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What India loves most is Jugaad- technology (an euphemism for indigenous and creative solutions).US seeks India for cost cutting as we have age old expertise in this area.
a)Cooking gas is finished.No problem.The cylinder is turned upside down to utilise every single molecule .
b)Generator can be used as an engine (truck+pickup) and you've a hybrid vehicle ready .
c)I recently downloaded free Kazaa and hacked a premium version from its console.
Jugaad is only limited to your creativity and here who needs a refrigerator when some ice cubes and a tub can do the job :) Tribute to the nation for celebrating its 60th anniversay .Jugaad makes us work.
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Day two of our rain, none of the predicted damage has happened in the foothills and it's doing a lot of good to our thirsty state. There should be 3 or 4 feet of snow in the mountains and several inches here in Southern California. I'm loving it!
A little something going on the next street over, out by a driveway. I'm inside the Mini Cooper.
My nephew Marian (4) has a problem. The beer cap is too tough for him. You can guess from his expression how hard is he pushing to open the bottle of Budweiser. But since he is rather stubborn he finally made it. Yes, "if you want you can". Taken with Zuiko OM 50/1,8, aperture either 1,8 or 2, ambient light, cropped in photoshop.
En Belgique, 424.000 enfants vivent aujourd’hui sous le seuil de pauvreté. Ce qui représente une personne sur quatre en Wallonie et une sur trois à Bruxelles ! Ces familles se débattent dans des difficultés financières qui entraînent souvent une cascade d’autres problèmes en matière de santé, de logement, d’enseignement, d’emploi, de participation à la vie sociale… Et certaines sont encore plus exposées que d’autres, comme les familles monoparentales et les familles issues de l’immigration. Agir dès le plus jeune âge permet donc de donner à ces enfants de meilleures chances. Raison pour laquelle les bébés de 0 à 3 ans sont la priorité de l’opération Viva for Life.
Cette pauvreté a un impact direct sur le développement des enfants et le souhait de Viva for Life est d’apporter des moyens aux associations actives sur le terrain de la petite enfance et de la pauvreté. L’année passée, 33 d’entre elles ont été financées grâce à vous et ont permis de mettre sur pied des projets de renforcement de liens entre parents et enfants vivant cette situation. Pour cette nouvelle édition, l’accent est mis sur le périnatal et le préscolaire car il est important d’intervenir tôt pour aider ces familles en difficulté.
Cette opération est menée en partenariat avec les pouvoirs publics, l’ONE, la Fondation Roi Baudouin, la RTBF et CAP48. CAP48 participe à cette opération en apportant son expertise dans la gestion des dons et des financements aux associations. Les projets éligibles peuvent concerner différentes tranches d’âge mais leur action doit être significative envers les enfants âgés de 0 à 3 ans.
L’opération a pour vocation statutaire de soutenir divers projets, ayant le statut juridique d’association sans but lucratif, de fondation (sauf les fondations qui se limitent à l’activité de récoltes de fonds) ou de société coopérative à responsabilité limitée à finalité sociale, à l’exclusion de toute société commerciale et de toute institution créée et dirigée par les pouvoirs publics.
L’opération finance prioritairement le renforcement des associations actives sur le terrain de la petite enfance et de la pauvreté. Les projets éligibles peuvent concerner différentes tranches d’âge de 0 à 6 ans, mais leur action doit être significative envers les enfants âgés de 0 à 3 ans.
In Belgium, 424,000 children today live below the poverty line. This represents one in four in Wallonia and one in three in Brussels! These families are struggling with financial difficulties often lead to cascading other health problems, housing, education, employment, participation in social life ... And some are even more exposed than others such as single parents and families of immigrant. Acting at a young age makes it possible to give these children a better chance. Why babies from 0 to 3 years are the priority of the Viva for Life operation.
This poverty has a direct impact on child development and the desire to Viva for Life is to provide resources to organizations active in the field of early childhood and poverty. Last year, 33 of them were funded thanks to you and helped establish links building projects between parents and children living situation. For this new edition, the focus is on the perinatal and early childhood because it is important to intervene early to help those families in need.
