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021-365
So I looked at this picture. I edited it in b/w and color. And it looked so much better when colored. So I decided to allow myself colored photos in my 365 project. Or do you think b/w for every single of those 365 photos would be better? I'm really unsure with it. I only know I like this particular picture far more when it's not just black and white.
Today, 22 July 2009, is the birthday of my better half.
We were newlyweds when I took this photo. She's reading the book that I gave her for her birthday in 2004. A real bookworm, a passionate reader, that's my Aileen.
"Bob and Judy Reader" by Grace E. Storm, published by Lyons and Carnahan, 1936. Illustrated by Vera Stone Norman. Kudos to Lyons and Carnahan for putting so much into this reader.
10:40 am, China Street, Lancaster. I saw Leslie walking along reading at that corner being him. I asked him if I could follow along and take his picture while he continued on his way, and he kindly agreed. He is reading 'Happier: Can You Learn to Be Happy?' by Tal Ben-Shahar.
Thank you for participating, and apologies for interrupting you. Other photos in my series of readers are here: www.flickr.com/photos/greg_myers/albums/72157652125931010.
Avon Fantasy Reader No 6
Donald A. Wollheim, editor
Avon Books, 1948
Cover Artist: unknown
Contents:
The Crawling Horror (1936) Thorp McClusky
Beyond the Wall of Sleep (1919) H. P. Lovecraft
The Metal Man (1928) Jack Williamson
The Thing in the Cellar (1932) David H. Keller, M.D.
The Drone (1934) A. Merritt (variant of The Drone Man)
From the Dark Waters (1948) Joseph E. Kelleam
The Star-Stealers [Interstellar Patrol] (1929) Edmond Hamilton
The Philosophy of Relative Existences (1893) Frank R. Stockton
The Trap (1932) H. P. Lovecraft and Henry S. Whitehead
"Last of all, he gave her an envelope with her name on it."
Elson Basic Readers, Book 3 1930s (title page is missing)
One of my passions about photography is SURPRISE. Often I see a composition which grabs me so profoundly I just shoot. Recently someone asked me if I "set up" my still life material! "Never," I said. (Then I remembered my piece with the rock which I "did" place on the railing . . . see below for this exception!)
Now here is an example of something that would take up pages in my visual journal. I LOVED the contrast of the thin, relatively new (comparatively speaking) "Solomon's" book leaning against the old row of ragged books.
C L I C K
Now, I am NO scholar, but fascinated with research! When I began to read about the The Song of Solomon I was totally blown away by the controversies which abound from this piece. Now I'm wondering if someone did, indeed, set up this still life with the juxtaposition between the torn covers and the newness of the Solomon book!
My dear grandmother's favorite saying was:
“A merry heart doeth good like medicine.”
And I love:
“All the rivers run into the sea; yet the sea is not full.”
~ King Solomon ~
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a bit of trivia from the New World Encyclopedia:
"The Song of Solomon (Hebrew title שיר השירים, Shir ha-Shirim), also known as the Song of Songs, is a book of the Tanakh (and Christian Old Testament), which celebrates and interprets human sexuality within a religious framework. The book consists of a cycle of poems about erotic love, largely in the form of a dialogue between a man and a woman (often labeled a "bride" and a "bridegroom" by conservative translators).
While the nature and function of the Song as a religious document remain controversial, it is undeniable that it is, first and foremost, an inspiring and moving example of poetic art.
Through its use of various poetic and literary devices, it manages to create a vivid and compelling world, one that is inhabited by two (unnamed) characters onto which readers are invited to project themselves.
An intriguing element of this text as poetry is that, in spite of the efforts of various scholars and commentators over the centuries, it simply does not require a single discrete interpretation. As such, any ambiguities, double meanings or circular references could have been intentional elements of the poet's overall purpose in composing the text.
Some of the devices used to great effect include symbolism, sensory imagery, and other line-and strophe-level devices (including alliteration and paronomasia)."