View allAll Photos Tagged weegee
Installation shot from Breathless Days 1959-1960: A Chronotropoic Experiment.
April 16 - June 2, 2010
Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery
Installation shot from Breathless Days 1959-1960: A Chronotropoic Experiment.
April 16 - June 2, 2010
Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery
Born Arthur Fellig in the Ukraine in 1899; emigrated to the US in 1910. Died in 1968.
Known for:
Photographs of the New York City demimonde: gangsters and their victims, Bowery bums, nightclub denizens, transvestites in paddy wagons, tenement dwellers, street sleepers, car wrecks, and crowds at Coney Island.
Most Popular Images:
the critic Tenement Sleepers(1940s), Their First Murder (1941),
Crowd at Coney Island, 89 degrees(1940), many others.
A fire on the way home from work. Not quite Weegee...
This is the rear of the building. The fire brigade were hosing down the adjacent buildings to stop the fire spreading.
Installation shot from Breathless Days 1959-1960: A Chronotropoic Experiment.
April 16 - June 2, 2010
Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery
People are so wonderful that a photographer has only to wait for that breathless moment to capture what he wants on film. --Weegee
Installation shot from Breathless Days 1959-1960: A Chronotropoic Experiment.
April 16 - June 2, 2010
Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery
WEEGEE. Famoso por sorprender con sus fotos descarnadas tomadas segundos después de haber ocurrido un suceso, un crimen o una detención. En 1992 se hizo una pelÃcula " El Ojo Público" basada en su personaje.
For the A3C3 monthly challenge, "crime scene". I'm offering 2 different photos. One is a real crime scene and this, which, of course, is totally bogus. The flash on the 4x5 graphic is fired with a wireless flash trigger attached to the Holga, which is more ridiculous than the photo itself.
Herman Leonard (1923-2010) has no equal as a chronicler of the jazz music scene of the late 1940's and early 1950's. His smoke filled images evoke the film noir mood of the cinematographer John Alton. Both men had their family roots in Eastern Europe, Herman in Romania and Alton in Hungary.
Leonard began using the classic 4x5" Speed Graphic, the camera of choice of 1940's tabloid photographer Weegee, impersonated by a cigar chomping Joe Pesci in "The Public Eye" (1992).
www.youtube.com/watch?v=fq3cjZPwjCg&feature=search
After graduated from Ohio University in 1947 Leonard served a one year apprenticeship with the master portrait photographer Yousuf Harsh.
!30 of Leonard's jazz images are in the Smithsonian Institution in Washington, D.C.
www.youtube.com/watch?v=JUDgEvlNQM0
Leonard talks about my favorite singer Billie Holiday, as well as Ella Fitzgerald and Sarah Vaughan.
www.youtube.com/watch?v=7i1s32GrMlA&NR=1
"Saving Jazz" is a 2006 BBC/Sundance co-production which chronicles the 2005 hurricane Katrina devastation on New Orleans, Leonard's home at the time.
Jack Casady played with the Jefferson Airplane from 1965 to 1972, and later with Jefferson Starship. Connoisseurs consider him one of the finest bass guitarists in rock music history.
@2009 David Lee Guss Film homage, "Saving Jazz," 2006, Jack Casady, Jefferson Airplane, Tucson, Arizona, 1969-2008
Installation shot from Breathless Days 1959-1960: A Chronotropoic Experiment.
April 16 - June 2, 2010
Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery
I have recently fiddled with the Multi-Exposure curiosity and decided that fireworks would be a good shake down. This is not one of those multiple exposures. I had a different spot stuck in my mind for a while so I stopped by the Longmont Memorial Rose Garden. It is always a cheap thrill for free. You have to admire the care that has gone into the Gardens over the decades. ...And it a perfectly good reason for me not to fiddle with trying to grow roses. Yet another salute to the citizens of Frogmont, Colorado. In fact there were picnics nearby and the revelers took the opportunity to pose in front of the roses for digital pictures. They probably thought I was into my cups taking weird shots of the roses.
In fact, I am still trying to finish a chapter on double exposures for my Digital Photography book. You probably noticed I have been dabbling with the Multiple exposure app on the Nikon D700. Longmont's municipal fireworks were the perfect venue to run on more experiments with the Multiples and with the Auto gain setting. But then I thught I would go back to trying to really control the Nikon app. I finally hit upon shutting off the Auto gain feature and take advantage of jacking mightily with the exposures. I discovered that you have to determine the dual exposures you want and shorten them even even more.
Looking for other opportunities for experimentation with the in-camera multiple exposures facility? Haven't tried it yet? Experiment with the number of multiples as well as thinking outside the camera case. I named my camera case, Justin! If the camera splits slices to smaller f/stops while Auto gain is on, shut Auto gain off and vary the speed or f/stop on one or more of the exposures. There’s no rule on how many exposures your can take on a single subject. The exposure, above, had the white rose background captured at 1/250/sec. while aimed at the green foliage slot. The yellow rose was a different image exposed at 1/80/sec. Both images were exposed at f/22. Both need to be underexposed by at least a half stop each. I intend to go back and shoot more but also experiment with throwing the background shot well out of focus. Without a doubt, you just as well zoom the lens on exposures with the gusto of a hound dog. I have been told that the second exposure should be the crisp shot. What happens is that the camera does not clear the array memory until finished with all the exposures in a Multiple. Well, you're mileage may vary. Vary it as much as you can! I got my sights set on the county far and the carney rides at night. That should be another good shakedown. Now I have to find someone who can make me a Weegee lens to really screw images up! HaHaHaHaHaHaHaHa!
