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Li'l New Year promos for my clients, going out tomorrow. They were originally going to be Christmas gifts but, you know, things got nutty. In retrospect, I'm glad and I think I'll make Darling new year greetings a tradition.
Only diptychs, live colors, live of the night, my vision of story... My Stories
(Olympus EP-2 + Angenieux 25 0.95)
Dog on the Tuckerbox
Like much of Australia's early folklore, the origins of the Dog on the Tuckerbox are clouded in mystery, uncertainty and controversy.
Yet, as with 'Waltzing Matilda', its origins lie firmly in the Australian bush and the early pioneers - who in this case forged west and south from the colonial headquarters in Sydney, following the explorers searching for the source of the Murrumbidgee River. Numbers of them took up holdings in the Gundagai district in the period 1830-50.
They were hard and hazardous times with supplies and stores having to be transported along makeshift tracks over rough terrain by bullock teams. To pass the time while often being bogged, or for the river level to fall at crossings such as Muttama Creek near Gundagai, 'bullockies' would recite doggerel and rhymes picked up on their travels - and, sometimes, even write a few lines. Often on such occasions the bullocky's dog would sit guarding its master's tuckerbox and possessions while he was away seeking help.
So was the legend of 'The Dog on the Tuckerbox' born in the 1850s. Whoever the author (using the pen name 'Bowyang Yorke'), the verse was amended some time later and promoted as a poem by Jack Moses. Its popularity quickly spread, capturing the imagination of Australians both in the bush and throughout the colony. Though the legend was also immortalised by Jack O'Hagan in 1937 in his popular song that put Gundagai on the world map, controversy continued over the exact location of the monument - 5 or 9 miles from the town - and later, on whether to move the famous monument in, or closer to, the town.
From The Dog On The Tuckerbox - Its Story by Lyn Scarff.
title.
Roofless car and signboard installation.
(FUJIFILM GFX50R shot)
My exhibition ended safely without any accident.
Thank you very much.
I write every year.
Safety must be achieved not only by the Design Festa staff, but also by the cooperation of all the visitors.
Protect so many exhibitors. For that purpose, each cooperates.
This venue itself is a big piece.
I always feel that way.
All the visitors. Everyone of the Design Festa.
I am grateful from the bottom of my heart.
Thank you very much.
:)
Two works were to be sent to women of art university this time.
Art college students have a deep interest in viewing works.
Also, I think they are not aware of them, but their eyes are clear.
Seeing the sparkling eyes, I am cheered.
Please do not forget your eyes forever.
No matter how old you are, the brightness of your eyes will not decline.
I have always written.
"I'm glad if my photo can support your day. "
The feeling does not change from now on.
See you well again.
At this place.
:)
Mitsushiro.
( FUJIFILM GFX50R shot )
Tokyo Big Site. May 18th. 2019. shot ... 5 / 27
(Today 's picture, it is unpublished.)
Images.
Underworld - Born Slippy
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
stealaway.cocolog-nifty.com/stealaway/2019/02/2019-profil...
youpic.com/photographer/mitsushironakagawa/
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Interviews and novels.
About my book.
I published a book in old days.
At that time, I was uploading my interview on the net on the net.
That Japanese and English.
I will make it public for free.
Details were explained to the Amazon site.
How to write a novel.
How to take pictures.
Distance to the work.
They all have a common item.
I made a sentence about what I felt, and left it.
I hope that my text can be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
3 Interview Japanese version
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
4 novels. unforgettable ' JPN version.
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
5 A streamlined trajectory. only Japanese.
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
There are two reasons why a person faces the sea.
One, to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other, to brush the dust of memory like an old man who misses old days, staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow, a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However, I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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An exhibition in 2019.
May 18th. 19th.
theme.
Silence Is the Way.
designfesta.com/about-artist-detail/?md=detail&id=t0%...
Booth No. H-40
■ Venue MAP (available in PDF)
designfesta.com/jp/wp-content/uploads/2019/03/vol49_map.pdf
place. Tokyo Big Site.
Sponsoring. Design festa.
2020.
Date unknown.
