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Nastassja and I wound up working at Wolves today and I had 2 cameras with me (my Nikon DSLR and my iPhone 4s) and I took advantage of the space to take some photos.
What surprised me is how good the iPhone 4s' camera is.
Gràfica lookbook de la col·lecció, "Con un poco de azúcar"
by N'Aida Ràfols Compte
photo: Toni Amengual/ Tanit Plana
loaded project/
Reto fotográfico día 26: De cerca
Dos avispas trabajando en su panal
__________________________________________
Photographic challenge day 26: Up close
Two wasps working in his honeycomb
1969 AM General 1,000 gallon with 250 gpm pump. Still being worked on. Served in Beaumont at sub-station.
Oh no, it’s Selwyn Froggitt! A Morrison’ Utilities workman digging a hole for Welsh Water, on the road between the rear of Richmond Close and the canal bank.
Erice is on top of a hill beyond Trapani, and is reached by an enjoyable cable car ride which sweeps you up and down over mostly wild terrain with of course magnificent views of the sea. Its a small enclosed place with lots of interesting buldings, churches, castles, a park, a small museum etc.
Outgoing Commander Australian Fleet, Rear Admiral Tim Barrett sails past Sydney city for the last time as Commander Australian Fleet aboard the Admiral's Barge.
The first National Policy Dialogue on Future of Work organized on 13 December in Hanoi by the International Labour Organization
©ILO
This work is licensed under the Creative Commons Attribution‐NonCommercial‐NoDerivs 3.0
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Voici mon oeuvre intitulé « Poésie Parfumé » - Here is my work title « Poetry Perfumed »
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Untitled (Beggar, London)
1934
Dora Maar
(November 2019 – March 2020)
During the 1930s, Dora Maar’s provocative photomontages became celebrated icons of surrealism.
Her eye for the unusual also translated to her commercial photography, including fashion and advertising, as well as to her social documentary projects. In Europe’s increasingly fraught political climate, Maar signed her name to numerous left-wing manifestos – a radical gesture for a woman at that time.
Her relationship with Pablo Picasso had a profound effect on both their careers. She documented the creation of his most political work, Guernica 1937. He painted her many times, including Weeping Woman 1937. Together they made a series of portraits combining experimental photographic and printmaking techniques.
In middle and later life Maar withdrew from photography. She concentrated on painting and found stimulation and solace in poetry, religion, and philosophy, returning to her darkroom only in her seventies.
This exhibition will explore the breadth of Maar's long career in the context of work by her contemporaries.
[Tate Modern]