This operation is conducted in partnership with governments, the ONE, the King Baudouin Foundation, RTBF and CAP48. CAP48 part in this by providing expertise in the management of grants and funding to associations. Eligible projects may involve different age groups but their action must be meaningful to children aged 0-3 years.
The operation has a statutory role to support various projects, having the legal status of non-profit association, foundation (excluding foundations which are limited to fund-raising activity) or cooperative company with limited liability purposes social, to the exclusion of any commercial company and any institution created and run by the government.
The operation primarily finances the strengthening associations active in the field of early childhood and poverty. Eligible projects may involve different age groups of 0-6 years, but their actions must be meaningful to children aged 0-3 years.
If you are in bed, make an appointment for the hospital burns unit to see you soon.
It might be a tradition - but it is not a good one.
1951
The cathedral from the high tower, on a fabulously good morning.
Bit of a flare/hot spot problem bottom left; otherwise I'm fairly happy with this.
On Saturday the L train was suspended for a bit because of a rail problem north of Bedford avenue. Subway issues can bring "The City That Never Sleeps" to a screeching halt.
River Dargle Flood Defence Scheme.
These images were taken during the third week of November 2016.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ has to be done to protect the integrity of the riverbank. At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.
Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.
The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.
Working in these confined spaces puts a premium of safety and communication.
The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.
They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.
And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.
This was the day when they started to fill those sunken tubes/casings with liquid cement. At a (rough) guess -- I'd say the foundations are sunk to a depth of approx 4+m.
With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).
As ever, the first attempt at a process brings it's own unique set of issues.
The tight confines of the riverbed obliges the use of a concrete pumping rig with long-boom capacity.
Would you call this a '4 section' unit'? Built on a 4-axle chassis, I'd suggest that it's reach is approx 40+m.
The remotely-controlled unit siphons and pumps liquid concrete into the sunken wells. Immediately the guys agitate the mixture to remove any air pockets. Final step is to lower in a pre-formed steel skeleton brace, intended to reinforce the foundation.
While we were there, the guys struggled to sink the steel frame into the sunken sleeve. I can't believe it was a problem with alignment -- other similar frames dropped neatly into their appointed sleeve.
Perhaps simply a case that the compressed liquid solution was just inflexible enough to receive the steel skeleton. We left.
Will find out later what the outcome was.
I was able to enjoy him for almost 4 years, but yesterday I had to put him to sleep.
Since November '24 he was palliative with severe lung problems, pulmonary fibrosis and shrivelled bronchial tubes. This meant he could not breathe properly and often felt short of breath.
For his comfort he was given the maximum dose of medication but despite that his lungs filled with water this weekend, he had to cough a lot and was very short of breath. So sad to see him fighting for a little air. There was nothing more they could do for him except more and other pills and injections (just to prolong his life, but what a life !), so I decided to let him go.
I am very sad and what an emptiness such a small dog leaves behind !
Bijna 4 jaar mocht ik van 'm genieten maar gisteren moest ik hem laten inslapen.
Sinds november '24 was hij palliatief: zware longproblemen, longfibrose en verschrompelde luchtpijptakken. Daardoor kon hij niet goed ademen en had hij het dikwijls benauwd.
Voor z'n comfort kreeg hij de maximale dosis medicatie maar ondanks dat schoten zijn longen dit weekend vol water, hij moest veel hoesten en had het benauwd. Zo zielig om hem te zien vechten voor een beetje lucht. Ze konden niets meer voor hem doen alleen nog meer en andere pillen en spuitjes (alleen om z'n leven te verlengen, maar wat voor een leven), dus besliste ik om hem te laten gaan.
Ik ben heel erg verdrietig en wat een leegte laat zo'n klein hondje achter !
Friend Zone Problems #Friend, #Zone, #Problems, #Raydiaz, #Adinkolansky, #Iamstevenspence, #AmandaCerny #Contfeed
Check out here >> cofd.co/weu7r
"I raised my boys to have respect for large women like their mother. I never had any problems with them."
...
OK, here's the real deal ---
I'm going to walk you all through this.
