Ive started shooting a lot more thanks to the AE-1 program. This is just a random shot of my girlfriend when we went out for drinks.

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Canon AE-1 Program

Relíquia adquirida no beco do fotógrafo, em Recife, por uma pechincha!

Lançada em Abril de 1981, mês e ano que nasci.

Melhor presente num havia!

 

Ah, de quebra comprei o Filme Fuji Neopan 100, P&B.

Lançamento Programa Desenvolve Alta Mogiana

It has been said that every generation has changes to adjust to and I don’t believe ours was much different than the changes prior generations coped and adjusted to. World War II children had all that murder and trauma, the children of the depression had the poverty and uncertainties of life, children like my grandfather at the turn of the century witnessed the evolution of things like electricity, the coming of age of gadgets to make life easier in certain ways. This is just the nature of the species to be in a constant change. Perhaps for my life this change was in the types of recreational items we consumed in pursuit of what? Happiness, experience, wisdom, knowledge? Time will let us know the results of this experiment.

 

This age, the now, is this the computer age, the beginning of the computer age as it seems those machines change, improve, and expand almost daily. There was a need for me to plug in an old computer system, one with Windows 3.1 as the operating system, it was probably ten years old, and it was like driving an old frail car on its last legs. How quickly the new becomes old and discarded. My current computer gurus laugh when I say I am comfortable in Windows 95, the benefits of 98, 2000, and XP being so superior to this old program I write in. When I was recently forced to examine the possibility of purchasing a replacement unit for this sick PC the number of options was incredible. I had to choose between so many computer variables, memory, ram, hard drive, video cards, speakers, size of screen, wide screen or regular and this was just in the low end category of notebooks. Processors were confusing, I had to chose between, Celeron and Pentium and Centrino all of this with the knowledge that what I purchased was going to be somewhat obsolete in a year or so.

 

Shift back to 1968, the summer of. Hi-jinks continued and one high led to another as young entrepreneurs were everywhere marketing pot and hashish, mescaline, LSD, and MDA, along with speed, heroin, and cocaine. We were still juiceheads having done our time learning this pastime the other items slowly got some of our dollars as we became more knowledgeable of their attributes. There was an acid trip I took early that summer when on getting off I thought I had shrunken to the size of an infant and I tried to get under the bed of the rooming house we called The White House. The guys had never seen this behaviour before, the idea of a “Bad Trip” was something the press always harped on to advance the cops theory that all drugs are bad. We didn’t like cops. That summer a groovy coffee shop opened in the basement of Vic’s’ Meat Pie store that faced onto Weston Rd, Vics was next door to the Black Cat Variety Store named after a brand of cigarettes popular at the time. Vics backroom was a dingy place, poorly lit with several tables set with single candles in coloured dishes giving off a red glow The owner served coffee and cokes and bags of chips. We dropped something, it could have been acid who remembers. Big Vic the owner had a CLOSED sign in his window out front, so we went to the back doors through the laneway that ran behind the shops and found half the kids in the neighborhood down there. Younger kids too, all high on something or the other grooving to some tunes. Two local plainclothes coppers come walking in dressed in ridiculous costumes, a lumberjack shirt for one burly goof named Criscoe and a ball cap and jeans for his side kick Smith, we spotted them right away and razzed them even though we were ripped. It was the original Mutt and Jeff show. We just left and the place emptied everyone had somewhere to go and listen to tunes, and not be disturbed.

 

We hung out at the Place Pigalle on Avenue Road. After the Place closed we’d go to this spot this guy from the States had opened a funky coffee shop on Dupont St not to far from the bar and we would go there half pissed and sit around listening to his eclectic tunes. This spot we called Rocheyz, but if you were to spell it correctly it would be Roches. The owner was like a Vietnam Vet kind of guy who looked like Ginger Rogers, his red hair tied in a pony tail. He was always talking about shitting in a hole, made a good mockery of consumer life and in his small way turned us on to the coffee shop ideology of former beat types like Ginsberg and Kerouac without actually preaching their names. He served weird stuff like tofu and beet juice tea, the lighting was real dim so you could just hangout forever, we heard somewhere that he was a junkie.

 

Most of the guys were still in High School at York Memo except for Billy, he worked somewhere maybe for the firebrick company, everything was going to change for everyone, guys were getting serious about chicks, I just wanted to party, Pete was going to St Lawrence College in New York State on a full hockey scholarship, the brothers Frank and Jack were off to Peterborough to study at the newly opened Trent University. Count was top of the class and doing quite well at U of T. I had my own directions to follow.

 

One day I was servicing the fire equipment at a place called McPhar Geophysics; this was located in Don Mills, a suburb of Toronto with an area that had streets full of small manufacturing plants and warehouses. Don Mills is thought of an upper middle class area of very sharp homes. In the receiving department at McPhar there was a lot of exploration gear, things like, snowshoes, canoes, axes and I guess it was like going on a movie set for me, as my eyes bulged. The closest I’d ever gotten to a pair of snowshoes was by watching the show Eric of the Yukon and His dog King, or something like that. A big swarthy guy with a beard and coveralls ran the shipping department and I wasn’t shy, I asked what this company did as he packaged neat things to be shipped to addresses printed in big lettering on the parcels, exciting names like, Rouyan/Noranda, Quebec, Kirkland Lake, Ontario, Sao Paolo, Brazil. This outfit was the leader in geophysical surveying in Canada, maybe the world as the founder of the company had invented this piece of machinery for use in WW-II to detect submarines underwater or something like that, when things get technical, remember Science class I get edgy. They found a use for the discovery in the mining industry, locating ore bodies.