DIC Kawamura Memorial Art Museum attached gallery.
place. Sakura City, Chiba Prefecture.
theme.
From that day, forever ...
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Do you want to hear my voice?
:)
I updated Youtube.
It is only in Japanese.
I explained comments on photos etc.
If your time is permitted, please look.
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
Four
Why did not you have a camera so far?
Five
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell, I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
9
What is a good composition? What is a bad composition?
Ten
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs, it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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I talked about how to make a work.
It's really long, but I want to leave everything, so please ask. (^ O ^) /
Japanese only.
About work production 1/2
About work production 2/2
1 Photo exhibition up to that point. Did you want to go?
2 Well, what is an exhibition that you want to visit even if you go there?
3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.
4 works are materials and silhouettes. Similar to fashion.
5 Who is your favorite artist? What is it? Make it clear.
6 Creating a collage is exactly the same as taking photos. As I wrote in the interview, it is the same as writing a novel.
7 I want to show it to someone, but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.
8 What is copycat? Nowadays, it is suspected to be beaten. There is something called Mimesis?
kotobank.jp/word/Mimesis-139464
9 What is Individuality? What is originality?
It is a flow of.
If you have time, please listen.
:)
www.youtube.com/user/mitsushiro/
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Miles Davis sheet 1955-1976.
stealaway.cocolog-nifty.com/stealaway/2019/05/post-70842e...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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My statistics. (As of May 16, 2019)
stealaway.cocolog-nifty.com/stealaway/2019/05/post-199d28...
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Japanese is the following.
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
_________________________________
_________________________________
#NewYork #Manhattan #USA #London #UK #Paris #France #Milan #Italy #LUMIX #G3 #FUJIFILM #GFX50R #B&W #Mono #Chiba #Japan #Exhibition #Flickr #YOUPIC #gallery #Camera #collage #Subway #street #Novel #Publishing #Mitsushiro #Nakagawa #artist #NY #Interview #Photograph #picture #How #take #write #novel #display #art #future #designfesta #Kawamura #Memorial #DIC #Museum
タイトル。
屋根の無い車と看板設置。
( FUJIFILM GFX50R shot )
僕の展示は、事故もなく無事に終りました。
ありがとうございます。
毎年書いていますが、安全とはデザインフェスタのスタッフだけでなく、来場するみんなの協力がなければ成り立ちません。
これだけの多くの展示者を守るために、それぞれが協力し合う。
この展示場自体が、大きな作品であると僕はいつも感じています。
来場者の皆様。デザインフェスタの皆様。
僕は心から感謝しています。
ありがとうございます。
:)
今回も二つの作品は、美大生の女の子たちに送ることになりました。
美大生は大抵、深い関心を持って作品を見てくれます。
また、彼女たちは気づいていないと思いますが、目が澄んでいます。
そのきらきらした瞳を見て、僕は元気づけられています。
その瞳をいつまでも忘れないでください。
どんなに年老いても、瞳の輝きは、衰えません。
いつも僕は書いてきました。
『僕の写真が、あなたの１日を支えられたら嬉しい』
これからもその気持ちは変わりません。
また、元気にお会いしましょう。
この場所で。
:)
Mitsushiro.
東京ビッグサイト。 ５月１８日。2019. shot ... 5 / 27
(Today 's picture, it is unpublished.)
Images.
Underworld - Born Slippy
次の小説のイメージ。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
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プロフィール。
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
stealaway.cocolog-nifty.com/stealaway/2019/02/2019-profil...
youpic.com/photographer/mitsushironakagawa/
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
１ インタビュー 英語版
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
２ 小説。unforgettable’ 英語版。
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
３ インタビュー 日本語版
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
５ 流線形の軌跡。 日本語のみ。
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
_________________________________
_________________________________
iBooks.電子出版。（現在は無料）
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
_________________________________
_________________________________
僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
_________________________________
_________________________________
Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
_________________________________
_________________________________
次の小説の予定。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
もう少し時間をください。それは日本語です。
_________________________________
_________________________________
２０２０年の展示。
テーマ。
未定。
場所。東京ビッグサイト。
Sponsoring. Design festa.
