View allAll Photos Tagged weegee
Self portrait: homage to Weegee and all those 1940's noir documentary photographers and their Speed Graphic 5x4 cameras.
The uncomfortable plastic seats can be pulled down to form uncomfortable plastic beds. They seem to be arranged to discourage conversation, a very Finnish touch.
The Futuro house is 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.
On the ascent of volcano Villarica (2840m), Chile.
Leica M6, 35mm, f/11, Kodak Tri-X 400, scan from a neg.
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, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
There was a time when the center of the universe was well defined.
NW Corner: Butterfly Grill: It's easier to find the painted-over old name, Carpo's Cafe. But it's most notable as the former site of the San Remo, famous bohemian hangout of William Burroughs, Allen Ginsberg, Gregory Corso, Miles Davis, Jackson Pollock, W.H. Auden, Dylan Thomas, James Baldwin, William Styron, James Agee, Frank O'Hara, Village character Maxwell Bodenheim, photographer Weegee, etc. Gore Vidal once picked up Jack Kerouac here. Lost popularity because the bartenders beat up the customers once too often. The setting of beat novel Go, it also appears as The Masque in Kerouac's The Subterraneans. Dawn Powell in The Golden Spur cited it as one of the four bars that defined the boundaries of New York.
NE Corner: Ciao! Vineria con Cucina: Replaced Cafe Borgia when its owners retired after 60 years. In a beaux arts tenement that went up in 1904.
SW Corner: Caffe del Marre: Formerly Mac Dougal's Cafe, before that a funeral parlor.
SE Corner: Figaro Cafe: Resurrected as a cafe after spending a time in purgatory as a Blimpie's. Now trying to pass itself off as a bar as well. At some point it was The Hep Bagel. Al Pacino hangs with Penelope Ann Miller here in Carlito's Way.
[SOURCE]
Helen Tiernan (center) being arraigned for murder. May 19, 1937. (photographer unknown)
Stamp on back of photo says - 'credit photo to ACME'
A. Fellig in photo with camera, (top center).
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
PCA 273 - f/8 and be there.
Weegee was a photojournalist whose work revealed the seamy side of New York. No way I could even get close to that kind of work, so I went where people were pretending to be zombies and pretended to be a photojournalist.
On Saturday morning Zombies were chasing innocent citizens throughout National Harbor in suburban Maryland. I photographed this zombie just as it broke off the chase and headed in my direction. I was able to escape by leading the zombie through a barbed-wire fence. I'm thankful I could distract it from a potential victim and get away with my life.
WIT: This event took place at mid-day when the sunlight was very harsh. I wasn't having much luck with correcting that in post-processing, so I layered a slightly overexposed frame on a slightly underexposed frame. The other-worldly colors produced by using Grain Merge (in GIMP) gave a sci-fi mood to the shot.
The Critic, 1943. Photo by Weegee of Mrs. Cavanaugh and her friend about to enter the Metropolitan Opera House in New York, USA. Picture was posted in Truus, Bob & Jan too, blog for a review of the Weegee exhibition in FOAM, Amsterdam.
The current mostly black and white photo show at the Baltimore Museum of Art, on Art Museum Drive, had a closing party on Friday which I was glad to make it to since I missed the opening party. Robert Frank, Weegee, Edward Weston, Tina Modotti and Laslo Maholi Nagy were among the photographers that were represented in this excellent show.