 

Here’s how it worked. A typical set up would consist of six people, in the woods in an area, a remote area, near a mine site or a potential mining site. The party operator would put his Receiver on the ground, it was like an electronic sending unit, full of numerous incomprehensible to me buttons, switches, graphs and toggle like switches. This operator we’ll call him John Parker cause that was the guys name I trained with at the first place in Val D’Or Quebec in early January 1969. From Parkers’ receiver a number of wires with crocodile clips, each wire about twelve feet long, were unrolled and hooked up to my piece of machinery, the Transmitter. This little baby was my (the second in commands) equipment. It also had a lot of buttons and switches and a place for Parkers six wires to attach to. Maybe there were three positive and three negative wires. The transmitter was supplied power by a portable generator carried on some bodies back in a rucksack type fashion. In turn the wires were attached to longer wires, some a hundred feet long at six stations, three in front of the set up at certain intervals and three behind the set up at similar intervals. These wires were attached to eight foot steel rods which had been pounded into the ground by staff hired locally using big sledge ended axes. The gas generator was fired up and Parker would play with his buttons and ask me to change the frequency on my piece of equipment, like a parrot I would take his directions, then he would take numbers, called readings and write them into a book. Electric current was sent through the wires into the ground and our machinery somehow measured the results and this would give mining engineers the information they needed as to what direction the mineral they were mining was in or if there were any minerals worth mining for. At night it was our job, Parker and mine to take the days numbers and put them on graph paper, we had to use a slide ruler and this was a little tough for my grade nine math, especially since I’d told the owner/boss Ash Mullan that I had grade twelve which he bought since I showed up for my interview in my nice Invictus Football Team jacket, crew cut and all. I winged the night work for quite some time and thought I had invented a better way of doing the radius work, which we’ll get to in a while. After the mining engineers received these reports which I suppose they paid big money for they, if interested would send in a crew to drill the earth and take out what they call core samples that could be studied to determine the worth of the project.

 

For some reason this was a big thing, me leaving town to work away. It was like I was going to war which I tried to do twice, once a few years earlier the Canadian Navy turned me down for service after my final interview when they asked me my opinion on the Americans in Vietnam, I said, “they shouldn’t be there,” oops so much for saying the wrong thing about your allies, and that year 68 Bill and I tried to sign up for of all things the United States Marines. One time when we were down in Niagara Falls getting drunk at the Johns Club, a place where you went in and they took your order and like a man you’d say, “I’ll have a tray please,” and a waitress would bring you thirty small glasses of beer, and in less than an hour you were so pissed and you’d go for a leak and come back to your table and Bill had changed his name to something like Steve McQueen and he was actually on a movie shoot in the Falls and just taking a little time off for R&R and the ladies fell for it a few times! The following week after sobering up we headed back to Niagara Falls on a mission. The marines recruiting office was in a warehousey part of town in an old factory or something and they told us to go sign up for our own armed forces. I removed some kind of emblem, like a bomb shelter sign off the building and along with my other collectibles stuck it on a wall in the White House.

 

So it wasn’t as if this was the first time I tried to leave, it was the first time I actually got to leave. Close to my departing there was a big drunken go away, everyone was there, all the chicks we hung out with, Barb, kind of my date but we never did anything, Debbie , soon to be Jacks wife, Mickey who Pete was spending a lot of time with on the hood of his little mini car, Phyllis this Italian chick who was hounding Frank, Herbie’s girl, beautiful Ruth Hope the ministers daughter, Bill was still stagging it, it was a big thing, a big party. Mom had moved the family up to an apartment on Weston Road near Cadet Cleaners and Sid’s barbershop. Prior to that we had lived at 26 Victoria Blvd forever, the landlord, a Mr.Gowland must have sold the house. Alex was away on some secret mission we don’t really know where, rumour had it he was in the States on a football scholarship, another rumour was he was in Montreal. The younger kids were there, Kevin, Shane, Sue and Barb as well as mom who loved the teenagers coming over. The party got a little loud and out of hand, I recall the yellow cop cars parked on Weston Road, their red flashing roof top lights, then the cops coming in the front door and all of us running out the back door, and through to Buttonwood Avenue or was it Bartonville and then all of us hiding in the hedges at Bala Avenue school. We left the cops with mom who were busy asking her who was still drinking there, we all got away, we were all underage, and that’s just how it was then.

