View allAll Photos Tagged weegee
pl.youtube.com/watch?v=0yaSzcXZKIQ
Ooo ooo ooo ooo ooo
I ain't happy, I' m feelin glad
I got sunshine in a bag
I'm useless, but not for long the future is comin' on
I ain't happy, I' m feelin glad
I got sunshine in a bag
I'm useless, but not for long the future is comin' on
is comin' on is comin' on is comin' on is comin' on
(poof)
Yeah, ha ha
Finally someone let me outa' my cage
Now time for me is nothin' cuz I'm countin' no age
Naw I couldn't be there, now you shouldn't be scared
I'm good at repairs (s'all simple), and I'm under each snare
Intangible (aww naw), bet you didn't think so I command you to
Panoramic view (you), look I'll make it all manageable
Pick and choose (hmph), sit and loose, all you different crews
Chicks and dudes, who you think is really kickin' tunes
Picture you gettin down in a picture too, like you lit the fuse
You think it's fictional, mystical, maybe
Spiritual, hear all who appears in you to clear your view when (yeah) your too crazy
Lifeless, to those a definition for what life is
Priceless, to you because I put you on the hype shit
Ya like it
Gun smokin', righteous with one, token psychic among
they'll posess you with one go
I ain't happy, I' m feelin glad
I got sunshine in a bag
I'm useless, but not for long the future is comin' on
I ain't happy, I' m feelin glad
I got sunshine in a bag
I'm useless, but not for long the future (that's right) is comin' on
is comin' on is comin' on is comin' on is comin' on
The essence, the basics
Without it you make it
Allow me to make this childlike in nature
Rythm, you have it or you don't
That's a fallacy
I'm in them
Every sprouting tree, every child apiece
Every cloud at sea
You see with your eyes, I see destruction and demise
Corruption in the skies (that's right)
From this fuckin' enterprise, now I'm sucked into your lies
Through Russ so not his muscles but percussion he provides
With me as a (say what) guide
Y'all can see me now cuz you don't see with you eye
You percieve with your mind
Thats the end (fuck em)
So I'ma stick around with Russ and be a mentor
Bust a few rhymes (bah boom boom boom boom) so mother fuckers remember where the thought is
I brought all this, so you can survive when law is lawless(why here)
Feelings, sensations that you thought was dead (yup)
No squeeling, remember that it's all in your head
I ain't happy, I' m feelin glad
I got sunshine in a bag
I'm useless, but not for long the future is comin' on
I ain't happy, I' m feelin glad
I got sunshine in a bag
I'm useless, but not for long my future is comin' on
is comin' on is comin' on is comin' on is comin' on
My future (future) is comin' on
is comin' on (future future future) is comin' on is comin' on is comin' on
My future is comin' on
is comin' on (future future future) is comin' on is comin' on is comin' on
My future is comin' on
is comin' on is comin' on
My future is comin' on
is comin' on is comin' on (future future future)
My future is comin' on
is comin' on is comin' on
My future
Sometimes it's easy to spot the tourists. A prototypical Dad-Mom-Son-Daughter walked past the monument, and then they stopped and conferred for a moment. The teenage son then doubled around, peered at the name carved into the side of the base, and then he trotted back to his family and made his report.
All I heard was "[russianrussianrussian] 'George Wash-ing-ton' [russian]."
It charmed the hell out of me. It was a cheery reminder that there are parts of the world in which George Washington is not an immediately-recognizable figure.
As I test the Nikon P7000, I'm navigating a common problem: I have to note the difference between "general features" and "Andy features." I love Feature X...but is it something that a non-Andy user would go for?
The P7000's command dial falls into this category. I love it. A pocket camera doesn't have a lot of room for buttons and controls, which forces the designers to bury some of the most useful functions deep inside submenus. On the P7000, though, I can set up a bracketed exposure in barely the amount of time it takes for me to think "I bet that I'm going to lose all of the detail in those clouds; I'd better bracket this one."
Great! But some people are thrown off by cameras with tons of buttons and dials. I've only been shooting with the P7000 for a few days now. It's got so many controls that I suspect that one of these knobs flips up to reveal another knob and button underneath it. I need to remember that some users don't like that.
Hmm. OK, I'll be pondering this in the coming week.