If ya want to take notes, now's the time to gather
up some old scrap paper and find a no# 2 pencil.
This of course takes place in the mud cobra field.
Currently, the mud is concrete hard, maybe even
way harder than that. Notice the trench made by
the tractor, there's a lot of them here and have
to be delt with using extreme caution, or you
will end-up just like we have right here ...;-0
So, what happened you might be asking ?
Now, I want you to take 2, maybe 3 long steps
straight back, now turn 90 degrees to your rt
& there before your eyes will be a real large
palm oil tree, like quite large. This means
there will be large bows hanging down.
Most which have a large stalk as big
around as a grown mans wrist and
do great damage to any forward
motion, impeding your plans.
At this point I want you to envision 15/20 seconds
before we arrived in this spot. I'm doing my best
2 stay as close to the tree, avoid the large bows
while at the same time, balancing on the edge
of the concrete trench.... Still with me here ?
And for a door prize there's a number of
smaller bows aimed straight at my face.
Well, it all happened like an explosion
as the small bows racked my face, an
the big bows hooked the upper right
corner of the canopy whipping our
backend around into the trench
followed by a now unstable
front tire also sliding into
the deep trench. This
my friends, sucks ;-(
Try as I might, there was no rocking this
400++ pounds of hot metal out of here.
And, it is now getting really hot out too.
There's now only one option left and
that is to retrieve the come-a-long.
Took some doing cuz once we were
out of this trench we shot straight
over into the other trench. What
now you are asking ? Well, we
just kept doing what we do
until the rig is free and we
are on our way, out of
this precarious spot.
There's probably more I could add, but
at this point I think you have caught on.
Another day at the office ;-)
Jon&Crew.
Please help with your donations here.
www.gofundme.com/saving-thai-temple-dogs.
Please No Awards, Gyrating Graphics,
Invites or Large Group Logos, Thank You.
.
Okay, so this is what my camera produces now that I signed up for flickr. The CCD seems to have a little problem.
Photo shoot with Lee at Castlefield, Manchester.
Model: Lee Randle
Car: Ferrari 458 Spider
Setup: Canon 7D @ 24mm (f4.0, ISO400, 1/5)
Canon 580 EX II modified with a softbox at 90 degrees to model (camera right, slightly elevated). Triggered w/ Yongnuo RF trigger/receiver
© Angela M. Lobefaro
All Rights Reserved
RIPRODUZIONE RISERVATA
A very nice photowalk with friends near Vercelli
Thansk to: Dennis, Irene, Chiara, Giulia
Dona 2 euro con un SMS solidale al numero 45509 -dal 27 novembre al 19 dicembre- | Progetto CESVI "Fermiamo l'AIDS sul Nascere"
█ VER IMAGEN CON MOVIMIENTO ► ift.tt/2efp995
Un día especial para ti y tu pareja ha llegado: el cumpleaños de tu amor, y es momento de celebrar su vida de una manera especial y con un detalle lindo. Hoy traemos para ti 10 imágenes de feliz cumpleaños mi amor que podrás enviarle al amor de tu vida.
Con estas imágenes de feliz cumpleaños mi amor el onomástico de la persona que amas no pasará desapercibido. Tiene que ser celebrado de tal manera que tu novio o enamorada se sienta la persona más amada del mundo. No dudes en tener un detalle de amor con él o ella, verás que su sonrisa al final del día valdrá la pena.
Imágenes de feliz cumpleaños mi amor
¿Qué has pensando hacer para su cumpleaños? Tal vez salir a cenar juntos, una sorpresa o un delicioso pastel; sea cual sea el regalo que le vas a dar, lo más importante es tu presencia con esa persona en ese día tan especial. Tal vez por circunstancias de la vida tuviste que mantener una relación a distancia con tu pareja y hoy no puedes estar a su lado, pues si es así ¡no te pongas triste! qué mejor forma de darle un bonito regalo que con una de estas imágenes.
Lanzamos para ti 10 imágenes de feliz cumpleaños mi amor para que la compartas con el amor de tu vida. Recuerda que puedes descargar todas las imágenes gratis y compartirlas sin problemas por tus redes sociales.
