View allAll Photos Tagged weegee
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...
Maker: Daniel Wolf Gallery
Born: USA
Active: USA
Medium: dealer catalog
Size: 11 1/2 in x 14 1/2 in
Location:
Object No. 2021.165
Shelf: B-59
Publication:
Other Collections:
Provenance:
Notes: with an essay by John Coplans
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
"Ilona Niemi's new work Personae mythologicae is on display in a fence surrounding a construction site in front of the Exhibition Centre WeeGee. The artwork is a collection of 28 soulful creatures based on Finnish mythology. Personae mythologicae is commissioned by WeeGee and will be on display throughout 2020."
emmamuseum.fi/en/exhibitions/ilona-niemi-personae-mytholo...
March 29, 1942
"Almost a Nosedive."
Image: Weegee/International Center of Photography, Courtesy: Daniel Blau, Munich
Via:
For some strange reason this photo really makes me think of Weegee.
After taking the photo of the Powder Room, I basically turned 90 degrees to my right and took this shot. This was another 30 second exposure at f/8.0, but this time I had to paint the entire shot with my LED Maglite (D Cell) as the scene was pitch black otherwise. This is one of two "Shot Rooms" located deep inside the battery. Towards the end of this room/corridor it curves to the right. I didn't go down their so I'm not 100% sure what is down there. Based on the Blueprints it should connect to the "Relocator & Telephone Room", however, at least part of that was turned into a Tool Room before the Battery was decommissioned, and as near as I can tell the two rooms are no longer connected.
Named after Capt. William Clark of the Lewis and Clark expedition, Battery Clark is located at Fort Stevens State Park on the Oregon Coast. Construction on the Battery started in August of 1897, and was completed in November of 1898. It was transferred into active service on January 17th, 1899. Originally each of the two pits held 4 mortars, however, due to the concussive damage caused by firing all of them, two were later removed from each pit. The mortars that were removed were transferred to Fort Canby in Washington. Interestingly, the blueprints available for the battery differ from its current configuration.
Maker: Arthur Fellig, aka Weegee (1899 - 1968)
Born: Ukraine
Active: USA
Medium: gelatin silver print
Size: 4" x 5"
Location:
Object No. 2015.254
Shelf: E-40
Publication:
Other Collections:
Provenance: estate of Peter Martin a photo publisher and friend of Weegee's
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 themes and subjects, visit: OUR COLLECTIONS
Weegee in Coventry, photo Richard Sadler 1963, Bettie Page posing. Reproductions, collection personnelle. (tirages papier offerts par Marjory; le portrait de Weegee est un monument!...)
Maker: Arthur Fellig, aka Weegee (1899 - 1968)
Born: Ukraine
Active: USA
Medium: gelatin silver print
Size: 8" x 10"
Location:
Object No. 2013.692
Shelf: E-40
Publication:
Other Collections:
Provenance: estate of Peter Martin a photo publisher and friend of Weegee's
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 themes and subjects, visit: OUR COLLECTIONS
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.
Normally I try to do my best not to have any people in my Coastal Defense Forts photographs, in this case, this was a test shot, so I didn't worry about having my wife and kids in the shot. For some reason I decided to take the time to process it, and I really liked the results. I think part of the reason I like this shot so much is that it reminds me of work by Weegee.
Construction of Battery 247 started on February 9th, 1943 and was completed on August 31st, 1944 at a cost of $243,397. It was transferred to active service on October 28th, 1944, yet the war would soon end, and deactivation was started in July of 1945. By October of 1947 troops had been removed.
Battery 247 was one of three batteries constructed at the mouth of the Columbia River to provide a triangle of fire. Each battery was armed with two 6" Model T2, 309.9" long rifled guns firing 105 pound armor piercing rounds. The other two batteries were 245 at Fort Stevens, and 246 at Fort Columbia.
Mulberry St., Nyc.
Digitized 1965 Polaroid Land Camera "Swinger" Model 20
Plastic Meniscus Lens (F17, 200mm)
This tiny shop sells Ming Qi, or funereal objects to honor the dead. These are made of paper (houses, cars, dolls, toys, furniture, cellphones). These wonderful shops are only frequented by mourners, unfortunately. I always pass by to see what's new in their products.
I am working on a Weegee camera design that features MIng Qi as he was particularly concerned with the dead, racing to be the first to photograph them and claiming (in a self-promoting tongue-in-chic way) to get psychic information on crimes faster than other news photographers can, which is why his name is a spin on the word "Ouija". My camera design will seek to honor him with a camera that honors the dead, a helpful and clever twist on things, in the style of Weegee.
"People are so wonderful that a photographer has only to wait for that breathless moment to capture what he wants on film."
Weegee
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 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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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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Plans for a New Zealand version of the Futuro
thefuturohouse.com/futuro_house_concept_and_design.html
The restored original Futuro House no. 001 (1968) with a different layout as shown on the plans now stands outside the
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)
Raymond Chandler - The Big Sleep and Other Novels
Penguin Classics, 2000
Cover photo shows "Arrested for Bribing Basketball Players", New York, 1942 by Weegee © Hulton Getty
The Big Sleep
Farewell, My Lovely
The Long Good-bye
While I was there absorbing the atmosphere and drinks, a midget walked in. . .he was about three and a half feet. I invited him for a drink. He told me that he had just arrived from Los Angeles, where he had been working for Brown & William's Tobacco Co., walking the streets dressed as a penguin. The midget was flush and started buying me drinks. He proudly showed me his social security card, told me that he was thirty-seven years old, was single as the girls only after money, that once in a while he got some affection, but had to pay for it. . . .After the seventh round he got boisterous and offered to fight any man his size in the house. Sammy grabbed the midget and threw him out through the doorway which has a red neon sign saying “Thank you, call again,” hollering at him not to ever come back again. Sammy’s has a blacklist just like Billingsley’s Stork Club uptown.-- Naked City by Weegee (Arthur Fellig). Dacapo Press.
Site of Sammy's-on-the-Bowery the "poor man's Stork Club" as photographed by WeeGee. Check my blog for more info. According to NYsonglines before that (1890s?) it was a bar called "The Mug" owned by John McGurk, where Mickey Finns were dispensed along with the drinks.
made of bare tree limbs, last years leaves, fog.
Winter is the dormant time for deciduous trees, they pull all the value out of their leaves that they can and abandon the rest. As with fruit, a corky layer of cells grows across the stem and stops the flow of liquids. in either direction. After that, its just a matter of time. Here in March, the trunks and limbs and last years new growth are a dozen different, dull, colors grays and browns, and the fog models them gently. if there is any white in this, any zone 0, I can't see it. And yet, its not Weegee, its not artistic black and white, its an informative color image, producted digitaly, and such a network of things in focus, things out of focus, its a little overwhelming. In a nice way.
Compare to *lower* contrast, more saturated, brighter, edit:
www.flickr.com/photos/wbaiv/8700360985
DSC_0290 copy