 

McPhar was a generous company, a few weeks prior to Parker and I leaving for Val D’Or they had me in for an afternoon, had me open up a new bank account where my cheque of $900.00 a month would be deposited, gave a start up expense cheque of $300.00 from which I was to purchase, felt lined snow boots, waterproof pants and a below zero parka. This was way before high tech clothing was available. Down on Yonge Street I found an Army Surplus shop that had neat war stuff and I bought a knee length grey parka, down filled, with a piece of dead fur on the hood. Some of the air force crests and badges were still on the sleeves. For pants I picked a pair of blue nylon jobs that were about half an inch thick with insulation. I should have spent more on boots though as the cheap dark blue zipper up snowmobile feltpaks I purchased were no match for eight hours trekking in snow at times six feet deep. My co-worker, trainer, boss John Parker met me midtown, he had rented a brand new olive coloured Pontiac four door for the drive up to Quebec, we didn’t get to far that first night as a winter storm forced us off the road in Barrie where I had a taste of a company bought motel room and a nice steak dinner, I knew right then I was going to love this gig.

 

Next day the snow still fell and I drove for a while giving Parker a break, it was rough driving up around Sudbury and when we turned right up towards Kirkland Lake this was the first time I’d truly been north. Prior to that us southern boys would think of Barrie as being north I would quickly discover that the North was a large area comprised of incredible terrain, long views, kind people, and a coldness that was not at all like the cold of Toronto. We made it to Val D’Or Quebec not to far from the Ontario border, perhaps an hour’s drive. Our hotel was an old two storey wood framed structure a few blocks from the centre of town which was about the size of Gravenhurst. The streets were covered in snow like a postcard. For meals there was an arrangement with the hotel to make us breakfast and a packed lunch, we would tell them how many sandwiches of what type, peanut butter(beurre d’arachide) and jam, or sliced ham(jambon), and so on. Dinners we went in to town and had a hot meal, anything within reason, no alcohol, and the company paid for everything.

 

Walking into town you could better understand the quietness of this village, as some kids skated and played hockey at an outdoor rink with boards, the heat from their breath coming out of their mouths, a pair of incandescent bulbs glared under round aluminum hoods illuminating the ice rink at each end. Nobody was on the streets, thick smoke poured from the chimneys of the tiny homes, some cabin like in size. The smell of burning firewood filled the air with that type of sweetness which a log of apple or some other such wood gives off. In town, I looked inside a few drinking establishments, now and then, had a couple of beers, spotted the older hookers plying their trade at the front of the bars dressed in obvious get ups, black, torn fishnet stockings, rouged cheeks and their breasts busting out from clothing that was meant for younger smaller ladies. In Ontario towns you would not see such flagrant prostitution, Quebec was more lenient, more accepting of mans need for comfort. Being on my best behaviour I mostly observed as I was learning a new trade and I did not want to jeopardize this by acting up.

 

Our first day in the woods was a Sunday our day off and Parker took me to a field to practice snowshoeing, I caught on immediately after falling a few times. It is quite a neat experience as the body is suspended above the snow which was quite deep, perhaps three or five feet deep. Your feet do sink in a few inches depending on the crustiness of the snow but then they stop and you learn quickly to walk like a penguin, that is with your feet intentionally pointing left and right instead of straight ahead so your snow shoes will not catch each other. To me this was like a new sport. Going up hills was a skill as was descending hills and making turns, after a while it became natural. As the day began the leather harness was easy to use as it was warm and pliable. After a day’s work it could be frozen solid and difficult to manage. Complicating matters was the fact that we wore packs to move our gear through the woods, my transmitter weighed in at ninety pounds so the effort required was high and often this would test the abilities of any man. Whoever led the party through the pre-staked areas of survey would have the added burden of breaking fresh snow so the followers had a bit of an easier walk.

 

Our gig in Val D’Or was not very lengthy, about three weeks. I was for the most part able to do the work with pleasure and discovered these long days out in the snow, in nature were much to my liking. There was an eerie absence of wildlife for some reason, I guess I expected to see deer and moose and bears around every corner but this was not the case. Nights in the town were so much like a Cornelius Krieghoff painting, snow covered cabins with smoke pouring from the chimneys the joie de vivre of the townsfolk. My limited French vocabulary was a valued asset as I could in short time communicate my needs in very rudimentary terms, ham of course was jambon, beurre d’arachides was peanut butter, what I then had difficulty with as I do today is the rapidity of the conversations, a smile was always available as well as at times a questioning look.

 

There was a short furlough in Toronto for a week while the next gig was being prepared for, it was to be in Kirkland Lake with a few days here and there in Timmins. These towns were gold mining centres from earlier times. I was flush with cash as there was nowhere to spend money in Val Dor except the occasional biere at one of the many French pubs. My finances had always been precarious. There was the matter of a small loan in the amount of about seven hundred dollars that I owed HFC and I had no intention of ever paying it. Those dupes had loaned me money for Christmas presents one year at their ridiculous rate of twenty percent. Like I was going to buy presents, I drank all the money in about three weeks. A goofy manager at the HFC office in Weston, upstairs from a shop took me in to sign some forms, swear allegiance to pay this debt, he was a Canadian version of Snidely Whiplash, an English born chap who would have been more suited to being a prison guard. Besides this debt I was in the clear and once I left Dyer and Miller and I changed addresses the loan to HFC was not a consideration and I highly recommend every body do this at least once in life, that is get a loan from some rip off organization and stiff them. Get a bogus birth certificate or something, and get a loan.

