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So, I found this strip of warning icons on a piece of equipment the other day. Of course, I peeled it off to put it in a scrapbook. But the point I want to get to is, are these two symbols meant to warn us of people who read over our shoulders? Or is it an encouragement to let others read along with us? You can tell they are practicing social distancing: the book holder must be so far away we can see most of the body, but the other reader is so close to us all we see is a head.
We're Here! with photos of reading.
© István Pénzes.
Please NOTE and RESPECT the copyright.
3 February 2013, at Vasco's
Leica M9
Leica Noctilux F/1.0 E60
Reading Class. Chapter 1. One of the beauties of cheapskate film photography, over Canikon consumer photography, is that although we don't have oodles of glossy magazines dedicated to our style of photography in the newsagents, we can buy incredible cheap film photography books at car boots, and charity shops.
Part of my experiments:)
Cropped image with cross film processed effect using Corel Paintshop Photo.
Cross processing (sometimes abbreviated to Xpro) is the procedure of deliberately processing photographic film in a chemical solution intended for a different type of film.
The effect of cross processing has been well known since at least the early 60s.(Wiki)
a rickshaw driver in agra, taking a break.
not the greatest framing - shot from a moving vehicle in stop and go traffic.
A reader (customer/user) at the main issue counter in Plymouth's Central Library in the early 1960s.
This lady had lived through two world wars and looks immaculate with her neat hairstyle, dainty pink hat, white blouse fastened at the throat with a modest piece of jewellery, good tweed suit and white gloves.
There's more than a touch of Esma Cannon and Katie Johnson to her.
We shall not see their like again.
seen at the beginning (or end?) of the Oxford Canal - Hythe Bridge St crossing the Thames in the background.
Representación del Via Crucis (basado en textos de Llorenç Moyà).
Realizada el Viernes Santo en las escaleras de la SEU (Catedral).
Semana Santa del 2013 en Palma de Mallorca.
www.flickr.com/photos/maytevidri/tags/viacrucis/
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Viacrucis (Stations of the Cross), theatrical adaptation of the text of Llorenc Moya.
Represented Good Friday in the steps of the SEU (Mallorca Cathedral)
during 2013 Holy Week.
www.flickr.com/photos/maytevidri/tags/viacrucis/
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Llorenç Moyà i Gilabert de la Portella (Binissalem, 1916-Palma de Mallorca, 1981). Poeta, dramaturg i narrador. Llicenciat en Dret (1943), assidu participant de la vida intel·lectual de Mallorca i col·laborador de la premsa insular, especialment a Última Hora (1977-1981).
Inicia la seva obra poètica seguint els cànons de l’Escola Mallorquina, amb poemaris com La joglaressa i la selecció poètica La bona terra (1949). Als anys cinquanta s’acosta al postsimbolisme i la seva estètica s’uneix amb els nous corrents poètics. Evoluciona cap a un marcat barroquisme amb Ocells i peixos (1953), Via Crucis (Premi Mn. Alcover 1960) o La posada de la núvia (Premi Ciutat de Palma 1955). Durant els anys seixanta escriu obres on introdueix els mites clàssics amb una intenció de denúncia, com Polifem i Hispania Citerior (editades el 1981), peces en plena relació amb el moment històric que es viu. Als anys setanta escriu I, tanmateix, pallasso… (1978) i d’altres peces de caràcter més intimista.
El teatre culte de Moyà també conté una finalitat crítica i és aplegat en el volum Teatre de la llibertat (1993), on destaca Fàlaris (Premi Ignasi Iglésies 1961) i el drama històric El fogó dels jueus (Premi Ciutat de Palma de teatre 1963). Posteriorment es decanta per la recreació del teatre tradicional mallorquí i a partir de 1977 escriu un conjunt d’entremesos, reunits en quatre trilogies, entre elles, El ball de les baldufes (1981). Influenciat per Llorenç Villalonga i Camilo José Cela, també escriu narrativa. Publica l’aplec A Robines també plou (1958), la novel·la curta Viatge al país de les cantàrides (1993) i Memòries literàries (1971, en volum el 2004).