２０２１年。
日時未定。
DIC川村記念美術館付属ギャラリー。
場所。千葉県佐倉市。
テーマ。
あの日から、ずっと…
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あなたは僕の声を聞きたいですか？
:)
僕はYoutubeを更新しました。
日本語だけです。
僕は写真などの解説をしました。
もしも、あなたの時間が許されれば、見てください。
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
作品の制作方法などついて語りました。
すっごい長いですが、すべて伝え残したいことなので聞いてください。(^O^)／
日本語のみです。
作品制作について 1/2
作品制作について 2/2
１ それまでの写真展。自分は行きたいと思ったか？
２ じゃ、自分が足を運んででも行きたい展示とは何か？
３ 原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。
４ 作品とは、素材とシルエット。ファッションと似ている。
５ 自分が好きなアーティストは誰か？ どんなものなのか？ そこをはっきりさせる。
６ コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。
７ 誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。
８ パクリとは何か？ 昨今、叩かれるパクリ疑惑。ミメーシスというもは？
https://ja.wikipedia.org/wiki/ミメーシス
https://kotobank.jp/word/ミメーシス-139464
９ 個性とはなにか？ オリジナリティってなに？
おまけ 眞子さまについて
という流れです。
お時間がある方は是非聴いてください。
:)
www.youtube.com/user/mitsushiro/
_________________________________
_________________________________
Miles Davis sheet 1955-1976.
stealaway.cocolog-nifty.com/stealaway/2019/05/post-70842e...
_________________________________
_________________________________
flickr.
www.flickr.com/photos/stealaway/
_________________________________
_________________________________
YouTube.
www.youtube.com/user/mitsushiro/
_________________________________
_________________________________
instagram.
www.instagram.com/mitsushiro_nakagawa/
_________________________________
_________________________________
Pinterest.
_________________________________
_________________________________
YouPic
youpic.com/photographer/mitsushironakagawa/
_________________________________
_________________________________
fotolog
_________________________________
_________________________________
twitter.
_________________________________
_________________________________
facebook.
www.facebook.com/mitsushiro.nakagawa
_________________________________
_________________________________
僕の統計。（2019年5月16日現在）
stealaway.cocolog-nifty.com/stealaway/2019/05/post-199d28...
_________________________________
_________________________________
Japanese is the following.
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
_________________________________
_________________________________
#NewYork #Manhattan #USA #London #UK #Paris #France #Milan #Italy #LUMIX #G3 #FUJIFILM #GFX50R #B&W #Mono #Chiba #Japan #Exhibition #Flickr #YOUPIC #gallery #Camera #collage #Subway #street #Novel #Publishing #Mitsushiro #Nakagawa #artist #NY #Interview #Photograph #picture #How #take #write #novel #display #art #future #designfesta #Kawamura #Memorial #DIC #Museum
僕の展示は、事故もなく無事に終りました。
ありがとうございます。
毎年書いていますが、安全とはデザインフェスタのスタッフだけでなく、来場するみんなの協力がなければ成り立ちません。
これだけの多くの展示者を守るために、それぞれが協力し合う。
この展示場自体が、大きな作品であると僕はいつも感じています。
来場者の皆様。デザインフェスタの皆様。
僕は心から感謝しています。
ありがとうございます。
:)
今回も二つの作品は、美大生の女の子たちに送ることになりました。
美大生は大抵、深い関心を持って作品を見てくれます。
また、彼女たちは気づいていないと思いますが、目が澄んでいます。
そのきらきらした瞳を見て、僕は元気づけられています。
その瞳をいつまでも忘れないでください。
どんなに年老いても、瞳の輝きは、衰えません。
いつも僕は書いてきました。
『僕の写真が、あなたの１日を支えられたら嬉しい』
これからもその気持ちは変わりません。
また、元気にお会いしましょう。
この場所で。
:)
Mitsushiro.
E
• 44/52 •
• home •
‘to write’
So, I had to. I had to make my first November photo/gif about writing, didn't I? I don't even care that I'm already behind on the novel, or that I'm neck-deep in wedding edits. What I care about is the outlet that it gives me, the possibilities it creates. It's what I do with self-portraiture, only done in a way that can be more descriptive, deeper than this. I'm so lucky to get to create worlds with both cameras and typewriters.