 

There were parties of course on my return you would have thought I’d been away for years. The following Sunday I was to make my way to Kirkland Lake Ontario via train. I’d never been on a train ride except for the time we came home from Parry Sound all drunked up on the warm Labatt 50s. At the station Frank came to see me off and at the last minute I said why don’t you come along for the ride as I had a bag of grass to smoke and he had nothing to do. It wasn’t long before we were smoking the joints, I had pre rolled them, there were about thirty, the dope was pretty mild, not like today’s killer weed. We smoked between the trains cars. Back in the coach someone was reading a book called Five Easy Pieces and if you stared long enough you could make the letters interchange sort of a mini hallucination. Six joints later and a couple of sandwiches we were in Kirkland Lake. Getting off the train we noticed the temperature was 35 degrees below zero and this was a big thing for us city boys. Parker, the boss met me at the train, I introduced him to Frank and he hired him on the spot to work on the crew which was to start soon.

 

Frank was kind of gangly at the time, going through a growth spurt, he was always bent over because he was taller than everyone else, he had a gentle manner and enjoyed the usual stuff, like, beer, tokes and women. I loaned him some money and he bought a suitable work outfit, some clothes as he had nothing but the clothes on his back. I recall he purchased a better pair of felt pack boots than mine, the ones with the leather uppers bonded to heavy rubber bottoms that were more waterproof especially if you put Dubbin on them at night. At the Parklane Hotel we shared a room, we had management give us an extra roll a way bed and the cost was quite minimal, they ran a tab for Frank. Meals were taken in the hotel dining room and lunches were prepared for us. As I recall the room was quite small we literally had to crawl over each other to get to the can.

 

We had a day off before work started and that first night in downtown Kirkland was like magic. The Beatles new recording Hey Jude was broadcast live around the world and we caught this in an empty shabby store front bar. Outside it was freezing cold but the coldness was different, it was a dry cold, the wind not holding the same sharp bite as a Toronto wind blowing off of Lake Ontario. The women were looking pretty good and I had a new pick up line, “mon petite serpent” at this the ladies would almost instantly run and hide. Doctor Doolittle was playing at the local theatre and one night we went to the show ripped on our mediocre weed, leaving the theatre singing the songs that were sung in the movie.

 

Work was difficult as it was cold and there was a lot of snow. Town was exciting, our hotel had a Tavern in the basement where a stripper appeared in the evenings. Her name was Patty and we affectionately called her the Portuguese Pig, I don’t know why because we never got any where with her, she had a room in the hotel and we’d always be sneaking peeks at her boobs as she changed before shows. A friend of hers named Candy was around now and then and I thought she was pretty special but again it was like we were all Toronto outcasts and this alone made us buddies. Somewhere down the line Patty the Portuguese Pig knew Bil and she had a crush on him. Nights would find us in the Tavern listening to crappy groups who kept playing a Credence Clearwater Revival song called Proud Mary and the Tom Jones tune, Green Green Grass of Home. Parker was sorry he had hired Frank because we didn’t ever have our minds on the job and we were always hung over. Bill would call regularly he was ready to escape his reality.

 

One night we borrowed the company car and drove to Rouyn Noranda for beers with these French Hippies, a guy and his chick whom we met the week previous at the Kirkland Winter Carnival. Rouyn was not far maybe fifty miles and while there we smoked some nice hash that they had and Frank was making a move on the chick. We got pretty high and it was time to get back to Kirkland. Frank started to drive while I was napping, we were half way to Montreal when I woke up and noticed a road sign that said Montreal ahead 150 miles, this was before the metric system had been imposed on us. We assessed the situation and turned around we were about three hours from Kirkland Lake We got back just as the sun was coming up. The boss, John Parker never had a clue. Another time we were hung over and it was bloody cold, we didn’t feel like working, I dropped my receiver climbing over a farm fence and called Parker over, he turned the machine on and had to take it to the little airport and ship it out to have it repaired. That was good for a couple of days off. Of course there were times when we had no days off, we would work fourteen days straight if the crew was willing so it all worked out.

 

A job near Timmins not to far away needed us so we drove over got rooms in some el cheapo hotel where Patty the Portuguese Pig and her friend Candy were working and this was great because the girls had now let us tie their bikini tops on before shows and apply the glue to the pasties and then watch as the girls pushed them on over their luscious nipples, still no touching, just looking. This trip would be my introduction to snowmobiles. At seven in the morning we left the rooms and piled into the company car, the same four door Pontiac, Parker always drove. We drove to a remote area, parked the car then a few men would show up with ski doos and drive us the final half hour into the worksite as we sat on sleds pulled by the ski doos. It was a far cry from the glamour and hot rodding associated with today’s snowmobilers. Our work was done on a frozen lake a new experience for me, there were long views of barren landscapes, tree lined lakes not a bird or animal insight. Timmins had more bars than Kirkland as unlike Kirkland it was still a thriving gold mining community while Kirkland had began to lose its roll as king of the gold mining towns. Sid Bernstein an old Jewish waiter I met later in life at the Seaway Beverly Hills Hotel had been to Kirkland in the 1930s and he talked about the boom days, the Gold Rush Fever.

