View allAll Photos Tagged write
write on calculator. Please feel free to use this image that I've created on your website or blog. If you do, I'd greatly appreciate a link back to my blog as the source: CreditDebitPro.com
Example: Photo by Credit Score Guide
Thanks!
Mike Lawrence
"he de buscar la forma
de escribir
sin rompera nada
sin herir a nadie"
"I have to find a way
write
not gonna break anything
without hurting anyone "
(Fotografía y prosa: Emili Bermúdez)
Maker: A.A.E. Disderi (1819-1889)
Born: France
Active: France
Medium: salted paper print
Size: 6.3" x 4"
Location:
Object No. 2016.614
Shelf: B-2
Publication:
Other Collections:
Provenance: Encheres Oceanes, June 18, 2016, lot 240
Rank: 123
Notes: avec indication « Mr Disdéri opère lui-même »
André-Adolphe-Eugène Disdéri (1819 - 1889) a self-taught daguerreotypist, researched and improved upon the existing collodion-on-glass negative process, which he outlined in his first publication, Manuel Opératoire de Photographie sur Collodion Instantané, 1853. That same year, he returned to Paris and opened the largest studio in Paris, which spread across two floors. It was there that he introduced his carte-de-visite portraits which were a great financial success. For the 1855 Paris Exposition Universelle, he formed the Société du Palais de l'Industrie and obtained the rights to photograph all the products and works of art exhibited at the Exposition. Eder writes "Disdéri was considered the outstanding portrait photographer of his time in Paris. Napoleon III appointed him court photographer. In 1861, he instructed French officers in photography under orders from the minister of war. Disdéri's popularity is best shown by the fact that his character was introduced in 1861 as a star attraction on the stage of a small vaudeville theater in Paris by a realistic representation featuring his bald head and tremendous beard."
(Source: Andrew. Cahan)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
IT MADE IT INTO THE SAN FRANCISCO CHRONICLE on CHRISTMAS DAY
- Elflike Adda Dada, who goes around town doing good deeds - he's the gent who paid for a veteran's Veterans Day meal - brought four toy fire engines for the Toys for Tots drive at a local firehouse. When a firefighter said he'd always wanted a toy engine, Dada assured him, "There's still time to write to Santa, because as everyone knows, all firefighters are on Santa's 'good list,' " and vowed to bring another just for the firefighter.
Read more: www.sfgate.com/entertainment/garchik/article/ Christmas-in...
=========================
Santa ADDA DADA was doing his annual running to the fire houses in his neighborhood on Wednesday. It is time to donate toys for their Toys For Tots drive. Fireman Doug at the Fire Station on 26th Avenue was so excited when he saw the four toy fire engines.
"Wow. I have always wanted one of these!"
"Firefighter Doug, there's still time to write to Santa, because as everyone knows, all firefighters are on Santa's "good list"!", Adda responded.
Today, Friday, SANTA ADDA DADA went back to the Fire Station on 26th Avenue & Geary, & delivered yet another bundle of toys with, yes, several more toy fire-engines. The firefighters collecting the toys have the BIGGEST smile when they see there's a toy fire engine in the stash! I don't know who has the biggest smiles, the kids on Christmas or the firefighters collecting the toys!
I had my photo taken with the firefighter who greeted me at the fire station door, and then asked if Firefighter Doug was in the house. He was and I was lead to the attending firefighters around their tree & TV.
Firefighter Doug was all smiles and said, "I remember YOU!"
"I have a special delivery from SANTA who wants to thank you and all the San Francisco Fire Department for their efforts with the Toys for Tots drive & your civic dedication. SANTA even wrote you a letter of 'thanks'.", I proclaimed.
Ok Now, all the firefighters were starring with jaws dropped in surprise. (What & the world is going on, seemed to be the look on all their faces.) Not, Firefighter Doug who was all in good spirits.
"Now you may choose to do with this as you wish. Keep it. Display it. Donate it. But SANTA wanted me to deliver it to you!"
"Thanks!", Firefighter Doug beamed. "Oh yes! PHOTO OP!", Santa Adda said. Laughing, he held up the wrapped gift knowing that Santa has filled his childhood Christmas wish.
As I left the firehouse, with the firefighters still wondering, what just happened. Santa Adda shouted with glee,( not the TV show, but with the emotion), "Don't forget, SANTA hand wrote you a letter in the envelope!"
and here is SANTA's letter to FIREFIGHTER DOUG:
=================
Dear FIREFIGHTER DOUG
As a young child you believed in SANTA. That lit the hearts of all of us here in the North Pole. Did you know that the elves have small wreaths shaped as hearts for hearts? Yes. It's a big secret, but SANTA wanted to share that with you because you are a first responder & there may be a time when you come to the aid of an elf in need.
You see elves are very special little SANTA's helpers. Those heart-shaped wreath hearts are lit with many Christmas lights. They stay lit with everyone's belief in yours truly, me, Santa.
Those lights go dim when people loose their belief in SANTA. Sometimes, those lights go dim and the elves then become sad and some even become naughty.
C.S.I: NORTH POLE reported to me, that was the case many years ago when one NAUGHTY ELF seemed to leave out the fact that young FIREFIGHTER DOUG would like a toy fire-truck for Christmas. Your wish was to grow up and be a first responder.
It gives SANTA great pleasure to see that you didnot let the NAUGHTY ELF's trick spoil your desires to continue onward.
SANTA is very proud that you continued onward and became one of the world's heroes...a first responder. You see, FIREFIGHTER DOUG, the true heroes in the world are those who serve the public in their times of great need. The firefighters, police, military, and government workers are the heroes who want to give back to the community daily. They are always on SANTA's GOOD LIST.
