View allAll Photos Tagged weegee
Despite working with a large format camera, Weegee being my inspiration, I think I made the deadline !! Here is the ANGEL of the NYC PRIDE Parade !! Graflex speed graphic camera, 127 mm lens, 3 ASA paper negative. Obviously developed in coffee....
Coney Island, Brooklyn NY
Perhaps the most famous picture of Coney Island is the one taken by Weegee in 1940 (found at this link: www.metmuseum.org/art/collection/search/265302). I doubt there were any Puerto Rican flags flying back then, or many if any Puerto Ricans in the crowd he immortalized in his image. It was certainly a different time and country back then, but in many respects Coney Island still serves the same purpose as it did back in Weegee’s day; urban city dwellers finding refuge from the heat and escaping the hard concrete jungle they endure during the week. The main difference between now and then being the changing diversity of ethnicities you will find on the beach and boardwalk today. I wonder what flag will be flying at this same scene 80 years from today? I wish I could time travel ahead to find out…
And to emphasize just how much times have changed, here is a quote from Weegee on his famous image from Brooklyn in 1940, it certainly was a different time:
“And this is Coney Island on a quiet Sunday afternoon … a crowd of over a million is usual and attracts no attention (I wonder who counts them) … it only costs a nickel to get there from any part of the city, and undressing is permitted on the beach. … Some come to bathe, but others come to watch the girls. A good spot being the boardwalk. … Of the families, some manage to get through the day without losing their children … but the city is prepared and at the Lost Child Shelter the crying kids are kept cooped up behind a barrier of chicken wire ’til their parents call for them … also in this shelter are kept the peddlers who are arrested for peddling on the beach … seeing their merchandise melt, the peddlers give their ice cream to the kids.”
"f/8 and be there" - Arthur " WeeGee " Fellig
"Forget the camera, forget the lens, forget all of that. With any four-dollar camera, you can capture the best picture."
- Alberto Korda
"It’s not enough to have talent. You also have to be Hungarian."
- Robert Capa
Friar of photography, priest of pictures, Imam of imagery, theologist of thoughtfulness--my friend Ahmad came through town and we enjoyed shooting a Lacrosse game together. There is something so pleasantly conspiratorial about enjoying a photo safari together with a fellow photographer, and Ahmad has been among the most helpful and inspiring friends I have on flickr. Equally prolific and profound, his site is always an inspiration:
He was accompanied by his lovely friend, artist Graca, whose thought-provoking work appears on her site:
It's a strange thing, hanging this machine around your neck--how it connects you with others through the soul; how a thing turns talisman in the quest of truth and beauty. Modern alchemy, artistry for everyone. Transcendance through technology.
Couple friends have been posting theirs, so I figured I may as well post mine. I'll be showing off the characters in order from left to right, front to back. Also, I'll be giving info on when I got them, their nicknames, and what level currently on.
Mario
1. I got him shortly after Christmas, tied for the 3rd amiibo I got. Somewhere at the end of December I think.
2. His nickname is Madio, which is a pun off the original name.
3. He's currently lv.31, grouped with my more experienced amiibo's. He was actually lv.50 awhile back, but grew stuipid and non-aggressive because I kept training him with the same people over and over again. So Madio, along with a bunch of others are being retrained.
Donkey Kong
1. I got him shortly after Christmas along with Mario, which means he's also tied for my 3rd amiibo.
2. I named him Donk Donk for no apparent reason, I just thought it was clever and funny.
3. He's currently lv.27, over the half way point but not quite up there. He was part of the intial batch that was trained to lv.50, but I'm retraining to be smarter; much like Mario.
Link
1. He's actually tied for my 4th amiibo with a bunch of others that I got from Toysrus. Got him the same day as Mario and Donkey Kong.