Encontrarás imágenes con deliciosos pasteles y frases de feliz cumpleaños que de seguro le van a encantar.
[See image gallery at ift.tt/H00Jwf]
Descargar Imágenes
Imágenes de Amor les desea un feliz cumpleaños a todos los románticos. ¡Qué la pasen de lo mejor!
El post 10 Imágenes de Feliz cumpleaños mi amor para celebrar el día aparece primero en Imágenes de Amor con Movimiento.
10 Imágenes de Feliz cumpleaños mi amor para celebrar el día | Imágenes de Cumpleaños, cumpleaños amor, imágenes de cumpleaños amor, imágenes de feliz cumpleaños mi amor
The super secret police is now equipped with a new motorbike for super secret police chases. But is it fast enough to keep up with the Flash???
Not only are Matchbox happy to bring back older castings which I've certainly no problem with but they have also begun, rather annoyingly, to bring some back in exactly the same colour schemes and liveries as before. I dont know if thats laziness, licensor requests or by demand but surely other colours could have been used we haven't seen before?
I guess if you'd missed this recolour first time around and dont want to pay silly Ebay prices then its perfect as the last case of 2018 now contains this previously seen metallic lime green 2010 Holden VE Ute SSV. Only Australia could make something as outrageously fast yet as practical as this vehicle with its 6.0 V8 engine and is most definitely going to be a future classic especially as all Australian manufacture of Holden products has now ceased.
It is and always was a wonderful offbeat product for Matchbox to model and one which they did very well with only some licensing issues with Holden stopping it from reappearing much sooner. The last one was way back in 2012!
Found recently in ASDA showing that things are at least heading in the right direction for regular updated distribution even if sadly yet again its still the exception rather than the norm and a total lottery as to whether they will actually appear in your local stores! Mint and boxed.
wearing the new `Midland' red that MRN introduced in 1992-4 is Leyland National 702 TOF702S which is seen leaving the new bus station in Ravens Meadows Shrewsbury in October 95, 702 had been delivered new to Wellington depot
All set for a day out and about in the world...and casual outfits such as this don't seem to cause any problems. Ladies usually smile and acknowledge me, sometimes even saying good morning, etc., while the guys just keep on keeping on...doing their own thing and paying no attention to another of the many women shoppers.
The only thing missing from the pic is my purse - I have several of them. And. I usually wear contacts, but this day, I just had to wear glasses.
Most of my clothes are now pocket-less by choice, and, needless to say, I don't miss 'em at all. Can you imagine how un-flattering bulging pockets would look on a pair of leggings? I can't remember the last time I bought anything with pockets - except for a few dresses and skirts. And those pockets, while indeed handy, are scarcely big enough to hold a hotel room key, credit card, a few dollar bills, and car keys. So, purses have definitely become my must-have. Forget the American Express card, girls. It's my purse that I can't leave home without!
I love the comfortable skimmers I'm wearing in this picture. They're soft, lightweight, flexible, and as you can see above, paired with nude pantyhose, very feminine. And they're also perfect with skirts and dresses, in addition to leggings.
The best part is, black tights or off-black sheer pantyhose let them become almost invisible under slacks and pants suits, making them a wardrobe staple for any occasion. That's probably because of the smooth, but not shiny, finish, lack of ballerina ties or other feminine enhancements, and just the right amount of exposed foot - no toe cleavage. I've worn them under dress slacks on selected days when some of my co workers were out of the office, with no issue. And they're a regular at the beauty and nail salon.
Having owned them for several years, I've walked quite a few miles and been many places in them, and have replaced a set of heels and soles. But they live on, and they're destined to stay an important part of my wardrobe. Though my new Mary Janes and nude pantyhose provide a much more feminine appearance in pants suits, and are unquestionably girly with shorts and dresses, I'll probably be wearing skimmers for a long time to come! Particularly since at this point, I'm still in leggings or slacks most of the time.