It just feels like peace and quiet. And like home. Like coming back after a long time, seeing people you love, feeling warm and fuzzy and like the world is full of possibility. It's a joy, truly.
@joanacatcardoso
@niacarvalho
@martaracabral
@madalenatavares
@bringmewildflowers
I’ve a lack of inspiration... I need to take a breath and try to get new ideas...
... I’m not able to write new poems since months...
therefore I’m going to repost all my 2010’s Project 52, day by day, hoping this will help me...
.
.
much better large size and on black - molto meglio in grande e su sfondo nero
.
.
spezzare il bianco
Eppure è bastato un solo colpo
secco
a spezzare quel bianco
polvere controluce
e nel transito d'attesa
l'osservai
e ancora e ancora
cadere
sempre più lento
in spirali appoggiate
aggrappate ad un'aria
che non voleva lasciare, no
ma giù
verso le strade dell'uomo
nel nero
ora per sempre.
.
.
break the white
(my translation is only a faint attempt to render in English an Italian born text)
Yet it’s enough for one shot
curt
to break the white
backlit dust
and in transit waiting
I watched it
and again and again
falling
always slower
spirals backed
clinging to an air
not wants to leave, no
but down
along the paths of man
into that black
now forever.
.
.
Guido Ranieri Da Re
febbraio 2010
[0228]
PVE438N, an immaculately restored Royal Mail Post Office Austin Morris J4 200 van lettered to the Cambridge sorting office.
Hà Nội nóng như chảo lửa
cái nắg hầm hập oi bức làm ngta thấy khó chịu
mệt mỏi
tất cả giống như một giấc mơ màu hồg mà chýh nó vẽ ra để tự hưởg thụ
từ bỏ
thời gian giống như sự mài mòn của cục tẩy
trong tỳh yêu...liệu có như vậy`
Muốn làm gió...để nỗi buồn nhẹ tênh cuốn bay đi đâu mất
gió long bong tự do bay nhảy ở khắp nơi
ngông cuồg ngạo mạn ko ai cản nỗi
thích cái sự nhẹ nhàng nhưg làm người khác se se lạnh...
Muốn làm mưa...để cảm nhận đc khi mưa rơi rớt mưa có vui ko biết
người ta khóc khi nhìn mưa thì mưa có xót ko?
mưa lạnh lẽo vô tình có vị mặn nhưng vẫn có người mog chờ bước dưới mưa...
Muốn làm nắng....để được tìm kiếm sau 1 cơn mưa dai dẳg
sưởi ấm cây cỏ và mọi thứ xung quanh nng gắt gỏng
khô khan nhưg ấm áp cứ len lỏi dù ta cứ cố ý che đi...
Bước thật chậm, để quên một người, đằng sau dĩ vãng chưa phai màu.
Hãy nhìn về nơi phía xa chân trời, để thấy ánh bình minh
Nếu tình cờ anh với em gặp mặt, nhìn nhau ta biết vui hay buồn.
Nếu một ngày trông thấy anh trên đường, nhìn anh em có cười không?
FaV iF yOu liKe...
a long quote from (R.H. Blyth, ZEN AND ZEN CLASSICS, Volume Two, History of Zen, pag. 141) for my teachers,
A monk asked Reiju (Lingshu) “What is the meaning of Daruma’s coming to the West?” Reiju was silent. After he died, people wanted to inscribe his doings on his tomb-stone, and this incident was decided on. At this time Ummon was the chief monk, and one of the monks asked him how to put the incident of the remaining silent on the grave-stone. Ummon said, “Write, ‘Teacher’.”
We teach silently, and only silently, though we may be silent or talk. Reiju did not teach by his being silent, but by his silence, a Silence which never stopped, even with his death and eternal silence.
Ummon composed a verse:
A sentence which does not reveal its meaning
Attains its end before being spoken.
You press forward, with mouth a-chatter,
Betraying your not knowing what to do.
The first two lines look like mere perverse contradictoriness, but this is not so. In actual daily experience, or rather, in monthly and yearly, not to say lifely experience, it is always the unspoken intention that is effective, not the words which follow.