I use bracketing all the time. Sure, I pretend that my biggest photographic influences are Ansel Adams and Weegee and Henri Cartier-Bresson but if pressed, I have to admit that (at least when I'm on the site and clicking the shutter) I'm actually emulating Al Bean and Gene Cernan and Buzz Aldrin and all of the other Apollo astronauts. I have limited excursion time; I need to collect as much data as possible. "Results" come after splashdown, when I'll have all the time in the world to crunch the numbers.
So I always shoot RAW. And if the shot seems like it's going to challenge the camera's exposure meter in any way, I'll take a moment to shoot three or five bracketed shots. At least one of these frames will be good...plus, I can try processing the set as an HDR image. Maybe it's a waste of time but I'm only wasting, like, two seconds on the bracketing.
Whereas if I get home and find that the one shot I took won't come to life no matter how many times I shock it with the Photoshop paddles...oh dear God. "You don't have a decent night shot of the Space Shuttle sitting on the launch pad illuminated by searchlights," I'll say to myself. "But man, during those three seconds that you didn't waste on bracketing...you really lived."
(I will be saying this sarcastically.)
Whoops, forgot to mention that this is an HDR image built from five exposures with HDRSoft's Photomatix app. The P7000 can shoot a bracketed sequence so rapidly that you don't necessarily need to lock the camera down to a tripod. So long as your hands are reasonably steady, the app can line up the images and make a nice, tight image.
Whoops(2), I've just noticed that there are a couple of blowouts in the clouds. OK, I'll fix that later.
Naked Hollywood by Weegee & Mel Harris is a series of Images taken of Hollywood stars and their fans. Throughout this book there is very little writing. The writing consist of the theme of the following photographs. I really liked how it said what the photographs were about and relating it specifically to photography. Whats special about Weegee's photographs in this book is that he did not just look at the movies stars. He took pictures of the fans reactions of seeing these stars, and the environment around the premiers. This makes it even more interesting. Naked Hollywood teaches us to step back and look at things differently. I have studied Weegee in a previous photography course, and looking through this amazing book makes me appreciate his work even more.
*The picture on the cover is distorted, so i tried to recreate that using Photo Booth.
DALE MESSICK
Dalia "Dale" Messick (April 11, 1906 – April 5, 2005) was the first woman syndicated comic strip artist in the United States. She was best known as the creator of Brenda Starr, which at its peak in the 1950s ran in 250 newspapers.
Dale Messick was born on April 11, 1906 in South Bend, Indiana to a seamstress and commercial artist. She had an interest in writing and drawing since childhood. She studied briefly at the Ray Commercial Art School in Chicago but left to begin a career as a professional artist.
She began working for a Chicago greeting card company and was successful but quit when her boss lowered her pay during the Great Depression. She moved to New York City and found work at another greeting card company at a higher salary, and began assembling a portfolio of comic strips after work.
Messick was not the first female comic strip creator; Nel Brinkley, Gladys Parker, and Edwina Dumm had all achieved success in the field. But there was still a bias against women and Messick decided to change her first name to Dale to help get her work seen by editors. She produced a number of ideas for strips with titles such as Weegee, Mimi the Mermaid, Peg and Pudy, the Struglettes, and Streamline Babies, none of which were picked up for publication
Brenda Starr
Messick created the character of Brenda Starr in 1940, naming it after a debutante from the 1930s and basing her appearance on Rita Hayworth. Messick wanted to produce a strip with a female protagonist; she decided a career as a reporter would allow her character to travel and have adventures, adventures more glamorous than those actually experienced by most reporters. She later commented on this in a 1986 article about her in the San Francisco Chronicle:
I used to get letters from girl reporters saying that their lives were nowhere near as exciting as Brenda's. I told them that if I made Brenda's life like theirs, nobody would read it.
Her break came when she came to the attention of another woman, Mollie Slott, who worked as a "girl Friday" (à la His Girl Friday) for New York Daily News publisher (and syndicate head) Joseph Medill Patterson. Patterson, reputedly biased against women cartoonists, wouldn't sign her up for daily publication in the News, but he accepted Brenda Starr, Reporter for syndication as a Sunday comic, and it made its debut on June 30, 1940. It was quickly a success; its mixture of adventure and romance was popular with both male and female readers.
Messick went on to create a number of other comic strips but none achieved the success of Brenda Starr. The only other strip which she worked on which is generally remembered was Perry Mason which she illustrated.