My salon friends are encouraging me to enhance my femininity by wearing my leggings to work. They already know how cute ballerinas, pantyhose and leggings look under tunic blouses and tops, particularly sleeveless. To color coordinate, they want me in white, red, black or navy blue ballerinas (with feminine string ties on the vamp, of course) every day, thus saving these pretty skimmers for days with management meetings or field trips out of the office. A few months in girly outfits will prepare folks for what is to come...and give me time to prepare for my debut in dresses.
Will I eventually make the transition into dresses or skirts, like so many other women? Time will tell if it actually happens...the women insist that it will, and that they usually get their way!
Update:
Last March, I actually handed over my traditional pants to my beautician for her church's rummage saie, and since then, have been wearing outfits like this (sleeveless tops and with sleeves) to work quite regularly since then. I keep a couple of sweaters there so my arms and shoulders are covered. Though my current outfits are well accepted, the girls make it clear that they (and rumor has it, now the guys too) are ready for my feminine side to take over... They tell me that I should start wearing dresses with dainty little kitten heels, jumper dresses with ballet flats, or tailored skirt suits with high heel pumps. Anything except pants!
Now that I've become "one of the girls", I can better understand why we're always chilly, while the guys are too warm. Our clothes are much flimsier than the guys, and they expose more of our skin. The girls tell me that once I'm wearing those cute sundresses they've picked out for me (to keep my arms and legs on display), I'll find it even more chilly in the office.
Guess I have that to look forward to. It's just another of the things we gals must endure, in order to look pretty for the boys...
Further Update...October 2011
When I had my hair done last week, my beautician was wearing a pretty black sleeveless shell, a pair of gray pull-on pants, and peep-toe 2" heels. I commented on how nice she looked, though she wasn't wearing her usual skirt. She smiled, and asked if I recognize the pants, I told her that I used to have a pair just like that.
So she confessed: "These ARE your old pants, honey. Since we're both the same size, when you brought in your donation last March, I went through your stuff and picked out four pairs of pants that I like, and bought them before they ever hit the rack. So now you know that at least some of your clothes went to a good home!" I said "they look really cute on you, better than they ever did on me." "You look so much more feminine in stirrups, capris and dresses than you ever did while wearing these pants, sweetie, that I'm really glad you gave them up."
I said "I guess we both came out ahead, didn't we? Now I'm curious, though. Are you planning to wear my pants for dress or just casual?" "Most likely for conferences I attend, though I'll enjoy wearing them to your hair appointments, so I can tease you about "getting into your pants!" But most importantly, can I expect that going forward, you'll be here each time in skirts or dresses?"
"No, I don't have enough of them yet, but I'm working on it."
"That's an easy thing to fix. We're both plus-size girls, sweetie, and we've confided in each other that we wear the same dress size. I'm going to be donating some of my skirts and blouses to the next rummage sale. So till then. each time you come in, I'll have one of my older skirt outfits in the car. You know which ones they are...I've seen you "check me out" when I was wearing them."
"When you arrive for your next appointment, the receptionist will usher you right into the ladies' room. Get settled in there, take off your stirrups and blouse, fold and put them in a bag. Then hang it on the outside of the ladies' room doorknob, to be picked up by whichever of the girls comes by first, and wait patiently in the ladies' room. Keep the door locked since you'll be wearing just your bra and pantyhose.
The girl will bring me the bag, and when my prior appointment is finished, I'll take it out to my car, returning with an outfit for you. One of the girls will pick up the bag, hang it on the ladies' room doorknob, and knock, so you have something to put back on."
"After you get dressed, come on out to the salon, check the mirrors to see how much prettier you look wearing a skirt and ruffled blouse, then model your new outfit for us, and spend a few minutes talking with the ladies. They'll be friendly and genuinely supportive of you - and happy that you've chosen to become one of us. Socializing will help you get comfortable with your new appearance."