Lector de biblioteca
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without my explicit permission. © All rights reserved
This is a photo that has been a long time in the making...twenty years in fact. Where does the time go? ;-)
A portrait of the truly fabulous Eddi Reader (former lead singer with Fairground Attraction), performing earlier tonight at Edinburgh's Festival Theatre.
I first saw Eddi perform in 1988 at a gig in Southampton Mayfair (I was a postgrad student at the time), when Fairground Attraction were the support act for Deacon Blue. I had seen Deacon Blue once before, but this was just before both groups enjoyed chart success.
There aren't too many times when you come away from a concert having been "wowed" by the support group, but this was one of those occasions. Certainly, as an exiled Scot at the time, it was a joy for me just to hear a Scottish accent. :-)
Eddi had (and continues to have) a commanding stage presence. She exploded onto the stage that night like a force of nature...a mass of red hair...windmilling arms...and a great voice.
A major regret for me is that I never took any shots of her that night. Yes...I should have...drat! I had smuggled my camera into the gig...and was trying to remain "low profile" before Deacon Blue came on (lest I be stopped from taking photos)...and my high speed film was finite (no more than two rolls). So, I didn't take any shots of Fairground Attraction...but should have...D'Oh!
Tonight, I was finally able to make amends, and this is one of the shots I took. I was also able to correct my earlier failure in some style...since I was armed with an official photo pass, for which my considerable thanks are due to my FNPE (that's Friendly Neighbourhood Picture Editor...as you may recall!), Alex Hewitt from The Scotsman.
All this...and I was able to have a brief chat with Eddi after the gig and show her some of my shots. If she thought they sucked, she was gracious enough to hide it...and I'll be passing on my best shots from the gig to her. :-)
If you are unfamiliar with her music, please find out more for yourself by visiting her websites:
"The sheep man turned around, and quietly disappeared into the snow."
This morning I finished reading the novel "A wild sheep chase" by Murakami Haruki.
I don't know about you guys, but whenever i read the last page of a book, an overwhelming sadness flows all over me.
I'm the worst kind of reader so it takes me ages for a book to get my motor running, but when it happens, i live with it, i live for it.
I can't stop reading, thinking, dreaming about it even for a second.
So i get into this weird Reading-Frenzy state and i devour my way to the end.
But inevitably, the story eventually comes to an end.
As readers, we have the biggest task : we complete the books we read by putting a little bit of ourselves in them: we give every single character a face, we give every line a voice, a pitch, we imagine very smell and hear every sound. And when I reach the last page of a book, i feel like not only the story is over, but also all of those things i put it are, out of the blue, dead.
I know it might sound like a stupid jibber jabber to some of you but i'm pretty sure some people can relate to this.
Anyhow, while i was drowning a little in that emotional state, i remembered this photo i shot last year, when i was still living in Japan.
Took me a long time to find it in my backup hard drives but i think it totally represents how much, as long as you have a book, you'll never feel alone.
Camera Info: Nikon D300 | Nikon 85mm (ƒ/1.8D) @ 85mm | ƒ/4,5 | ISO 400 | 1/200th — Camera Handheld
Library for the Faculty of Philology at the Free University Berlin, Germany
(Architect: Norman Foster)
Philologische Bibliothek der Freien Universität Berlin
(Architekt Norman Foster)
"Elson Readers Primer" by William H. Elson and Lura E. Runkel. Scott, Foresman and Company, copyright 1914 and 1920. Illustrator not listed.
A few weeks ago, Reader's Digest contacted me, wanting to use one of my photographs for their June/July issue in association with an article they were doing about affordable art resources on the internet.
Hmm...let's see...most widely read magazine in the world...translated in 19 languages...global readership of more than 100 million...
"Uh, sure, I guess you can use my photograph..." :-)