"People are so wonderful that a photographer has only to wait for that breathless moment to capture what he wants on film." - Weegee
Lara Jade at the Photography Show 18th March 2018
Maker: Arthur Fellig, aka Weegee (1899 - 1968)
Born: Ukraine
Active: USA
Medium: gelatin silver print
Size: 10.5 x 13.25 in
Location: USA
Object No. 2011.404
Shelf: A-4
Publication: Weegee, Naked City, Essential Books, New York, 1945, ppg 132-133
Other Collections:
Provenance: Phillips de Pury & Co., New York, Photographs, June 7, 2007, Lot 150
Rank: 3910
Notes: Neutral toned print on glossy ferrotyped double weight paper with margins. American photographer, active in New York City and Hollywood. Arthur Fellig, known as Weegee professionally, is noted for his photographs depicting crime and other newsworthy events, usually taken at night. His early career was spent as a freelance press photographer. He prided himself on his ability to arrive at the scene of a crime before the police, and derived his name from the phonetic pronunciation of the Ouija board. He sold his images to tabloid newspapers from 1935 through the 1940s, and published his first book, Naked City in 1945, followed by Weegee's People in 1946. Naked City was a commercial success and guaranteed his income. At this point he began taking portraits of celebrities and figures in the entertainment industry. He used a variety of trick lenses to distort and manipulate these images, and often exposed or exagerrated the imperfections of his subjects. He experimented with infrared film and flash to make exposures in darkness, particularly of people in darkened movie theaters. Weegee used a 4x5 Speed Graphic press camera and flash exclusively throughout his career; and is not known for his printing virtuosity, but for the elements of social critique in his photographs. He was a flamboyant character, and revelled in his own notoreity and mythology. (source: Getty Museum)
To view our archive organized by Collections, visit: OUR COLLECTIONS
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
Photographer Nelson Bakerman took along his assistants for the Weegee Walk in the Bowery District, 3/9/12, where they recreated some of Weegee's famous photos
From: www.connectedaction.net
Top Twitter users who recently tweeted the word kcrw
when queried on May 2, 2011, sorted by betweenness centrality (see: en.wikipedia.org/wiki/Centrality).
A visualization of the network data is here: www.flickr.com/photos/marc_smith/5683073744/sizes/o/in/ph...
Top most between users:
@kcrw
@laweekly
@kcrwplaylist
@evankleiman
@chuckp8
@anne_litt_kcrw
@jeremysole
@laweeklymusic
@weegee
@garthtrinidad
Graph Metric: Value
Graph Type: Directed
Vertices: 544
Unique Edges: 1998
Edges With Duplicates: 633
Total Edges: 2631
Self-Loops: 0
Connected Components: 120
Single-Vertex Connected Components: 112
Maximum Vertices in a Connected Component: 418
Maximum Edges in a Connected Component: 2618
Maximum Geodesic Distance (Diameter): 7
Average Geodesic Distance: 2.482936
Graph Density: 0.007782878
NodeXL Version: 1.0.1.166
NodeXL is free and open and available from www.codeplex.com/nodexl
NodeXL is developed by the Social Media Research Foundation (www.smrfoundation.org) - which is dedicated to open tools, open data, and open scholarship.
The book, Analyzing social media networks with NodeXL: Insights from a connected world, is available from Morgan Kaufmann and from Amazon.
Marc Smith on Twitter.
Maker: Arthur Fellig, aka Weegee (1899 - 1968)
Born: Ukraine
Active: USA
Medium: Book
Size 5.75 in x 8.5 in
Location: USA
Object No. 2011.490
Shelf: PHO-1945
Publication: Auer, Michele & Michel , 802 Photo Books from the M + M Auer Collection, Editions M+M, Hermance, 2007, pg 307
Martin Parr and Gerry Badger, The Photobook, Vol 1, Phaidon Press, London, 2004, pg 145
Other Collections:
Notes: American photographer, active in New York City and Hollywood. Arthur Fellig, known as Weegee professionally, is noted for his photographs depicting crime and other newsworthy events, usually taken at night. His early career was spent as a freelance press photographer. He prided himself on his ability to arrive at the scene of a crime before the police, and derived his name from the phonetic pronunciation of the Ouija board. He sold his images to tabloid newspapers from 1935 through the 1940s, and published his first book, Naked City in 1945, followed by Weegee's People in 1946. Naked City was a commercial success and guaranteed his income. At this point he began taking portraits of celebrities and figures in the entertainment industry. He used a variety of trick lenses to distort and manipulate these images, and often exposed or exagerrated the imperfections of his subjects. He experimented with infrared film and flash to make exposures in darkness, particularly of people in darkened movie theaters. Weegee used a 4x5 Speed Graphic press camera and flash exclusively throughout his career; and is not known for his printing virtuosity, but for the elements of social critique in his photographs. He was a flamboyant character, and revelled in his own notoreity and mythology. (source: Getty Museum)
To view our archive organized by Collections, visit: OUR COLLECTIONS