2. Nicknamed Leenk, which is just a pun off his orignal name.
3. Currently lv.25. He was actually 50 awhile back like Mario and Donkey Kong, but I'm retraining him to be smarter.
Samus
1. Tied with Link for my 4th amiibo, nothing special. Expect alot of characters tied with Link.
2. Nicknamed Spamus for obvious reasons.
3. Currently lv.19. She's one of my newbies. Like the others above, I'm retraining her to be smarter.
Yoshi
1. He was my 11th amiibo to be exact, I got him the same day I got Luigi, but at Toysrus. I don't know why I didn't pick him up sooner.
2. Nicknamed Yoshter, I just thought it sounded cewl.
3. Currently lv.20, I haven't got far with him due to paying attention to other characters. He was lv.50 before though.
Kirby
1. My very first amiibo was unwrapped as an early Christmas gift from my parents. My little sister actually wrapped the box.
2. Nicknamed Kitby, I got this name from my very first photo of my Lego Kirby. I misspelled his name in the photo title and I've loved the nickname ever since. My buddy Deku Scrubster actually pointed it out.
3. Currently lv. 23, same situation as the others above.
Fox
1. My 2nd amiibo was a gift from my great grandparents at Christmas, at Christmas Eve to be exact.
2. Nicknamed FixItFox. If you get the reference, help yourself to a virtual cookie :D
3. Currently lv.50. He was one of my first amiibo's to be retrained along with a couple others.
Pikachu
1. Tied for my 3rd amiibo along with Mario and Donkey. The 3 were found at Meijer shortly after Christmas.
2. Nicknamed Peekachu.
*giggle*
3. Another lv.50, was retrained along with Fox.
Luigi
1. My 10th amiibo. I got him at Best Buy right before I went to Toysrus down the road to get Yoshi.
2. Nicknamed Weegee because he's Weegee.
e_e
3. Currently lv.20-25ish? I honestly don't remember. Retraining him.
Captain Falcon
1. I got him from my grandma as a gift in mid January, I helped pay for it though. tied for my 13th amiibo along with a few others.
2. Simply Falcown, because everything sounds better with an extra "w".
3. lv.50 along with Pika and Fox, retrained. I honestly picked him and the former 2 because I was into PM and Melee at the time and those were the 3 characters I enjoyed watching the most on streams.
Peach
1. Tied for my 4th amiibo like Link.
2. Peech. *giggles again*
3. Only lv.21 at the moment, I'm trying to be careful with this one. Because like the characters above, I'm retraining her to be smarter. Problem is, I hardly know how to play Peach in general and I'm learning myself. So I'm taking my time with her.
Bowser
1. My first Wave 3 amiibo was also my 17th. I got him about a week before Lucario on a Sunday. The 25th to be exact.
2. Nicknamed him Bruzer. He was actually named Browser originally, but I changed it at short notice because it sounded better.
3. Currently lv.34. Definitely one of my more experienced amiibo's. I've been trying to get him to use Bowser Bomb more to break shields.
------
More info to come!
A warm and feverish night in the bar "El Casino Social", along the port of Valparaiso, Chile.
Leica M6, 35mm, f/2, Kodak Tri-x 400, scan from a neg.
This rare 'single' postcard shows a teeming outdoor market, circa 1910, and vaguely brings to mind Weegee's famous Coney Island photo with its wall-to-wall crowds.
acrylic plastic, clayboard, ink
atelier ying, nyc.
This design is a process in parts. Certainly, one of its shelves could be made into rudimentary pinhole, with its aperture fitted onto the clock face. But I think it should simply point to a more ambitious design of a wooden pinhole camera, painted with a bookcase on the facade (like this one) and a secret latch for its shutter, giving a creepy feeling to its subject as if there were a pair of eyes observing through the books. It would have a very innovative period-looking flash unit playfully recalling Weegee cameras, and it would offer from a pair of rear barn doors a tiny English-styled bar serving up glasses of Sherry after photo sessions. The entire cabinet of dark mahogany is displayed on a tiny table surrounded by a red velvet round curtain looped through a stainless ring, making it a photobooth.
Living all my life in Chinatown, I do not come from a nature-oriented culture, so the colors of my palette are artificial.