Messick retired from producing Brenda Starr in 1980. Ramona Fradon (artist) and Linda Sutter (writer) took over the strip from 1980 to 1985. June Brigman (artist) and Mary Schmich (writer) have done the strip from 1985 to the present. Messick wasn't impressed with her successors' versions of Starr, according to a 1998 quote in the Sonoma County Independent:
Now it doesn't look like Brenda at all. She looks more like she works at a bank. No glamour, no curves, no fashion — but it's still going pretty good.
Following her retirement from Brenda Starr, she moved to Oakmont, California to be near her daughter and grandchildren. She continued to work and created a new strip, Granny Glamour, which ran in Oakmont Gardens Magazine, a local weekly magazine. It ended after she had a stroke in 1998 and couldn't draw any more.
In 1995, Brenda Starr was one of twenty comic strips honored by a series of United States postage stamps; Messick was the only living creator.
She received the National Cartoonists Society's Story Comic Book Award for 1975 and their Milton Caniff Lifetime Achievement Award in 1997 for her work on Brenda Starr.
Cartoonist Dale Messick Dies; Creator of 'Brenda Starr' Strip
By Patricia Sullivan
Washington Post Staff Writer
Dale Messick, 98, whose glamorous, spirited, redheaded reporter Brenda Starr cracked open the comics pages for adventure-seeking female characters and cartoonists, died April 5 after a series of strokes. She was at her daughter's home in Penngrove, Calif.
Ms. Messick, who often described Brenda as her alter ego, created the quick-witted character in 1940. She drew and wrote "Brenda Starr, Reporter" for 43 years, until the syndicate that owned it pressured her to retire. The strip, which at its peak appeared in 250 newspapers.
Dale Messick
(Dalia Messick)
(11/4/1906 - 5/4/2005, USA)
Born in 1898, Berenice Abbott was an American photographer best known for her B&W photography of New York City architecture and urban design of the 1930's. She first became involved with photography in 1923 when Emmanuel Radnitzky (aka Man Ray, 1890-1976), looking for somebody who knew nothing about photography and thus would do as he said, hired her as a darkroom assistant at his portrait studio in Montparnasse. In early 1929 she visited New York and immediately saw its photographic potential. She moved there soon after and started her first major photographic project.....documenting NYC and producing photographs that have since provided a historical chronicle of many now-destroyed buildings and Depression-era neighborhoods of Manhattan. Many of her well-known New York images were produced under the auspices of the Federal Art Project from 1935-1939. She continued to photograph New York City through 1956. Berenice Abbott died in December, 1991.
Abbott entitled her photograph, "Gunsmith, 6 Center Market Place, New York, 1937'. The shop at #6, owned by Frank Lava, was located across the street from the Police Department at 240 Center Street. The oversized revolver is, playfully if not ominously, pointed directly at the police station. Scott Davis, another aficionado of Abbott's photography, discovered that famed crime photographer 'Weegee" (Arthur Fellig, 1899-1968) had, 11 years before Abbott took this photograph, lived on the second floor above another gun shop at #5 Center Market Place, the John Jovino Gun Shop (see an image of Weegee with his camera sitting atop Frank Lava's sign at back-then.tumblr.com/post/7193872387/frank-lava-gunsmith ).
The photograph is currently part of an exhibition entitled "The Radical Camera: New York's Photo League, 1936-1951" on view at The Contemporary Jewish Museum in San Francisco, California
“There are photographic fanatics, just as there are religious fanatics. They buy a so-called candid camera… there is no such thing: it’s the photographer who has to be candid, not the camera.” – Weegee
Trying abit of Weegee inspired photos, Shot on 5x4 hand held with a metz flash,,Sort of shooting blind
My coffee table while working on my assignments.
I prefer working here over working at a desk - while I'm doing handwritten work or research at least. It lets me spread out a lot more. When writing I tend to just grab the notebook and work in my lap.
It also keeps me closer to the kitchen and therefore the supply of tea.
Sitting on the couch makes me feel more relaxed.
An uninviting plastic toilet.
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.
A plastic fireplace-barbecue, the only cooking facilities in Futuro.
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.
I was making my bed, and put my camera on it. I decided to throw a plushie onto my bed, and it landed like how you see. I couldn't stop laughing and decided to take a picture of what resulted.
Aperture Gallery, Nyc.
1920 Zeiss Contessa-Nettel Cocarette
Anagstimat f6.3
Another photo of Daido Moriyama spotting me ( or was it my camera?) and waving hello.
