battery life was terrible ... today when using the DP2 I managed to take no more than 40 images per battery.
In February 2012 it was announced by Sigma Corporation that an updated version of both the DP1 and DP2 series, known as DP1 Merrill and DP2 Merrill, would incorporate the updated 46 MP Foveon sensor of the SD1, resulting in substantially greater image detail. Another notable change of the 'Merrill' DP cameras was the focus ring was in the traditional location around the lens barrel.
In March 2013, the Sigma DP3 Merrill became available featuring a 46MP sensor with 50mm f2.8 and a new Face Detection autofocus. I am not sure when I purchased this camera but I got a big surprise when I discovered that it was not possible to process images using third party software so while the camera produced beautiful images I did not really use it.
Recently I decided to reconsider all working DP cameras and was more than impressed by the DP3 Merrill to the extent that I decided to get a Sigma Quattro DP1.
Even though it is not mentioned in the specs the DP1 Quattro now outputs DNG files making the camera more usable than the Merrill but I prefer the images produced by the Merrill.
Today I decided to experiment with the DP2.
The central focus of FDR’s second term was developing and executing the New Deal to bring the country out of economic turmoil. In this room, there are three scenes depicting the state of American citizens in the United States during the Great Depression. In front of you, a bread line is shown, representing the poverty and desperation of the working class during the Great Depression. Inscribed above the sculptures is the following quote from FDR’s second inaugural address: “I see one-third of a nation ill-housed, ill-clad, ill-nourished.”
The urban companions to the rural couple are represented by a five-man portion of an urban breadline shuffling its way alongside a brick building. These lines, which formed outside food kitchens offering bread, soup, or groceries, often extended for many city blocks.
George Segal
George Segal was born in the Bronx, New York City, in 1924. His parents had immigrated from eastern Europe. George exhibited an interest in art early and won honors for his work while still in high school. George was raised in New Jersey, where his family settled, and he helped his parents with their chicken-raising business throughout his teens. Later, he took over the farm and still lives there with his wife Helen. Today, the old chicken coops house his art studio.
Everyday life and everyday happenings form the basis of George Segal’s sculptures. His pieces are cast directly from live models, mostly friends and relatives. George’s method of sculpting is unique. It depends heavily on real-life events and people said within environments which he constructs from real elements and furnishings. Segal’s work is therefore figurative but it does not romanticize or idealize the people whom he casts.
As the critic Phyllis Tuckman explains in the book, George Segal: Recent Painted Sculpture, “Segal’s figures radiate an aura of the familiar. They look like the kind of people with whom you come in daily contact…. These slices of life’s scenarios belie or masked other aspects of this haunting art.” Segal’s environments express more than what is visible on the surface. They dig deeply and say much about the universal elements of life through their focus on simple tasks.
It was for these reasons that George Segal was chosen to work within the themes of the Memorial. George has strong feelings and deep empathy for the Roosevelt era. He quickly selected three everyday images that were descriptive of the essence of the Depression years in our country, which had such a deep influence on the character and quality of our culture. Within these depictions the message is one of inherent individual dignity in the face of overwhelming odds.
George Segal developed his very personal casting technique in the early 1960s. He starts by dipping cloth bandages in wet plaster and then applying them directly to a body or to an object. He spends time working with his models before casting, describing the gestures he is trying to achieve and choreographing the positioning of their bodies in space within the constructed environment. Artist and model work together to finalize the pose before wrapping begins. Once the format has been fixed, the bandages are fitted around the various parts of the body. Hardening takes only minutes and then the bandages are removed by splitting them into sections. Later, they are reassembled to form the final figures or, as was the case for figures in the Memorial, they become molds for the final bronze sculptures.
We have developed speed, but we have shut ourselves in. Machinery that gives abundance has left us in want. Our knowledge as made us cynical; our cleverness, hard and unkind. We think too much and feel too little. More than machinery, we need humanity. More than cleverness, we need kindness and gentleness. Without these qualities, life will be violent and all will be lost. [...]
Hannah, can you hear me? Wherever you are, look up Hannah! The clouds are lifting! The sun is breaking through! We are coming out of the darkness into the light! We are coming into a new world; a kindlier world, where men will rise above their hate, their greed, and brutality. Look up, Hannah! The soul of man has been given wings and at last he is beginning to fly. He is flying into the rainbow! Into the light of hope, into the future! The glorious future, that belongs to you, to me and to all of us. Look up, Hannah. Look up!
Criamos a epoca da velocidade, mas nos sentimos enclausurados dentro dela. A máquina, que produz abundância, tem-nos deixado em penúria. Nossos conhecimentos fizeram-nos céticos; nossa inteligência, empedernidos e cruéis. Pensamos em demasia e sentimos bem pouco. Mais do que de máquinas, precisamos de humanidade. Mais do que de inteligência, precisamos de afeição e doçura. Sem essas virtudes, a vida será de violência e tudo será perdido. [...]