All thirteen children's books from Agatha Christie's delightful novel, "Postern of Fate" are recorded here on its shelves with the most important one, "Black Arrow" right next to the cigar humidor.
This piece is lovingly dedicated to my childhood friend Adele Rissetti, who showed me from her deathbed her bookcase of Agatha Christie novels.
Text for design, drawing and sculpture are copyrighted 2013 by David Lo
Did you ever let yourself
Fall and loose your faith
Hey take my hand, don't let me wait
Lets take a ride, vanish into world
Close your eyes be a child
for a while, for a while
Close your eyes, free your life
From the sky, all looks fine
day by day you run and run, there is no time to stop.
Hey take my hand, don't let me wait
Lets take a ride to vanish into world
Close your eyes, be a child
For a while, for while
Close your eyes, free your life
From the sky, all looks fine
Close your eyes
uuuuuuuuu
Your eyes
Hey, take my hand, don't let me wait
Lets take a ride to vanish into world
Close your eyes, be a child, for a while, for a while
Hey, take my hand
Don't look back
Do what you pleased
To give away your pain
Close your eyes
Be a child
For a while, for a while
Close your eyes
Milton, DE
The Futuro house was a product of post-war Finland, reflecting the period's faith in technology, the conquering of space, unprecedented economic growth, and an increase in leisure time. It was designed by Suuronen as a ski cabin that would be "quick to heat and easy to construct in rough terrain". The end result was a universally transportable home that had the ability to be mass replicated and situated in almost any environment.
Futuro House at University of Canberra, Australia
The material chosen for the project — fibreglass-reinforced polyester plastic — was familiar to Suuronen and was previously used in the design of a large plastic dome for the roof of a grain silo in Seinäjoki. To facilitate transport, the house consisted of 16 elements that were bolted together to form the floor and the roof. The project could be constructed on site, or dismantled and reassembled on site in two days, or even airlifted in one piece by helicopter to the site. The only necessity on site for its placement were four concrete piers, so the project could occupy nearly any topography. Due to the integrated polyurethane insulation and electric heating system, the house could be heated to a comfortable temperature in only thirty minutes, from -29 to 15 °C (-20 to 60 °F).[1]
An excerpt from a February 1970 copy of Architecture d’aujourd’hui describes “Futuro” as:
the first model in a series of holiday homes to be licensed in 50 countries, already mass-produced in the United States, Australia and Belgium. The segments of the elliptic envelope are assembled on the site using a metal footing. Through its shape and materials used, the house can be erected in very cold mountains or even by the sea. The area is 50 sq m, the volume 140 cubic m, divided by adaptable partitions.
By the mid-1970s, the house was taken off the market. From the beginning, it had been met with public hostility. The first Futuro that was erected near Lake Puulavesi in Finland elicited public protest because it looked too unnatural for the rustic environment. In the United States, Futuro houses were banned from many municipalities by zoning regulations. Banks were reluctant to finance them. Some were vandalized. Some customers who committed to buy them backed out and forfeited their non-refundable $1,000 deposits.[2] Some have been destroyed. In 1999, the city of Tampa ordered a Futuro demolished.[3] Shortly after the turn of the century, a Futuro house was purchased on Broadkill Beach, Delaware, and destroyed to make way for a double-wide modular home. Some have been vandalized in drive-by shootings.[2] The oil crisis of 1973 tripled gasoline prices and made the manufacture of plastic more expensive.[4] Fewer than 100 were made and it is estimated that today around 60 of the original Futuro homes survive,[5] owned mostly by private individuals. The prototype (serial number 000) is in the collection of Museum Boijmans Van Beuningen in Rotterdam, The Netherlands. The Futuro no. 001, the only other Futuro currently in a public collection, is in the possession of the WeeGee Exhibition Centre in Espoo, Finland.[6]
A UK artist, Craig Barnes, purchased and restored a Futuro house in 2013 – 14.[7] He had discovered the wreck whilst on holiday in South Africa and had it shipped back to the UK before commencing restoration. The Futuro house — the only one in the UK — was on display to the public as part of an exhibition on the rooftop of an East London Gallery (until December 2014); the house was featured on the fourth series of the Channel 4 programme George Clarke's Amazing Spaces (Ep. 2[8]).
it waited hidden behind the soap dish while i splashed cold water on my face, trying to remember where I had been the night before. i reached out for the soap - and then it got me with a sudden stab-burning pain in my finger that made me hop and swear like a vicar surprised with a chorus-girl in a hot bed motel. then I saw the guy creeping on the windowsill, trying look as innocent as a butterfly on a lilac leaf.