The TOYS FOR TOTS program by the SAN FRANCISCO FIRE DEPARTMENT , as well as the other charity organizations , are helping SANTA. They are always in SANTA's heart, as well as, the ELVES wreath-shaped hearts.
The efforts of your toy drive to provide toys to the needy children are deeply appreciated by SANTA & the ELVES. It is because of your efforts and all those first responders & people who donate toys to the TOYS FOR TOTS program, that SANTA and the ELVES wreath-shaped hearts stay lit all year long.
I have been sitting on this photo for a while because I have been too lazy to write up a little description for this image. The story of Salton Sea is so fascinating and complex, I feel it as such merely posting a photo with a title called "Salton Sea" does not seem to do its justice.
If you simply google "Salton Sea" you would find some of the most striking even alien looking images. The strangeness inspired my visit last Christmas much the same way as Mono Lake did almost two years ago. Much of what I know about Salton Sea came from this National Geographic article. My visit was also driven by the idea that this is a place for exotic LE photos. Looking back, I realize the ironic contradiction between those Zen like LE photos that often represents purity and serenity, and the stark reality of Salton Sea, which is quiet only because it is too heavily polluted to be useful for any recreation purposes any more. In the end, I did not bring home any LE photos. I arrived there at the wrong time of the day, and it was hard to justify spending all day there the day before Christmas. So instead, I took a few shots that more accurately reflect what my eyes saw: dull silence with harsh light of high noon shining directly into my eyes.
I intended to post this photo around Christmas, but both holidays related stuff and a cold have been keeping me busy.
Jorge Luis Borges could write a great short story about a mad photographer who labored a lifetime on a catalog of light in Venice. Meticulously recording the time of year, the time of day and the place where light would shine on the underside of a bridge or illuminate the length of a canal or light up a particular statue in a church from a window. He wrote down the times children got out of school and ran along the canals to home; when the flowers were delivered to the hotels, restaurants and cathedrals; when the full moon outlined the figure of St George atop San Giorgio and from where. When are the festivals? Where is the best place to view them? It would be the work of a lifetime. If he were still alive, that is.
Human Writes
Performance installation by William Forsythe and Kendall Thomas
Concept: William Forsythe / Kendall Thomas
Stage / lighting / costumes: William Forsythe
Sound design: Dietrich Krüger / Niels Lanz / Thom Willems
Performance at the United Nations Office at Geneva - Feb 23, 24, 25.
In 1948, the General Assembly of the United Nations adopted the Universal Declaration of Human Rights. Over 50 years later, in a joint project with Professor Kendall Thomas, The Forsythe Company focuses on the act of inscribing basic rules for both the individual and society. «Human Writes» is a performative installation that reflects the history of human rights and the continuing obstacles to their full implementation.
(Imanuel Schipper)
The Geneva performance of Human Writes was undertaken with the support of teh UN office at Geneva in cooperation with the Permanent Missions of Switzerland, the United States, and Germany.
Ambassador Eileen Chamberlain Donahoe’s Remarks at the Opening of the Human Writes Performance: geneva.usmission.gov/2012/02/27/ambassador-donahoe-welcom...
See the Wiliam Forsythe Website for more information: www.williamforsythe.de/installations.html?&no_cache=1...
U.S. Mission Photos by Eric Bridiers
Letter box in Mallorca's Valdemossa, the place where I feel even more at home than Greece and Germany (no clue why whatsoever!)
As lots of Germans inhabit the island, finding "Briefe" written was no surprise.
Loved the creamy white and light pink- golden tones.
I was Tagged by the lovely Hilary
check her awesome stream out:
flickr.com/photos/29604702@N04/
1. Your name and your flickr name
2. Are you right or left handed?
3. Favorite letters to write
4. Least favorite letters to write
5. Write out the sentence, "The quick brown fox jumps over the lazy dog"
6. The names of the six of your flickr contacts that you'll be tagging
**Thanks to my hunnie for the help with these pictures!!! : )
Human Writes
Performance installation by William Forsythe and Kendall Thomas
Concept: William Forsythe / Kendall Thomas
Stage / lighting / costumes: William Forsythe
Sound design: Dietrich Krüger / Niels Lanz / Thom Willems
Performance at the United Nations Office at Geneva - Feb 23, 24, 25.
In 1948, the General Assembly of the United Nations adopted the Universal Declaration of Human Rights. Over 50 years later, in a joint project with Professor Kendall Thomas, The Forsythe Company focuses on the act of inscribing basic rules for both the individual and society. «Human Writes» is a performative installation that reflects the history of human rights and the continuing obstacles to their full implementation.
(Imanuel Schipper)
The Geneva performance of Human Writes was undertaken with the support of teh UN office at Geneva in cooperation with the Permanent Missions of Switzerland, the United States, and Germany.
Ambassador Eileen Chamberlain Donahoe’s Remarks at the Opening of the Human Writes Performance: geneva.usmission.gov/2012/02/27/ambassador-donahoe-welcom...
See the Wiliam Forsythe Website for more information: www.williamforsythe.de/installations.html?&no_cache=1...
U.S. Mission Photos by Eric Bridiers
Location: Brno, Czech Republic
Camera: Fuji GW690III
Lens: Fujinon 90mm f/3.5
Format: 6x9
Film: HP5+
Scanner: CanoScan 9000F
Developing Tank: Kaiser
Developed in: Ilfosol 3 for 6:30 minutes
Fixer: Fomafix
Wetting agent: Fotonal
Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.