"Since your old clothes will be locked in the trunk of my car, you probably figured that you'll be leaving your outfit on during your appointment. Once we're finished with your hair (and give you some light makeup), if the girls like how you look (and I can guarantee that they will, since they think you should be wearing dresses and skirts) then it becomes your newest outfit. You'll be wearing it when you leave the shop, and .you can be sure that lots of female eyes will be watching as you walk across the parking lot and get in your car! "
"As for your stirrups outfit - I'll wash it and put it into the rummage sale in place of my skirt and blouse. They don't care what they get to sell, and I might even be buying it. Stirrups are a retro style I haven't worn yet, and they look great on you. Since I want to try a pair, I know yours will fit me, and this way I don't pay much."
I laughed to her that it would be fun for me to be wearing one of her cute skirt outfits, and have her working on my hair wearing one of my stirrups outfits. She said "That's very likely to happen, sweetie - remember, girls trade clothes all the time!"
"My plan is going to drastically enhance your girlie appearance, and at the same time, painlessly eliminate stirrups from your closet. Just make sure you're wearing your stirrups to every appointment, have your legs freshly shaved and in new pantyhose, because your skirts will be a couple inches above-the-knee, short enough to showcase your legs!"
"Before long, all your pants will be history, and you'll be happily wearing skirts everywhere you go, including work. Everyone will love your new-found femininity. And I'll be thrilled that my old outfits are going to a girl who will enjoy wearing them as much - and as often - as I did."
Interesting plan... If she actually follows through, I might as well go along with it. The clock is ticking toward that day, anyway...and I'll never have a more accepting audience.
Updated December 17, 2011.
Yours truly came back from vacation (I wore stirrups the whole time as requested by the better half, she said no Capri's this trip) and absent-mindedly forgot about the arrangement at the beauty salon. But they didn't.
When I showed up for my appointment wearing stirrups, the receptionist led me straight into the ladies' room. She waited with me till I removed my stirrups and handed them to her, then put an "occupied" sign on the door and closed it for me, leaving me there in my tunic top, pantyhose and flats. About 15 minutes later, she returned, handing me the beautician's tan skort - the very same one I had admired on her last summer.
To make a long story short, one pair of stirrups is now gone, and in its place is a new (to me) skort outfit. The ladies (all wearing jeans or pants, of course) think it's a perfect beginning casual outfit, even though a bit late in the season.
One of the ladies reminded me that girls who wear skirts or skorts in the winter generally wear heavy tights underneath to keep their legs a little warmer...and pointed out that I've now become one of those girls. So, I guess I better dig out my tights!
When I did the requested turn-about at my car as I was leaving, I got a thumbs-up from the ladies at the window.
Their plan is working...
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
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.
The Starting Line, December 17th 2021, Franklin Music Hall. Philadelphia PA.
This was the first concert I got to shoot with the Nikon Z9. The lighting at this venue is not very good, as you can see, there was not a lot of front light. Without a front "white wash" or "spot lights", your images will be all over the place.
Without the spot or white wash, you have to bump your ISO higher than normal, and work the files a lot more in post.
With all of that being said, I still love the files I get from a Nikon. The cameras SUPER QUICK when it comes to taking photos. I shot it only in 20 FPS mode as you can't get RAW files at 30 FPS. Plus, you don't exactly need 30 FPS in this situation. (i wont be using 30 because it's JPEG).
In therms of Auto Focus, the focusing boxes were all over the dam place due to the lack of light in the face. It might find the eye in some situations, then jump to something else because there wasn't a lot of light.
Stephen was at the show shooting with the Canon R3 and ran into the same problem with the face detect and eye af bouncing all over the place.
What I can say, is the Nikon glass all the way around is slower focusing then Canon and Sony. Especially the 1.8 lenses, they are not as quick as I would like. The 70-200 is better, but in my experience using all flagship systems, the Nikon lags behind with focus speed. With that being said, it's lightyears ahead of the Z6 and Z7 and I could use it without an issue. I think I would on occasion miss some images that the Sony or Canon wouldn't miss, but it would be fine.