Please see my other Moriyama links like:
www.flickr.com/photos/64011301@N08/8171097095/
and my related Weegee links like:
The WeeGee Exhibition Centre in Espoo (Finland) has acquired the first ever mass-produced Finnish Futuro House (no. 001) for the museum. The Futuro is a plastic house designed by architect Matti Suuronen. Elliptical in shape, the house captures the experimental forms, new materials and optimistic ideas of the space-age architecture and design of the late 1960s. The Futuro House was originally commissioned as a skiing lodge that would be quick to heat and easy to construct even in rough terrain. First launched in 1968, the house made headlines in Finland and abroad. It was, however, too peculiar and too expensive to break into the mass market. With the 1973 Oil Crisis tripling the price of plastic, all hopes of the Futuro ever conquering the world had to be abandoned. Today, about 50 known Futuro Houses remain in various corners of the world. Only two of these are in public collections, this one at WeeGee and the other one at the Museum Boijmans Van Beuningen in Rotterdam.
Video presentation in the YouTube of the Futuro House at the Museum Boijmans Van Beuningen in Rotterdam.
We're goin' hoppin' today at Kimiko Cove Nude Beach & Club with DJ WeeGee & Naughty Princess Ana!
🎵WHO: DJ WeeGee & Naughty Princess Ana
🎵WHAT: Sock Hop
🎵WHERE: [maps.secondlife.com/secondlife/Maui%20Swingers%20Resort/5... Kimiko Cove Nude Beach & Club]
🎵WHEN: Thursday, July 10th @ 4 PM SLT
From the New York Journal, May 17, 1937 : "Two were killed instantly and four others were badly injured when two cars and a trolley met in a collision at S. Portland and Fulton Streets., Brooklyn". (A. Fellig photo) www.vulture.com/2019/05/weegee-lost-nyc-crime-scene-photo...
Charlie Kirk, who clearly copies Bruce Gilden, Garry Winogrand and Mark Cohen who at least in the beginning all copied Weegee feels that he is the only one allowed to live in Japan and shoot a flash.
I have been living in Japan off and on since 2001. I've been shooting film on the street since 2008 and rangefinders since 2009, not that it matters. I don't owe you a god damn thing. It's a shame you were too chicken shit to meet me in person last night.
#favinaintacrime #twits #crybaby
Arthur Fellig (1899-1968), better known as Weegee, was one of a kind. Born in Poland as Usher, he changed his name to Arthur when arriving in the US in 1909. Weegee gained prominence, as a NYC based freelance photographer wielding the classic 4x5" Speed Graphic (with flash attached) when several of his gritty shots of street life were included in a Museum of Modern Art group show. A self proclaimed vulgarian, a cigar (mostly unlit) perpetually hung from his lips. His was the night noir crime beat. He monitored the police band on his portable radio and had a complete darkroom in his car trunk. A shameless self promoter, he once claimed to have photographed a thousand murders, mostly of gangsters lying in a pool of blood. His most famous image, "The Critic," he had staged; hiring a bag lady to give a disgusted look when two bejeweled, ermine wrapped matrons arrived at the Metropolitan Opera.
His first book, in 1946, entitled "Naked City," inspired the 1948 film noir motion picture of the same name. He left for Hollywood in 1946 where he was also an actor and consultant. Weegee can be seen as the bell ringer in the opening credits of Robert Wise's 1949 film noir RKO boxing classic, "The Set-Up." Stanley Kubrick had been a boy wonder photographer of the New York streets for Look magazine. He hired Arthur as a consultant on his film, "Dr. Strangelove."
Joe Pesci played a thinly veiled Weegee in 1992's "The Public Eye," which incorporated some of his NYC images. And the neo-noir "Stormy Monday"(1988) had a club featuring enormous blowups of Wegee's photos on the walls. While he cracked the art world in 1943 at the MOMA, he had no view toward posterity. He routinely threw his negatives and prints into a barrel. I once saw a show of original Weegee prints at Tucson's Center for Creative Photography. They were curled and had a hideous, spotted and faded brown look which comes from not being properly fixed. He must have just sloshed the print a few times in his fixer tray in his auto trunk, and raced to hopefully sell his picture for $5 to a newspaper photo editor, when the city had several newspapers.
This Casa Grande, Arizona 2002 Christmas party snap shot is remindful of Weegee's celebratory bar photos.