Sono tutte dei piccoli giardini Zen le tombe presso il cimitero di Loddekopinge, ma la mia fotografia rende giustizia forse solo alle ombre dei capitozzati.
"...before we enter the cave, which lead us to a lost world according to prof Challenger's theory. I hope we will be succesful, and I can write you again soon!
Best wishes,
E. Malone"
a little winter, in petiteposte !
YOU CAN:
write postcards online and send them by e-mail / write postcards online and send them by postmail / order postcards to your place and write them by hand...
"A reason to write? The nice thing is, you don't need one, nevertheless there are many."
<3
STEFANIA VISCONTI attrice, modella, actress, model, performer, trasformista, disponibile per collaborazioni artistiche di vario genere, teatro, cinema, tv, cortometraggi, shooting fotografici, esibizioni dal vivo. Disponibilità di spostamento in tutta Italia e all'Estero.
Per qualsiasi informazione ulteriore e collaborazione potete scrivere a viscontistefy@libero.it
STEFANIA VISCONTI is an Italian transgendered actress, model, chameleon-like performer, and activist. She is available for a variety of arts and entertainment projects, including theatrical performances, long and short films, TV programs, photo shootings, live performances. She is willing to travel anywhere in Italy and abroad. For further information, write to viscontistefy@libero.it. You will find other links to some of her personal pages below
'Mama The World Belongs To Me' - [Special Series: 'Trails Of Life'.. ]
If you wish it to you again.. if you have the courage you have to trust your life and the world really.. if you fear only exists for you to protect them from danger.. If you radiate joy, because you smile with your heart.. If you go blithely through life, your path will be free, you always will be all the doors are wide open..
One day will come people who look at you with caring eyes and ask you wonder how you get that do, always smiling, always to be well on it.. just like that.. they will ask you why you always open all the doors just like that. Then look you in the eye, take her by the hand and say to you: "Throw it away just yet, all the senseless worry, look how the sun shines.. look how beautiful this world is.. look what they all ready for you.. keep look what everything is growing.. come on.. with a piece of me I'll show you that I do nothing else to look forward to except me with joy and then to go my way ..
Even as a little girl she always said: 'Mama The World Belongs To Me'. She do not need much.. she says what's too much slows me only.. she smiles and is quick and happy more. Hey just come easy to me.. ;-)
Smile with your heart feel like it is to be free and happy! ;-)
I'm happy about all fav and comments (without big icon) and thoughts from you! ;-)
Friends can view this shot in a high-resolution lightbox. | Visit now more breathtaking photos here.
Thank you very much for the many awards, for all your nicely comments, and for visit my stream! ;-)
© Copyright by Klaus Allmannsberger - All rights reserved! - All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
I did not write about you or
draw your gesture there
with graphite and brushes
dipped in ink
this fire hue and this and this blue
I did not take your picture
with me when i jumped
only here and over here
I see the shadow
you left behind, a wisp
of fog or maybe steam
milk black tea and honey and cardomon
and sip the hot sweet smell
of you -- I remember only that
I know how to say
I love you in a letter
oh I know how to leap
into memory or ocean or twilight
with map an almanac a calendar of days
I dream of jumping off the point
where love swims blind
Copyright 2006 by Maureen Shaughnessy
Hello my friends todays painting is from one of my memories of Olongapo City, Philippines .my visit to Olongapo was special in many ways.Since I was in the navy at the time it was a chance to get the hell off the ship (U.S.S Callaghan DDG-994) google it haha I was a plankowner of that ship which meant I was part of the first crew on board which was a destroyer,anyway time to write about the the most exciting town in the Orient. The stories I heard about this place before even stepping foot off the ship were amazing,lets just say I was happy to be a single guy, this was my chance to experience what had become legendary - a night in Olongapo. For the bar owners it meant money, and lots of it. And for the Filipinos employed at the various clubs it meant not only income, but often the chance to meet the right guy and, if they were so disposed, to start the move eastward. the famous line of I love you Joe no sh&t take me back to the states was a line I heard almost every night, not me but some sailors actually got married to some very beautiful Filipino women, just walking down the streets would cause women to flock outside to you grabbing your arm like your some kind of rock star, to them you were rich, which is certainly not the case as everyone knows service men and women don't make jack squat really, but to them yes your rolling in the doe,its really a sad situation looking back on it the way alot of people and especially woman have to live but at the time being a young punk with a bunch of like minded navy men out to get drunk we were in heaven,at least in the minds of a bunch of young punks,another thing I remember is before you came into town you had to go over a little river known simply as the "Sh&t River." only a sailor could of thought up that name , but it was fairly appropriate given that raw sewage from the town was often dumped into it. Boys in little, flimsy boats beckoned from below the bridge, telling passers-by to throw pesos or centavos into the river. When a coin did get thrown, the boys would dive into the filth and somehow retrieve the coin. The navy eventually tried to discourage this practice by putting a fence along one side of the bridge. which is a good thing because no telling how many diseases one could get from such a practice,once in town and in a bar Most of the Filipinos who worked in bars, did not consider themselves prostitutes. In many ways this was true.