 

Work was an endless day of carrying gear over strange moonscape like terrain, areas where no trees existed; as it was snow covered you never got a feel for the land. Parker took care of the night work being a real stickler for accuracy and a dedicated employee, he seemed content to work all day have a meal, go to his room and do the calculations with the slide ruler and chart the results inked on the special roll of graph paper for this purpose. It wasn’t ever necessary for him to socialize, have a beer with the guys, he was work oriented, I’d never met anyone like this before. John Parker came from Saskatchewan, had a degree from DeVry Tech a technical school and when he wasn’t working he had his head in some learning type book, never a novel or something fun. Yet this mismatch of personalities did not deter us from getting the work done, it was hard work, perhaps the hardest I would ever endure and I have to respect that man from Saskatchewan as he never complained always was a good leader. Later on the job I learned that the preferred employee came from a farming background as this type of person was used to long hard days in adverse conditions, and did not suffer the need of rest and relaxation. The job ended and Frank headed back to Toronto with a few dollars in his pocket and this bonding would keep us friends forever.

 

There's just three steps between you and the new you.

 

You too can be like me.

 

But not me, you! A new you, a you that's just like me in every single perceivable way, but still being you without needing to give up on being you to be exactly like me - if you see what I mean. Like me, but you, without losing you in the beauty of a frame like me. Meyou if you like. Or maybe Youme - rhymes with tomb. Catchy.

 

Anyway... I digress.

 

You too can be like me!

 

It's a simple three step program with just four easy to follow steps.

 

Step 2: Keep repeating step one four times every 17 minutes.

Step 3: Get yourself a new black book - you're gonna need it gorgeous!

step 4: Go back to step two you lazy good for nothing parasite that comes here trying to steal my three step body beautification program without even asking for my phone number or asking me out on a date and it's been a long time since I had a date with anyone except that last guy that tried to lick my ear after I accidentally got mayonnaise in it and I learnt that he actually just wanted to steal my beatification program that is going to make me rich and make the world a more beautiful place where kittens will have to fight hard to keep their (undeserved) position as the leaders in the beauty thing that I rightly am destined to be the leader of and people will invite me to all of their important parties and all of the beautiful people shall say how beautiful I am and I shall nod politely but in my secret bedroom behind my fake bedroom I shall laugh and laugh and mock how sad it must be to be beautiful but not quite as beautiful as I because I have been crowned to be the most beautiful in the whole widest world of the word and they are just a hollow shell that makes a dull empty thud of a noise if you were to strike it with the silver spoon that they were raised sucking.

 

Yes.

 

I may have digressed.

 

Er...

 

Might need to work on the steps... but er... follow my beautification program! Deep down, you know beauty is the new you! Unless, of course, you're already beautiful, in which case you probably might want to look at the refund policy carefully, and then Ha! Surprise... I win!

 

Anyway, I know you'd love to:

 

Follow me on Twitter

 

Like my Facebook page

 

Visit my Blog

  

Strobist:

Bowens Gemini Pro 500 with brilliantly big softbox above camera pointing down at 45 degrees, set on 3.5. Two other Bowens with disappointingly smaller softboxes camera left and right at 45 degrees pointing at the most beautifully beautiful person who ever had a three step program to elevate herself to the most beautiful beauty in the whole wide world, both set on 3.5. Triggered by PC cord cable.

Canon AE-1 Program

Catalog #: 08_00812

Title: Space Shuttle Program

Date: 1981-2010

Additional Information: shows the mission control computers

Repository: San Diego Air and Space Museum Archive

canon ae1 program.

film.

E com maior prazer que darei esta aula no Programa SABOR DE VIDA na TV Aparecida dia 21/11....

Foi um Projeto desenvolvido exclusivamente para o Programa e fotos so a partir do dia 21/11 aqui no meu flickr...

 

Sera apresentado o amiguinho da BONECA ALEGRIA o MENINO ALEGRIA

Os dois juntinhos se transformam e desmontam inteiros.....

Viram MENINO E MENINA NOEL, e passando o Natal é só trocar as roupinhas, carinhas e muito mais....

 

Tudo isto vc vai ver no SABOR DE VIDA....

 

No dia do Programa estarei sorteando com a Bete uma cesta com uma Apostila do Projeto mais Kits com varios materiais de Artesanato.

Não deixem de ligar no dia 21/11 e mandar SMS para o Sabor de Vida para particiár do Sorteio

 

E para as minhas amigas aqui, vou sortear uma Apostila Completa dia 25/11 para quem deixar um comentario....

 

Este presente de natal é imperdivel

 

Minha ultima aula do ano na TV merece ser especial, esta sendo aonde eu amo ir que é na Bete e com um Projeto Maravilhoso!!!!!!!!!!!

 

Participem

 

andreadolls@hotmail.com

 

ATENÇÃO

 

OS MOLDES SERAO DISPONIBILIZADOS AQUI NO MEU FLICKR DIA 22/11...

SERÃO DISPONIBILIZADOS SOMENTE OS MOLDES DO CORPINHO E DAS ROUPAS DE NATAL DOS DOIS.

 

O RESTANTE DO PROJETO SERA DISPONIBILIZADO A PARTIR DO DIA 22/11 NA MINHA LOJA VIRTUAL POR UM VALOR PROMOCIONAL PARA AS 10 PRIMEIRAS PESSOAS QUE TIVEREM ASSISTIDO AO PROGRAMA.