- oh, no buddy - I whispered, - i got mine, now you’re getting yours.
i made a lunge and brushed the creep off the ledge. It crawled on the floor like the sonofabitch it was.
- okay, friend - i said - say your prayers.
my foot did the rest, and soon that dirty yellow and black lowdown was lying on its back on the cold tiles, dead. i thought about calling the cops, but what the hell, what would those guys do? what do those guys ever do? just then I heard the doorbell. i went out into the hallway, and stood up close to the door so I could see the grain in the wood, and called out:
- who’s there?
- weegee - came the croaked reply.
i knew about weegee: the corpse-snapper; always on the crime scene before the cops. i opened the door.
- hi, pal! - he said with a cigar-filled grin, waving his camera bag. – it’s weegee by name and weegee by nature: prompt and first and right on the button.
waving my throbbing finger like a flag of surrender, i let him in. he took this shot of the dead guy on the bathroom floor.
- you’ll see this in the morning papers - he said as he left – and don’t worry, I’ll call the morgue…..they know me pretty well down there. too well.
when he’d gone, i closed the bathroom door on the cadaver, went into my den and grabbed the bottle of bourbon from behind the potted plant my ex-wife left me when she walked out.
i’ll bet that wasp was a girl-wasp… dames, they’re all the same…
This is Futuro 001 which has beeen saved by the EMMA Gallery in Espoo, Finland, and is now exhibited there.
Sidewinding past the SSTIR OONEET section (as one does, whilst salivating).
Virtually gliding.
You took a fine time to leave me, loose wheel (Collision course, Weegee-esque photos of conjoined geriatric collision, a mess of limbs and machine parts, in the tomato soup (think red) aisle to follow shortly-ish, or not).
"With four hungry children and crops in the field"
Goya, Marcel, Weegee, Warhol, a lineage, a join-the-dots endeavour, even.
Accidents will happen.
Dribble, and stir.
I imagine you know what the song of the day is, not wanting to gild the lily.
Dammit! Here it is anyway.
"The Critic."
July 27, 1945
Image: Weegee/International Center of Photography, Courtesy: Daniel Blau, Munich
Via:
Maker: Arthur Fellig, aka Weegee (1899 - 1968)
Born: Ukraine
Active: USA
Medium: book
Size: 8 in x 11 in
Location: USA
Object No. 2019.256
Shelf: PHO-1953
Publication: Pellegrini & Cudahy NY
Other Collections:
Provenance: Tacoma Book Center
Rank: 41
Notes: TBAL
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Mother nature can run the spectrum from full on brutal to absolutely peaceful. From totally ugly to absolutely stunning. Tonight was the latter on both counts. The adage "F8 and be there, coined by "Arthur “Weegee” Fellig" really does hold true. The camera will do you no good if it sits at home in your bag. You might miss another one of Mother Nature's awesome light shows! Was nice getting out to spend time with and shoot some photos with my Father. I got to catch up with am old friend too!
Of course, all the usual suspects would be there, represented by ChaCha's cadre of International male, female, and indeterminate gender models, led by Marcel, James, Rrose, Chickenman and Super Chickenwoman, Dolly, Falstaff (the giant silverfish), all geriatric or otherwise, sometimes infrathinning from one state to the other, and Nora Barnacle, naturally channelling a lushishly libidinous Molly.
From the shoot at Näyttelykeskus WeeGee & Futuro house exhibition
Model: Mona
MUA & style: Anu Hämäläinen / SoStylish
Assist: Marko Oja
Photo taken in Paris - August 2007
Modest Tribute to Weegee, American photographer and photojournalist, known for his stark black and white street photography.