In terms of Banding, I did run into some issues caused by flickering LED lights. This is normal for all stacked sensor cameras from the a9 to a1 to Z9 and R3. The Canon and Sony's offer you variable shutter speeds to try and match the flickering. The issue there, when you have multiple types of LED lights, there's no way to match all of them. As a last resort the a1 and R3 also have a shutter and the Z9 does not. Stephen switched the shutter on and if he was above 1/400th of a second, even with the mechanical shutter, he still saw some banding. I felt the Z9 with Flickr mode on and off (it does not have variable shutter speed) did a very nice job. There's only so much you can do with these LED lights and I think the Nikon handled it really well. This was just a crap lighting situation that really pushes all cameras to the extreme.
This is just one concert setting, I shot with MUCH BETTER lighting the next night and got some great images, I will share those another time.
Another issue I ran in to, it's hard to know when you're taking photos when you can't hear the digital shutter noise. Theres white lines that show up around the outsides of the frames, but it's mostly out of my field of view. So it's hard to know when you're shooting unless you take your eyes away from the subjects, which I don't want to do. In fact, I handed the camera to my friend Richie to give it a shot, he took 350 images in 3 minutes because he said "there's no indication i'm taking photos". Canon puts a box more in the middle of the frame so you know when you're shooting.
It's been a while since i've uploaded all the FULL RES edited jpegs for people to see, but it was time to do it again.
I will have a lot more to say about the Z9 as I continue to use it. The good news is, i've shot two concerts, birds flying and a basketball game so far. Is it perfect....no, is it horrible, far from it. It has it's quirks, it needs some tweaks and I will pass my findings back to Nikon and everyone else who's interested.
I'm totally excited!! she stands pretty well! and can sit too, but need to fix some minor problems and make her knees to look pretty when she is sitting down.
Sorry for the messy picture x3
Rue Montorgeuil, je suis en terrasse avec des potes et soudain voilà que ce crew de danseurs arrivent et prend possession de la rue. Un spectacle en free style absolue, des gueules et des athlètes de haut niveau dont la rue est la piste de danse. Grave Fan.
Luego del anuncio de PoisonGirl aka www.flickr.com/photos/rowan__ashlar/19673266728/ me he puesto a revisar a mis MIO.
A ambos los he sellado con MSC matt (la misma lata), pero Kairn es hasta ahora el único que muesta grietas (siendo el más nuevo). Cuando lo hice era verano. Se pueden ver claramente gracias a mi Reflex y una posición adecuada a la luz.
Mr. Hobby sabrá de mi...
Revisen sus custom hechos con MSC
Reclamos aka www.gsi.co.jp/contact/mr-hobby/en/
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After the announcement made by PoisonGirl aka www.flickr.com/photos/rowan__ashlar/19673266728/ I started to check my MIO.
I sealed both with MSC matt (same can), but Kairn is the only one showing signs of cracks (he's the newest). When I painted him was summer time here. You can see them very clearly thanks to my Reflex and light position.
Mr. Hobby will read me...
Check your custom sealed with MSC!
Contact here www.gsi.co.jp/contact/mr-hobby/en/
‘Cause there's no salvation for a bad girl
We’re rock bottom
But there ain’t no stopping
‘Cause they don’t know nothing about love
We’re hell raising
And we don’t need saving
‘Cause there's no salvation for a bad boy
We’re rock bottom
But there ain’t no stopping
‘Cause its you and me against the world
I’m your dream girl
This is real love
But you know what they say about me…
That girl is a problem
Girl is a problem
Girl is a problem, problem
Oh Baby
You so bad boy
Drive me mad boy
But you don’t care when they say about me…
That girl is a problem
Girl is a problem
Girl is a problem, problem
One of the problems with living in Southsea is the proximity to the RN helicopter repair station across the harbour at Fleetlands. That in itself isn't a problem - a couple of friends work there, and I met an ex-girlfriend in the social club.
The issue is that they send things out on test-flights after they've been taking the spanners to them, which means that we constantly have choppers going overhead - low enough to take the TV and my AIS/ADS-B aerials out. And it seems that as we no longer have a proper Navy (thank you, successions of useless governments), Fleetlands are now being sub-contracted to the RAF to tinker with their equipment as well - like this one.
Out of the office window, Chateauforbes-sur-Solent
27 June 2018