 

MUITO OBRIGADA E ATE LA!!!!!!!!!!!

Denmark, Aarhus

canon ae 1 program

Title: Space Shuttle Program

Catalog #: 08_01035

Date: 1981-2010

Additional Information: Ames Center Medical Research

Repository: San Diego Air and Space Museum Archive

Learn about the San Diego Zoo's successful koala loan program: zoonooz.sandiegozoo.org/zoonooz/have-pouch-will-travel-2/

Picture taken with Canon AE-1 program

Film : Kodak gold 200

pentax super program/fuji 400

for survival ♥

Best viewed large

Catalog #: 08_00821

Title: Space Shuttle Program

Date: 1981-2010

Additional Information: shows an example of a possible computer module

Repository: San Diego Air and Space Museum Archive

Franklin Delano Roosevelt Memorial Room 2. Social Programs contains images of the 54 programs that were initiated under FDR and the New Deal.

pentax super program

Day 48 being the 15th birthday celebration of my kid. Now he wanted Legos to construct. Thought that a robot to be able to program would be a better solution. He's enjoying it.

  

Public info URL

www.safecreative.org/work/2005033862760-day-48-making-robots

Catalog #: 08_00962

Title: Space Shuttle Program

Date: 1981-2010

Additional Information: Space Shuttle Concept

Repository: San Diego Air and Space Museum Archive

At the risk of sounding crazy, allow me to introduce the newest member to my kit, a Canon AE1 Program...

 

Got it last week along with a Canon f1.4 FD Lens and I got it to click only and only B/W film...

 

lets see how it goes from here!

 

Some more pictures here : rightmore.blogspot.com/2009/02/taking-step-back.html

Catalog #: 08_00876

Title: Space Shuttle Program

Date: 1981-2010

Additional Information: The Space Shuttle

Repository: San Diego Air and Space Museum Archive

Title: Space Shuttle Program

Catalog #: 08_01048

Date: 1981-2010

Additional Information: Space Shuttle Concept

Repository: San Diego Air and Space Museum Archive

Les dejo mis redes sociales a esas personas que siempre me apoyan en flickr, no quiero perder el contacto con la gente, mi facebook seria este www.facebook.com/wilsoncaceresart y para diseñadores y artistas que ya tengan behance, el mio seria www.behance.net/wilsoncaceres .

 

Espero que sigamos en contacto no se pierdan :D gracias por haberme apoyado durante tanto tiempo

Scanne AE1 Program / Agfa apx 100

WBRE-TV Wilkes-Barre PA program listings from January 1953, the station's first month of broadcasting.

View through the window of a 27C010 EPROM.

Catalog #: 08_00874

Title: Space Shuttle Program

Date: 5/4/89

Additional Information: The Space Shuttle

Repository: San Diego Air and Space Museum Archive

pentax super program

U.S. Department of Agriculture's (USDA) Food and Nutrition Service (FNS) Disaster Supplemental Nutrition Assistance Program (D-SNAP) and South Carolina Department of Education (SCDOE) responded to severe flooding in South Carolina, by using of the National School Lunch Program, at the Richland County Schools - District One - Central Kitchen Facility, to provide disaster congregate feeding to those in need, in Columbia, SC, on Wednesday, Nov. 18, 2015.

In times of emergency, FNS coordinates with state and federal partners, as well as local volunteer organizations, such as the American Red Cross and Salvation Army, to provide USDA Foods to shelters and other mass feeding sites and, in limited cases, distribute food packages directly to households in need. USDA Foods are 100% domestically produced, processed and procured agricultural commodities that are made available to schools, tribes, and low-income individuals through FNS Nutrition Assistance Programs. Once retail food stores reopen, if survivors still need nutrition assistance and the area has received a ‘Presidential Disaster Declaration with Individual Assistance,’ State agencies may request to operate D-SNAP. People who may not normally qualify for nutrition assistance benefits may be eligible for D-SNAP if they had disaster-related expenses, such as loss of income, damage to property, relocation expenses, and, in some cases, loss of food due to power outages. Those already participating in the SNAP may be eligible for supplemental benefits under D-SNAP. For more information please visit this web site: www.fns.usda.gov/disaster.

Central Kitchen Facility is the only central kitchen in South Carolina. They provide meals to 32 schools. Operations start at 4-5AM. The meals are comprised of 10-11,000 lunches, 6,000 breakfasts, 3,100 snacks, 3,100 supplemental meals, district-wide catering and more. To accomplish this there are 38 employed here and a total of 150 across the entire operation of satellite kitchens and other facilities. 14 truck move food and commodities from here to where they are needed. USDA photo by Lance Cheung.

From Wikipedia, the free encyclopedia

 

+++++++++++++++++++++++++++++++++

Rencontres d'Arles

The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.

 

The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.

 

The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.

 

The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.

 

In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.