Note: Signed, numbered, limited edition, archival matte C-prints of this image can purchased on page 5 of my Etsy store: www.etsy.com/shop/davidleeguss
A 200 year archival print, as matte, glossy or luster, is available for purchase in my DeviantART gallery: fav.me/d2kw2c3
@2009 David Lee Guss Homage, Weegee, Bruce in drag, Xmas party, Casa Grande, Arizona, 2002
Arthur Fellig (1899-1968), better known as Weegee, was one of a kind. Born in Poland as Usher, he changed his name to Arthur when arriving in the US in 1909.
Weegee gained prominence, as a NYC based freelance photographer wielding the classic 4x5" Speed Graphic (with flash attached) when several of his gritty shots of street life were included in a Museum of Modern Art group show.
A self proclaimed vulgarian, a cigar (mostly unlit) perpetually hung from his lips. His was the night noir crime beat. He monitored the police band on his portable radio and had a complete darkroom in his car trunk.
A shameless self promoter, he once claimed to have photographed a thousand murders, mostly of gangsters lying in a pool of blood.
His most famous image, "The Critic," he had staged; hiring a bag lady to give a disgusted look when two bejeweled, ermine wrapped matrons arrived at the Metropolitan Opera.
His first book, in 1946, entitled "Naked City," inspired the 1948 film noir motion picture of the same name. He left for Hollywood in 1946 where he was also an actor and consultant.
Weegee can be seen as the bell ringer in the opening credits of Robert Wise's 1949 film noir RKO boxing classic, "The Set-Up."
Stanley Kubrick had been a boy wonder photographer of the New York streets for Look magazine. He hired Arthur as a consultant on his film, "Dr. Strangelove."
Joe Pesci played a thinly veiled Weegee in 1992's "The Public Eye," which incorporated some of his NYC images.
And the neo-noir "Stormy Monday"(1988) had a club featuring enormous blowups of Wegee's photos on the walls.
While he cracked the art world in 1943 at the MOMA, he had no view toward posterity. He routinely threw his negatives and prints into a barrel.
I once saw a show of original Weegee prints at Tucson's Center for Creative Photography. They were curled and had a hideous, spotted and faded brown look which comes from not being properly fixed.
He must have just sloshed the print a few times in his fixer tray in his auto trunk, and raced to hopefully sell his picture for $5 to a newspaper photo editor, when the city had several newspapers.
This Casa Grande, Arizona 2002 Christmas party snap shot is remindful of Weegee's celebratory bar photos.
@2009 David Lee Guss Homage, Weegee, Bruce in drag, Xmas party, Casa Grande, Arizona, 2001
Source Wikipedia :-
Some professional photographers develop candid photography into an art form. Henri Cartier-Bresson might be considered the master of the art of candid photography, capturing the "decisive moment" in everyday life over a span of several decades. Arthur Fellig, better known as Weegee, was one of the great photographers to document life in the streets of New York to often capture life — and death — at their rawest edges.
Almost all successful photographers in the field of candid photography master the art of making people relax and feel at ease around the camera, they master the art of blending in at parties, of finding acceptance despite an obvious intrusive element - the camera. This is certainly true for most celebrity photographers, such as René Burri, or Raeburn Flerlage.
It could be argued that candid photography is the purest form of photojournalism. There is a fine line between photojournalism and candid photography, a line that was blurred by photographers such as Bresson and Weegee. Photojournalism often sets out to tell a story in images, whereas candid photography simply captures people living an event.
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**** Disclaimer ****
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I love long exposures, everything to do with night time, the dark, sunrise and sunset.
I like to take pictures mainly at night , sometimes during the day and in dull and fading light and I will sometimes display the time and date the picture was taken too.
I tend to take pictures of Light trails, Motorway traffic, Street lights, Buildings, Landscapes, Bokeh, Night bokeh and Hexagonal Night Bokeh in and around the North East of England.
All of my pictures are 100% natural and untouched in every way without ever been Photo shopped or altered or messed about with in anyway whatsoever, No multi layered photography, No HDR's and No image manipulation of any kind, all of my pictures look just the way they did when I saw them at the time of taking and I'm VERY PROUD of that.
I don't do any photo processing at all, I don't even own any photo software.
All of my starbursts are all 100% natural without using any filters or anything else, as is all my bokeh, night bokeh and hexagonal night bokeh, its all natural, no funny gimmicks at all.