A bar fine worked like this: if a guy sat at a bar and got to talking to one of the girls behind the counter, he could ask her to leave the bar with him. The girl had the option of saying yes or no, though the bar owner or mama-san would often discourage refusals. Still, girls could, and did, refuse invitations by servicemen to go out on the town. This was one aspect of the barfine which distinguished it from prostitution. lucky for me Im a good looking guy and women would often want to pay me hahah sorry I guess I still have some of that navy jackass in me, just joking,any how
If the girl was agreeable, however, there would be a fine. Technically, you were not paying for the girl. In fact, the money you paid to the bar was to compensate the owner of the bar for the loss of the girl's work that night. This is because most of the girls worked for little or nothing other than tips. So if you wanted to deprive the bar of what was essentially free labor, you had to at least compensate the owner for the loss. Thus the "fine."
Granted, the girls did normally receive half of the fine. But this was merely a bonus paid by the bar to the girl for bringing it repeat business. Barfine amounts depended upon the bar. In the 1980's, barfines at the flashier places could go for as much as 500 or even 600 pesos a night - about $30 to $40 US. In the smaller bars fines averaged 400 pesos and sometimes even less. So what did a barfine get you? The only thing a patron was guaranteed was that the girl would be allowed to leave the bar with him. This came as a rude shock to some Olongapo newcomers, who assumed that the fine ensured him of a night of sex. It did not. True, the girls were highly encouraged by the bar owners to consent to sexual requests, and the girls themselves sometimes did so simply to ensure another barfine the next day, but the girls were not obligated to do anything. On most first "dates" the best you could hope for was a kiss, unless the girl was an unabashed "professional." Most were not, however. Most were girls from villages or other islands who served customers drinks most of the night, but who suffered the indignity of wearing a one piece bathing suit every hour or so in order to keep their jobs. They did this in order to make a few pesos for their family, and more often than not, in order to find a nice American guy who was marriage material so that she and her family might actually have a future of some kind. These Filipinos tended to cluster together in groups for safety and solace, If concrete relationships were established, a serviceman could sometimes buy a lifetime barfine from the bar. This would be a large, flat fee paid to the bar to ensure that the girl would always be available for the payee. Some of the girls liked this arrangement because of the implied commitment, and because it often served as an excuse on their part not to accept barfines from men they didn't find attractive. Note that a lifetime barfine did not necessarily prohibit the girl from accepting barfines from other men,especially if your ship pulled out even for a few days, and it did not carry over if the girl quit one bar and began working at another. Also, most of the girls were hopeless romantics. From the start most of them made it clear that they were not sexual partners. They were girlfriends, or "honey-ko's." You would take them dancing and out to eat and give them everything else which a girlfriend was due. She would meet your friends, and your friends' girlfriends, and you would take vacations together (for example, to Baguio). You might meet her family (usually an awkward affair).. Those pre-port fantasies of choosing a different girl every night would evaporate for most guys. If you decided to take out another girl, your own friends would question why you were "cheating" on your girlfriend, and you could bet that the "Filipino Network" was working at lightspeed to get word of your infidelity to the right parties. Despite their most stubborn efforts to remain a "playboy," sailors and Marines usually found themselves in relationships. Which implied - yes - commitment! It was a very humbling experience.