Contents

 

1 Art directors

2 The festival

3 The Rencontres d'Arles award winners

4 Exhibitions

5 References

6 External links

 

Art directors

A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975

 

1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette

1973 - 1976: Lucien Clergue

1977: Bernard Perrine

1978: Jacques Manachem

1979 - 1982: Alain Desvergnes (fr)

1983 - 1985: Lucien Clergue

1986 - 1987: François Hébel

1988 - 1989: Claude Hudelot (fr)

1990: Agnès de Gouvion Saint-Cyr

1991 - 1993: Louis Mesplé (fr)

1994: Lucien Clergue

1995 - 1998, délégué général: Bernard Millet (fr)

1995, artistic director: Michel Nuridsany (fr)

1996, artistic director: Joan Fontcuberta

1997, artistic director: Christian Caujolle (fr)

1998, artistic director: Giovanna Calvenzi

1999 - 2001: Gilles Mora (fr)

2002 - 2014: François Hébel

Since 2015: Sam Stourdzé (fr)

 

The festival

A photography exhibition, Rencontres d'Arles, 2010

Events

 

Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).

Nights at the Roman Theatre

 

At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.

The Night of the Year

 

The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.

Cosmos-Arles Books

 

Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.

 

Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.

Symposia and panel discussions

 

Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).

The Rencontres d’Arles awards

 

Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).

Luma Rencontres Dummy Book Award

 

In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.

 

The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.

Photo Folio Review & Gallery

 

Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.

Photography classes

 

The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.

Rentrée en Images

 

“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.

Budget

 

Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].

Executive Committee

 

Hubert Védrine, president

Hervé Schiavetti, vice-president

Jean-François Dubos, vice-president

Marin Karmitz, treasurer

Françoise Nyssen, secretary

Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members

 

The Rencontres d'Arles award winners

2002

 

Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams

Discovery Award: Peter Granser

No Limit award: Jacqueline Hassink

Dialogue of the humanity award: Tom Wood

Photographer of the year award: Roger Ballen

Help to the project: Pascal Aimar, Chris Shaw

Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)

Help to publishing: Une histoire sans nom by Anne-Lise Broyer

 

2003

 

Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel

Discovery Award: Zijah Gafic

No Limit award: Thomas Demand

Dialogue of the humanity award: Fazal Sheikh

Photographer of the year award: Anders Petersen

Help to the project: Jitka Hanzlova

Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)

Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen

 

2004

 

Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata

Discovery Award: Yasu Suzuka

No Limit award: Jonathan de Villiers

Dialogue of the humanity award: Edward Burtynsky

Help to the project: John Stathatos

Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)

 

2005

 

Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili

Discovery Award: Miroslav Tichy

No Limit award: Mathieu Bernard-Reymond

Dialogue of the humanity award: Simon Norfolk

Help to the project: Anna Malagrida

Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)

 

2006

 

Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe

Discovery Award: Alessandra Sanguinetti

No Limit award: Randa Mirza

Dialogue of the humanity award: Wang Qingsong

Help to the project: Walid Raad

Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)

 

2007

 

[1]

 

Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker

Discovery Award: Laura Henno

Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)

Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)

 

2008

 

[2]

 

Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani

Discovery Award: Pieter Hugo

Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)

Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)

 

2009

 

[3]

 

Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff

Discovery Award: Rimaldas Viksraitis

Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)

Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)

 

2010

 

[4] [5]

 

Discovery Award: Taryn Simon

LUMA award: Trisha Donnelly

Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)

Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)

 

2011

 

[6] [7]

 

Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]

Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]

Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]

 

2012

 

[9] [10] [11]

 

Discovery Award: Jonathan Torgovnik

Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)

Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)

 

2013

 

Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré

Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]

Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)

 

2014

 

Discovery Award: Zhang Kechun

Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)

Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)

 

2015

 

Discovery Award: Pauline Fargue

Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)

Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)

Dummy Book Award: The Jungle Book by Yann Gross

Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)

 

2016

 

Discovery Award: Sarah Waiswa

Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)

Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)

Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)

Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber

Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)

 

2017

 

[13]

 

Discovery Award: Carlos Ayesta and Guillaume Bression

Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)

Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)

Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)

Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)

Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko

Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)

 

Exhibitions

1970

 

Gjon Mili, Edward Weston, ...

1971

 

Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …

1972

 

Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …

1973

 

Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …

1974

 

Brassaï, Ansel Adams, Georges A. Tice, …

1975

 

Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …

1976

 

Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …

1977

 

Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …

1978

 

Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …

1979

 

David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …

1980

 

Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …

1981

 

Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …

1982

 

Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …

1983

 

Robert Rauschenberg, Bruce Davidson, …

1984

 

Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …

1985

 

David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …

1986

 

Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …

1987

 

Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.

1988

 

La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.

1989

 

Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.

1990

 

Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …

1991

 

Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …

1992

 

Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …

1993

 

Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …

1994

 

Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …

 

1995

 

Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …

1996

 

Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …

1997

 

Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …

1998

 

David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …

1999

 

Lee Friedlander, Walker Evans, …

2000

 

Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …

2001

 

Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …

2002

 

Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …

2003

 

Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …

2004

 

Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …

2005

 

Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …

2006

 

La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …

2007

 

The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …

2008

 

Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …

2009

 

Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]

2010

 

Robert Mapplethorpe[17] Lea Golda Holterman[18]

2011

 

Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...

2012

 

Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]

2013

 

Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.

2014

 

Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.

2015

 

Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.

References

 

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...

O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...

O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.

O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.

"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.

"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.

"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.

"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.

Présentation de Robert Mapplethorpe sur le site rencontres-arles.com

"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.

Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com

Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com

Signe des temps: Arles 2012, un festival courageux (Photographie.com)

Fiche d'Alfredo Jaar sur rencontres-arles.com

Fiche de John Stezaker sur rencontres-arles.com

Fiche de Wolfgang Tillmans sur rencontres-arles.com

Fiche de Viviane Sassen sur rencontres-arles.com

Fiche de Pieter Hugo sur rencontres-arles.com

Fiche de Xavier Barral sur rencontres-arles.com

Fiche de Antoine Gonin sur rencontres-arles.com

This camera dates to about 1983 and was the flagship model of the Pentax consumer line below the professional MX and LX bodies. While it does not feature the robust construction of its pro brothers, it has a full feature list that includes:

 

-- Programmed exposure automation

-- Aperture priority auto exposure

-- Shutter priority auto exposure

-- Metered manual

-- TTL (off the film) flash metering

-- Motor drive/auto winder compatible

-- Full information LCD viewfinder

 

Mine was in like-new condition when recently purchased and came with a matching case in similar shape.

Leica Monochrom CCD Summilux 50mm

 

A program to teach you how to get a DUI in Montezuma, Georgia

valeriospisani.com

www.facebook.com/valeriospisanifoto

Catalog #: 08_00811

Title: Space Shuttle Program

Date: 1981-2010

Additional Information: shows design for mission control area

Repository: San Diego Air and Space Museum Archive

“Rising to a height of 433 feet, studded with 125,000 glass jewels.”

Catalog #: 08_00890

Title: Space Shuttle Program

Date: 1981-2010

Additional Information: Space Shuttle Mission Profile

Repository: San Diego Air and Space Museum Archive

The Saturn V Rocket is a human-rated expendable rocket used by NASA between 1967 and 1974. The three-stage liquid-fueled super heavy-lift launch vehicle was developed to support the Apollo program. In total, 13 Saturn V rockets were launched into space--all from the Kennedy Space Center in Florida with no loss of crew or payload--starting with the un-crewed Apollo 4 mission in 1967. It launched 27 astronauts with six successful missions landing men on the moon. It also launched Skylab, America's first space station, into orbit in its final mission. At 363 feet tall and 6.2 million pounds when fueled, it remains the tallest, heaviest and most powerful rocket ever brought to operational status

 

The Saturn V rocket in Building 90 in Rocket Park at the Johnson Space Center, is the one of three on display around the world, and the only one compromised of all flight-certified hardware. It consists of three separate segments, called stages. The first stage (S-IC Stage), the largest with five F-1 engines, is from SA-514, which was originally intended for the cancelled Apollo 19 mission. It typically would have been used for only two minutes and 47 seconds, which was enough time to get the rocket 42 miles above Earth before using up its fuel and falling into the ocean. The second stage (S-II Stage) is from SA-515, which was originally intended for the cancelled Apollo 20. It typically would have fired for nine minutes and nine seconds, taking the rocket into space before falling to earth and burning in the atmosphere. The third stage (S-IVB Stage) is from SA-513, which was originally intended for the Apollo 18 mission but wasn't needed as it was replaced by the Skylab workshop. It typically would have fired for about three hours before detaching and propelling the spacecraft--the capsule and service module--and lunar lander towards the moon and floating into space. The Apollo Command/Service Module CSM-115a, originally intended for Apollo 19, caps the pointy end.

 

NASA had displayed this rocket, on loan from the Smithsonian National Air and Space Museum collection, outside exposed to the elements from 1977 through 2004. As part of the Save America’s Treasures Program, it was restored and housed in a climate controlled building that opened in 2007.

 

The Lyndon B. Johnson Space Center (JSC) is the National Aeronautics and Space Administration's Manned Spacecraft Center, where human spaceflight training, research, and flight control are conducted. Construction of the center, designed by Charles Luckman, began in 1962 and the 1,620-acre facility officially opened for business in September 1963. The center is home to NASA's astronaut corps, and is responsible for training astronauts from both the U.S. and its international partners. It has become popularly known for its flight control function, identified as "Mission Control" during the Gemini, Apollo, Skylab, Apollo–Soyuz, and Space Shuttle program flights. It is also the site of the former Lunar Receiving Laboratory, where the first astronauts returning from the Moon were quarantined, and where the majority of lunar samples are stored.

 

The 44th Grey Cup game was played on November 24, 1956 before 27,425 fans at Varsity Stadium in Toronto.

 

The favoured Edmonton Eskimos won their third straight Grey Cup over the Montreal Alouettes by the score of 50 to 27.

 

Edmonton coach Pop Ivy surprised many by starting sophomore Canadian quarterback Don Getty. With Jackie Parker, Johnny Bright, Normie Kwong and Rollie Miles in the backfield, they were record setters. Bright rushed for a then Grey Cup record 169 yards (surpassed by Kory Sheets in 2013), and Parker added another 129, and the Eskimos team total was a record 456 yards. Montreal rushed for 191 yards, so both teams set a single Grey Cup game record of 647 yards.

 

Montreal had the game tied as late as the second quarter (20 to 20) before Edmonton took total control. While Getty was superb, with 2 touchdowns, the great Sam Etcheverry had one of his most disappointing days as a Lark, completing only 15 of 38 passes for 293 yards and a Grey Cup record 4 interceptions.