I don't do anything with my pictures apart from take them and then upload them , 99.99999% of my pictures don't even get cropped , they are all 100% natural and untouched and then uploaded.
All of my pictures are copy right, © All rights reserved, you MAY NOT use any of my pictures without my written consent, you also MAY NOT change, alter, adjust or rearrange my pictures in anyway what so ever.
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© All rights reserved.
Day #21 was a slam dunk; a mere two steps from CCD to your living rooms. What we have here is the original vision, grabbed and executed in one shot, on my way home from work tonight. There oughta be a flickr category: RAW. "Un-Cropped, Un-Shopped, Original Camera Image."
Editorial: Purity of the Snap
It wasn't so long ago that a photographic pioneer or modern purist would strike out into the greater world, 8 x 10 wooden view camera slung over the back, armed with a single unexposed sheet of film. This wanderer, guided by some ephemeral force, would stumble across the destined photographic opportunity, ponder the possibilities, set the tripod and tweak the settings and (ka-click!) capture one brief instant for better or worse. Then return directly home for the day. Hours or days later — after mixing up batches of evil chemicals, heating and pouring and agitating and mumbling incantations to Daguerre (or Niépce) in unventilated cavelike cells with dripping water and ghosts of lightleaks imagined, furthermore carefully exposing print from negative and agitating anew — only then would the degree of success or failure be discernible. Though the emergence of each final positive image was probably as exciting as Christmas morning, only a fraction of this total output developed into timelessness. That is discipline.
I love it when a shot cannot be cropped, when every element and angle captured by the lens demands to be seen unaltered in the final "print". Whether due to acute pre-visualization or dumb luck, it is exciting. Something in the brain is working, vision-wise, and not a pixel was wasted.
By the same token, the exposure here is as initially interpreted by the little Canon brain. Later I always give Photoshop a chance to offer its own opinion via various autolevels. Often it has good instincts – but tonight it couldn’t improve, didn’t alter a pixel. Credit: Canon.
Playing with levels, as always, offers more visibility into the darkness; crazy HDR effects render additional local detail and drama. Yours Truly begins to emerge from the shadows. But shit, this picture is not about ME. It's about shadows: the nighttime life of Flatbush Avenue. So I return to lurkerdom.
With the highlights, however, I admit to tweaking one of my favorite tweaks: Saturation, i.e. color intensity. These night shots are often about evoking the glitz and neon, so a little hyping of the color brings out the hurdy-gurdiness and can impart some wonderful tones to otherwise invisible deep blues, greens, ochres. There’s your shadow detail!
Meanwhile, as to the human content, we continue to be gripped in the Canadian clutches of arctic air masses thus I continue to dress accordingly, a mismatched knit cap lending an air of homelessness to my ever-devolving character.
I shy away from photographing actual homeless people or those in unfortunate circumstances, despite the obvious sociological subject matter and facile statement that makes the primitive shutter finger twitch. Simply, it is downright rude to point a lens, as if to say, "How fascinating! Mind if I grab your soul for my scrapbook and a few billion Internet voyeurs? *Snap* Thanks! Glad I'm not you."
Humans have a right to basic dignity and privacy. Unless you're Weegee, you wouldn't whip out your Speed Graphic in someone's home and start flashing, would you? So guess where these people live — and into whose home you just stumbled? For that matter, it is far too easy to imagine a short sequence of events that could put me on the sidewalk right next to them, sharing a precious cup of hot weak coffee. Seriously. We are all in this together.
But as for me, hey, I'm happy to be the subject. I have no shame. Plus I'm bold enough to ask myself for a model release.
What, you can't find me in the picture? Even my wife had trouble.
Do I drive that dollar van? Am I Mr. Anonymous Passenger alighting from its running board? Is that I, trudging up Flatbush? Am I procuring dinner from the kitty-scented vegetable stand?
All wrong.
I’m the face imprisoned by the barricade bars / Hiding in the Flatbush darkness.
Copyright © Llewellyn Lafford
Reverse of my hardback book cover collaboration with dou_ble_you for flickrgroup project The Library... Montage by Luis Drayton; 28/08/09. dou_ble_you to complete...
pl.youtube.com/watch?v=ZzfUT8gpioI&feature=related
Przemierzamy cały kraj, jaka jest tego przyczyna
Słodka muzyka reggae to dopiero się zaczyna
Obudź się i żyj to do ciebie słowa
wstał już nowy dzień można zaczynać od nowa
Jeden Bóg jeden cel jedna reggae rodzina
Każdy za każdym stoi jak kostki domina
to dla Ciebie słowa
Reggaemova!