When the ships pulled out, that was a time of tears and promises. The girls who had found boyfriends would cry, the girls who had not welcomed the arrival of new ships and new hope. Promises were made by the sailors and Marines to come back, to write, to remain faithful...promises normally broken. Not always.Im pretty sure the navy no longer has a base there after many years and with the service men gone I have no idea how that place is now, after all even with all the crazy stuff that went on alot of money was pouring into that little city every night from servicemen around the world,
Jena`,
I miss you so much. I miss making fun of Michael’s white pants and your ugly grandma and discussing how art makes you feel like God. But most of all, I miss laughing with you.
Zack,
I love you. I know I tell you that all the time, but its true. You are my best friend and I am so lucky to have you. And the reason I tell you all the time how much I love you is because I just want you to know that you mean so much to me, more than you’ll ever know.
Justin,
I feel like you thought of me as the friend that wouldn’t let you down- but I screwed up and I betrayed your trust. I know that you’re not sure if you trust me as much as you used to, but I just want you to know that its okay if you don't. I probably wouldn’t trust me either. I just hope that one day, you can trust me like you used to...
Courtney,
I know we’ve grown apart in the past few years but I think that things are starting to get better, and I’m very happy for that.
Kayla,
you are so loud and random, you’re hilarious and you’re a tad obnoxious but I just love you. You are awesome.
To the girl that I met camping when I was 7,
I don’t remember anything about you, except for that photo I found of you and I. but I think we would’ve been good friends.
U2 - New Year's Day (Ferry Corsten Remix) (Markus Schulz Big Room Reconstruction)
Right click link. Select "Open in New Window
www.youtube.com/watch?v=dpHplgvVYaM
+
Ferry Corsten presents Gouryella - Anahera
www.youtube.com/watch?v=7ZMZHbAKvGA
Happy New Year World - Maybe We Can Be One
Letter on reverse very kindly translated by xiphophilos, the author writes to his sister and asks her to distribute photos he's sending her to other people, probably family members. Photogr. Willy Grunert, Homburg (Pfalz).
Bavarians from Königlich Bayerisches Infanterie-Regiment „Fürst Wilhelm von Hohenzollern“ Nr. 22 (11. Bayerische Infanterie-Division) man a shallow trench on the Eastern Front, as part of the German response to the "Brusilov Offensive".
German forces comprising of the 11. Bayerische Infanterie-Division were to advance from their positions between the Stochod and Styr Rivers and attack the Russians in the right flank, however their task was made all the harder as much of the ground was either swamp or forest.
Day 55/365
I have a thing for pretty stationery :D
This is the recent addition to my collection. Love it!
One of my favorite things...next to photography. Both do a wonderful job of keeping me in the present moment; I am a dreamer and get lost often.
This weekend was set aside for the pursuit of ambition. I decided it perfectly plausible that I can change my entire life by sending out a few beautifully and wittily worded emails to choice and influential recipients in the art and literature worlds. They will see a ‘Flickr of something’ in me and hurriedly write back, begging for a meeting. So, I set about finding said influential recipients….. and I didn’t get much further.
During these, so called ‘weekends of ambition’ the first thing to do is to keep the Writers & Artists Yearbook 2010 firmly closed.
After half an hour leafing through it I had decided that it was probably simpler to have the creative part of my brain lobotomised so that I no longer feel any artistic yearnings. The chapter about the best lobotomy surgeon to consult is conveniently at the back of the book after you have looked through the rest and become thoroughly despondent.
The submission parameters are terrifying:
“Non-fiction German women’s issues only”
“Cricket themed poetry only, submit only via handwritten cricket pads”
“True stories of abused childhoods and violent erotica only, no cookbooks”
“Work must be printed, bound in hardback with dust jacket, already published and with a booker prize imminent.”