TAB - The Pocket Picture Magazine
Vol 4 No 4, October 1954
Cover photo of Martha Raye by Weegee (Arthur Fellig)
Unfortunately TAB discontinued the back cover glamour shot with this issue.... at least on the issues I own.
Milton, DE
The Futuro house was a product of post-war Finland, reflecting the period's faith in technology, the conquering of space, unprecedented economic growth, and an increase in leisure time. It was designed by Suuronen as a ski cabin that would be "quick to heat and easy to construct in rough terrain". The end result was a universally transportable home that had the ability to be mass replicated and situated in almost any environment.
Futuro House at University of Canberra, Australia
The material chosen for the project — fibreglass-reinforced polyester plastic — was familiar to Suuronen and was previously used in the design of a large plastic dome for the roof of a grain silo in Seinäjoki. To facilitate transport, the house consisted of 16 elements that were bolted together to form the floor and the roof. The project could be constructed on site, or dismantled and reassembled on site in two days, or even airlifted in one piece by helicopter to the site. The only necessity on site for its placement were four concrete piers, so the project could occupy nearly any topography. Due to the integrated polyurethane insulation and electric heating system, the house could be heated to a comfortable temperature in only thirty minutes, from -29 to 15 °C (-20 to 60 °F).[1]
An excerpt from a February 1970 copy of Architecture d’aujourd’hui describes “Futuro” as:
the first model in a series of holiday homes to be licensed in 50 countries, already mass-produced in the United States, Australia and Belgium. The segments of the elliptic envelope are assembled on the site using a metal footing. Through its shape and materials used, the house can be erected in very cold mountains or even by the sea. The area is 50 sq m, the volume 140 cubic m, divided by adaptable partitions.
By the mid-1970s, the house was taken off the market. From the beginning, it had been met with public hostility. The first Futuro that was erected near Lake Puulavesi in Finland elicited public protest because it looked too unnatural for the rustic environment. In the United States, Futuro houses were banned from many municipalities by zoning regulations. Banks were reluctant to finance them. Some were vandalized. Some customers who committed to buy them backed out and forfeited their non-refundable $1,000 deposits.[2] Some have been destroyed. In 1999, the city of Tampa ordered a Futuro demolished.[3] Shortly after the turn of the century, a Futuro house was purchased on Broadkill Beach, Delaware, and destroyed to make way for a double-wide modular home. Some have been vandalized in drive-by shootings.[2] The oil crisis of 1973 tripled gasoline prices and made the manufacture of plastic more expensive.[4] Fewer than 100 were made and it is estimated that today around 60 of the original Futuro homes survive,[5] owned mostly by private individuals. The prototype (serial number 000) is in the collection of Museum Boijmans Van Beuningen in Rotterdam, The Netherlands. The Futuro no. 001, the only other Futuro currently in a public collection, is in the possession of the WeeGee Exhibition Centre in Espoo, Finland.[6]
A UK artist, Craig Barnes, purchased and restored a Futuro house in 2013 – 14.[7] He had discovered the wreck whilst on holiday in South Africa and had it shipped back to the UK before commencing restoration. The Futuro house — the only one in the UK — was on display to the public as part of an exhibition on the rooftop of an East London Gallery (until December 2014); the house was featured on the fourth series of the Channel 4 programme George Clarke's Amazing Spaces (Ep. 2[8]).
Mary Mccarthy : Dis-moi qui tu hantes
(The Company She keeps)
Traduction de Angélique Levi
Collection 10/18, n° 1779
Union Générale d'Éditions - Paris, 1986
Couverture: photo © Weegee
f4.5 127mm Graflex yellow dot Optar in Graphex full synchromatic shutter. This is similar to the shutters on Ciro-Flex Model F cameras. Graflex solenoid, Kalart rangefinder, Graflex flash mount. This is the camera that I used to take the Huey shot in
flickr.com/photos/photoplastic/114675609/in/set-720575940...