Comments: Longmont has long had a Memorial Rose Garden on the west side of Roosevelt City Park. It has always been nicely been maintained by the local rose horticulturistas and is a nice community focus spot. I found them in near peak regalia. A slute to Longmont for incorporating willing citizens onto city venues. I suppose that if you had a qualifying project...
I had no need for the podzilla as was shooting at the double exposures. I set the lens opening to f/22 @ the shutter to 200/sec and 80/sec @ 48mm on the 24-70mm f/2.8G Nikkor Normal-Zoom lens. I would use 250/sec. and throw the background way out of focus next time. Tomorrow?
Futuro (or Futuro House no. 001) (1968)
www.thefuturohouse.com/Futuro-WeeGee-Espoo-Finland.html
thefuturohouse.com/futuro_house_concept_and_design.html
Exhibition Centre WeeGee
EMMA (Espoo Museum of Modern Art)
Ahertajantie 5, Tapiola
FIN-02070 Espoo,
Finland
arch Matti Suuronen (FIN, Lammi, June 14 1933 - Espoo, April 16 2013)
© picture by Mark Larmuseau
September was still a scorcher, but I adapted by moving almost exclusively indoors with my photography. When I did shoot outside, it was early in the morning, at night, or in shady alleyways. I prepared a flash bracket for my Nikon D200 with a SB400 atop a Manfrotto 223B. I attached a quick release to make attaching it to my camera literally a snap. The prospect of using TTL metering to strobe strangers at parades and public functions fascinated me. I have always been enamored of Weegee's work, and jealous of his Graflex Speed Graphic. This rig gives me a digital equivalent, but frankly, it was too hot to get out and use it.
Along with the Bench Mondays, Facedown Tuesdays, FGR and TRP, I focused on portraiture. I had the opportunity to photograph Katie Knight again. Katie is a musician whom I met as a stranger in my 100 strangers project. She later contacted me to do some promotional and album cover work. We worked very well together, and as we got used to each other's styles, we produced some quality work. I look forward to working with Katie again in the future.
At the end of the month, the stars finally aligned and I had the opportunity to photograph Mary Grace. She is someone I have wanted to photograph for several years. Mary Grace illuminates any room she enters. She is a vivacious Italian beauty with an accent and sparkling personality that is infectious. Our first session was pretty much standard portraiture and getting used to each other. "I am the clay, you are the artist," Mary Grace repeated. "You tell me what you want." What photographer would not want such a model? I look forward to working with Mary Grace often in the future. We will have to force our busy schedules to align and allow it.
On the downside, although I think I shot consistently quality photography, I had absolutely nothing make Explore on flickr. Go figure.
1. Katie Knight, 2. Farewell to Innocence, 3. TRP: Caged by Fear, 4. Stranger Strobist Rig, 5. X *, 6. Portrait, 7. FGR/TRP: Smile Dammit!, 8. Family Portrait, 9. FGR/TRP: The Sophisticated Ape, 10. Mary Grace, 11. Katie Knight, 12. High School Football, Friday Night, 13. TRP: Haze Gray and Underway, 14. TRP: Radioactive Moustache, 15. Gibson Girl, 16. All American, 17. FGR: Homage to Magritte, 18. Mary Grace, 19. Katie, 20. FGR/TRP: Orange Mojo, 21. FGR/TRP: The Congruence of Imagination, 22. Shooting Gallery, 23. Katie Knight, 24. FGR: Soul of a City, 25. Katie on the Concourse
Installation shot from Breathless Days 1959-1960: A Chronotropoic Experiment.
April 16 - June 2, 2010
Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery
A failed dream of Finnish design. Contains many details that cry out NOT to be made of plastic. Quite creepy to spend a few minutes in.
Don't recall who took this picture or what with, but that's a very youthful me, dressed up like Weegee. Seemed apropos at the time. Camera in the picture was a Yashica Mat, which I usually shot with Verichrome Pan (more often, I shot with a Pentax and Tri-X). The non-functional bulb flash was just a prop for the day. Almost everything I shot in that era is lost, although I'm not sure if that's a bad thing. This image was scanned from an aging silver print - tones, and thumbtack mark, are on the original print. Was digging through a big box of prints today and found this while looking for something else.
Futuro (or Futuro House no. 001) (1968)
www.thefuturohouse.com/Futuro-WeeGee-Espoo-Finland.html
thefuturohouse.com/futuro_house_concept_and_design.html
Exhibition Centre WeeGee
EMMA (Espoo Museum of Modern Art)
Ahertajantie 5, Tapiola
FIN-02070 Espoo,
Finland
arch Matti Suuronen (FIN, Lammi, June 14 1933 - Espoo, April 16 2013)
© picture by Mark Larmuseau
Installation shot from Breathless Days 1959-1960: A Chronotropoic Experiment.
April 16 - June 2, 2010
Photo by Michael R. Barrick, Morris and Helen Belkin Art Gallery
So, I couldn't pull the trigger on account I was holding the fish, but I did set the camera Weegee style and gave concise instructions on the finer points of pressing the shutter button. Credit to Jonesy for not fucking that much up.
This little fella is a mid-sized Lates Calcarifer, measuing 64 cm caught in the dead of night on the Adelaide River, 20 k down the Marrakai Track, on almost the last day of the year.
Anyrate, enough shenanigans for now, I shall return next year with new found vim and vigor to bore you all shitless with an endless procession of almost street photography. Tony Martin (NT) style.
Love youse all and have a great fucking New Year. Or else.
xoxoxo