I hold the Sunday papers largely responsible for my extreme frustration; they feed me hope over my muesli. There will be, without fail two or three articles in the magazines telling you about an artist/singer/writer’s path to success. I always pore over this kind of article as though I am reading a treasure map, ‘Where is it, where is it?’ No, not the ‘X marks the spot’ but the oh so precious and only important bit where they tell you exactly how they made the transition from sitting in the corner of a greasy spoon ‘being creative and wishing’ to being signed up with some hot shot publisher, agent or gallery.
Guardian Weekend just the other day told of Carmen Herrera, an artist who became a success at the age of 94. We hear how she found her artistic direction, how her work was rejected from countless galleries, how she painted every day for hours, blah, blah, blah, cut to the chase….
‘After those first paintings were bought in 2004, word spread quickly and other pieces were sold. I was in shock for days. Now I have pieces in collections all over the world.’
Oh for god’s sake! Where was this work on display? I thought you said no one would show it. Who bought the pieces? How did word spread? Did you have an agent? How did you get an agent?! What the f**K?!!!!
So after burning The Writers and Artists Yearbook 2010, punching the bed 50 times and failing to send a single email to anybody of any importance I decided instead to go out.
Don’t whatever you do go into a branch of Hollister on one of your down days.
Remember that feeling at school when the popular, attractive kids made you feel like you had intruded on their private members club and tainted it with ugliness when you entered the common room? Want to relive it? Go to Hollister.
The California originated store’s signature interior look is ‘darkness’ and the desired atmosphere; a feeling of unwelcome intrusion on some kind of frat party.
I manage to get in without bashing my shins on the invisible vintage furniture but fail to avoid breaking through the middle of a gaggle of plaid shirted, pouty lipped girls and boys all busily flirting – the main part of their job description.
In fact this ploy works, they simultaneously intimidate whilst creating envy and longing in the oh so plain and uninteresting clientele. We all wish we could be in a world where the next opportunity to flirt by the denim cut offs is all that matters, and because of that feeling we buy 10 pairs of denim cut offs, convinced that they must be infused with this superficial magic.
Their cunning low light ploy is obvious, if you moan about the fact that you can’t see anything then you are too old to be in there. Similar to the blindfolding of racehorses as they go into the stalls it is also less stressful to fork out 50 quid on a t shirt if you can’t actually see it. I’m not sure why they actually have changing rooms as I could get changed in the corner of the shop without anyone seeing me and the only way I was actually able to judge how I looked when I did finally get into the equally dim changing room was by the disdainful sneer of the girl manning it. That must mean these jeans look bloody amazing! I’m having them!
I imagine a sight to behold at the end of the day when the shop shuts. 50 part-time models stagger out of the front doors blinking like pit ponies. They stumble home blue toed in flip flops with white sticks clacking, a long line, each holding onto the pubic mound surfing waistband of the model in front.
This frieze filled a wall that I could see from the hallway. I cannot describe the room it was in very well because even at a distance all my mind could focus on was this frieze.
The 54th Massachusetts Volunteer Infantry was "the first Civil War regiment of African Americans enlisted in the North," writes a curator at the National Gallery of Art. It was led by Colonel Robert Gould Shaw. The gallery explains the history behind this giant frieze:
"On the evening of July 18, 1863, the 54th Massachusetts led the assault upon the nearly impenetrable earthworks of Fort Wagner, which guarded access to the port of Charleston, South Carolina. Shaw, at the front of the charge, was one of the first to die. Of the approximately 600 men of the 54th who participated, nearly 300 were captured, declared missing, or died from wounds they received that day. The steadfastness and bravery of the 54th were widely reported, providing a powerful rallying point for African Americans who had longed for the chance to fight for the emancipation of their race. By the end of the war, African Americans composed 10 percent of the Union forces, contributing crucial manpower to the final victory of the North."
The Latin inscription on the frieze says "omnia relinquit servare rempublicam", or relinquished all to serve the Republic.
Abolitionist and African American suffragist Frederick Douglass had two sons who were part of the 54th.
—
Description: Augustus Saint-Gaudens' Memorial to Robert Gould Shaw and the Massachusetts Fifty-fourth Regiment
Sculpturist: Augustus Saint-Gaudens, American, 1848 - 1907
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.