Hannah, estás me ouvindo? Onde te encontres, levanta os olhos! Vês, Hannah? O sol vai rompendo as nuvens que se dispersam! Estamos saindo da treva para a luz! Vamos entrando num mundo novo - um mundo melhor, em que os homens estarão acima da cobiça, do ódio e da brutalidade. Ergue os olhos, Hannah! A alma do homem ganhou asas e afinal começa a voar. Voa para o arco-íris, para a luz da esperança. Ergue os olhos, Hannah! Ergue os olhos!
Charles Chaplin
Wista Zone VI, 90mm Nikkor, Fuji Acros 100, Stand Developed Rodinal 1:100 55 minutes.
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All images on this blog are copyright protected, registered with the US Copyright Office, and vigorously protected. In order to avoid what could be costly contact for you with my attorney, get my written permission before any use, additionally any approved web use of this image is also required to be linked to this URL and properly credited. NO commercial use is allowed without my written approval and compensation. Images are protected and their use is tracked using Digimarc™.
Film developed at home with Ilfotec DD-X at 20c
Film: Fuji Acros 100
Scanner: Epson V550
Camera: Olympus OM10
Center Gallery
111 Ellis
Wichita, KS
Exhibition: Final Friday, March 26
2010 NATIONAL PHOTOGRAPHY FELLOWSHIP COMPETITION - "DEVELOPED WORK"
Visiting Juror: Natasha Egan, Associate Director, Museum of Contemporary Photography, Chicago, Illinois
Opening Reception: Final Friday, March 26, 7 - 10 p.m.
Exhibition Dates: March 26 - April 23, 2010
Gallery Hours: Friday 12 - 6 p.m. & Saturday 12 - 2 p.m.
$ 500 Fellowship recipient: Larry Robinson, Iowa City, IA.
Exhibiting Artists: Zach Abubeker, Chicago, IL; Roger Boulay. Albuquerque, NM; Jennifer Colten, St. Louis, MO; Mary Farmilant, Chicago, IL; Pete Herzfeld, Washington, DC and Eric White, New York, NY.
Work featured on the Center Gallery website, Honorable Mentions: Ray Klimick, Athens, OH; Brook Reynolds, Charlotte, NC; Rylan Steele, Columbus, GA and Amanda Pfister, St. Louis, MO.
Juror Statement: It’s always a pleasure to serve as a juror for such national exhibitions like the Center Galley’s Developed Work exhibition for the 2010 National Photography Fellowship Competition. The process of looking at each submission opens my eyes to a variety of exciting trends developing in the field of photography. The photographic styles ranged from portraiture to landscape, abstract to sculptural, and conceptual to dreamlike. Overall the dominant theme was a introspect view of the United States’ social political landscape. The seven artists I chose to include in this exhibition reveal the diversity in photographic theme and style seen throughout all the entries.
Larry Robinson’s work cleverly stood out in the submissions with its wit, absurdity and pop culture references. The juxtaposition between the projected images of food in the installations with their contrasting domestic or natural environments speaks humorously to America’s infatuation with food. Roger Boulay’s photographs of sculptural stacks of magazines speak beautifully to America’s consumption of media. Jennifer Colten’s eerie surveillance-like video stills of uninhabited places tap into the more anxiety prone culture Americans have developed since the September 11th attacks. Eric White’s examines the border between Mexico and the United States with particular focus on the security fences, surveillance stations and checkpoints. Through portraiture, still-life and landscape, Zach Abubecker observes Ethiopian immigration in the United States raising issues of assimilation and cultural identity. Mary Farmilant’s striking interiors of abandoned hospital spaces perhaps act as a depiction of the current demise of the heath care system. And lastly, Pete White conflates death notice photographs with weather reports in an attempt to illustrate the social political tension generated by death.
The caliber of the work submitted was stellar and I would like to recognize the following artists that I was unable to include in this exhibition: Brook Reynolds for her pictures of closed gas stations; Rylan Steele for his interior office pictures, and Amanda Pfister for her typography of closed car dealership throughout the United States.
Natasha Egan
Associate Director and Curator
Museum of Contemporary Photography
Columbia College Chicago
For more information regarding Center Gallery and the 2010 National Photography Fellowship Competition - "Developed Work" exhibition, please contact: www.centergalleryonline.com
Alice Gast, President, Imperial College London, United Kingdom, speaking during the Session "Developing a Vaccine Revolution with Imperial College London" at the Annual Meeting 2019 of the World Economic Forum in Davos, January 24, 2019. Congress Centre - IdeasLab
Copyright by World Economic Forum / Mattias Nutt
One of the most-often heard argument used by cannabis prohibitionists to justify the War on Drugs is that "cannabis harms the developing brains of the young." But is it really true?
Camera: Minolta XD-11; Lens: Helios 44-2 58mm f/2; Film: Ilford FP4+ 125;
Developed in Rodinal (1+50) @ 21C for 13:49.
Wendy Barclay, Action Medical Research Chair, Virology, Imperial College London, United Kingdom, speaking during the Session "Developing a Vaccine Revolution with Imperial College London" at the Annual Meeting 2019 of the World Economic Forum in Davos, January 24, 2019. Congress Centre - IdeasLab
Copyright by World Economic Forum / Mattias Nutt