Nielegalne myśli niebezpieczne słowa
To nie mowa trawa to jest Reggaemova
Oryginalna niebanalna
Skuteczniejsza niż koktajl mołotowa
Muza stylova- lova nieszablonova- nova
W świecie komercji pozostaje bezkompromisowa
Eksperymentalna nieprzewidywalna
Reggaemova!
Daje nadzieje gdy wokoło wyścig szczurów
Niesie ocalenie przypartym do muru
To nie żarty ja gram w otwarte karty
To na poważnie ja to widzę tak wyraźnie
Na fakty swego życia patrz uważnie
Są od Boga więc przyjmuj je odważnie
Uważaj Bracie uważaj Siostro
Tu gra idzie o wszystko dlatego gra się ostro!
Reggae w Kluczborku reggae we Wrocławiu
Dziś dubujemy Łódź jutro gramy w Warszawie
Reggae tu reggae tam dudni jak tam tam
Ty Bracie dajesz to co masz ja daje to co mam
Ta muzyka która gram wazy nie więcej niż miligram
Lecz jest niezłomna jak Warszawa man
Złu mówi zawsze no pasaran!
A ja rzeczywistość badam badam
Nie mówie tak dopóki prawdy nie poznam
Bo nie chce skończyć marnie jak Saddam
Nie chce zrobić błędu tak jak Adam
W ten gnój nie wchodzę pardon madame
To pułapka man wiec ja stąd spadam
Ja wole grac to co zawsze gram
Reggaemova!
Nadaje Ziemia: śmierci już nie ma!
REGENERATOR:
Za pieniądze pogoni mentalny bałagan
Czasem masz to ty i czasem ja to mam
Dopada nas to tak znienacka
Że nie wiemy z której strony
Kolejny atak i gdzie spadnie topór kata
Ale nasze pole siłowe to reggae
ale nasze pole siłowe to ragga
A ty pamiętaj nigdy nie podstawiaj głowy swej
Tam gdzie strącić ją może w jednej sekundzie zlej
Bo portfel pusty nie oznacza serca pustego
Poczuj to bo nie będę tłumaczył dlaczego
Nie kupisz za dolary i złoto to co nazywam One Love
PABLO PAVO:
Podobno takie rozumowanie bywa naganne że
Ciągle istnieją sprawy nienazywalne te
Kiedy muzyka potrafi wzbudzić w tobie to
Co zdawało się minutę temu nie istniało
A znika flota znikają metki a nawet skóry barwa
Bo to durnota gestów i marna farba
W skarbach lubują się leszcze bo
My mamy dźwięki my mamy słowa na plecach dreszcze
Digi digi bam digi digi dem
ta rewolucja czeka na ciebie tuż za rogiem
Digi digi dem digi digi bam
Pablo Pavo Regenerator Maleo man
Digi digi bam digi digi dem
ta rewolucja czeka na ciebie tuż za rogiem
Wow me say Babylon is fallinn down
Ta muzyka która gram waży nie więcej niż miligram
Lecz jest niezłomna jak Warszawa man
Złu mówi zawsze no pasaran!
1951 Kodak Ektar f4.7 127mm in Supermatic (X) shutter, Graflex solenoid. Kalart rangefinder with Graflex flash mount.
I wanted one of these since about 1960, the dawn of my photo interest. I used a Calumet 403 (or Orbit or B&J) in college, and bought one for my studio in the 1980s. That was all the 4x5 I needed, until I started chasing steam engines. Studio view cameras do not make chasing trains easy. I had a conversation with glamour photographer Peter Gowland about the aerial camera he designed. It would be more compact than a view camera, but still limited to 1/400 or 1/500 second shutters typical on 4x5 cameras. Why should that matter? Well, I have a shot of a steam engine doing about 60mph. When blown up for 22x28 posters, you can see a slight blur in the engines number board.
flickr.com/photos/photoplastic/123570974/in/set-720575940...
Gowland suggested what I really needed was a Speed Graphic with its 1/1000 sec focal plane shutter. So now I have one, but no time to chase steam engines. Some day . . .
I used this camera for the unmodified orignal photos used in
flickr.com/photos/photoplastic/115317853/in/set-720575940...
and
flickr.com/photos/photoplastic/115317851/in/set-720575940...