karanssite

I have taken some Images in the last couple of days – please tell me if you think they are good:

Fotoalbum Website Tell me if you like them – i love to discuss the photos with you!

I taken Fotos in the last couple of days – please tell me if you like them:

Bayer 04 Leverkusen Trikot

I hate cameras.  They are so much more sure than I am about everything. -John Steinbeck

Rachel Walker is a third generation San Diegan who dreams of snow. A storyteller, poet, and photographer, her work runs the gamut from the bizarre to the beautiful and tends to settle somewhere in between. Although most of her education has focused on the written word, Rachel is an avid photographer and recognizes the value of this art in her life and creative endeavors. Learning to see through the lens of a camera has given Rachel the extraordinary opportunity to explore life in the intimate details of color, shape, and texture. “What I have learned from photography,” she says, “is there are so many details I pass by every day without a second look. The camera changes that; it makes me slow down, take a breath and be still. It’s like yoga for my imagination.”

What kind of subject matter inspires you the most?

My photography is mostly inspired by color and shape in nature, and the human form in shadow and silhouette. An unusual color scheme in an ocean sunset, or a shard of green glass on the sidewalk, these images capture my imagination and if I don’t take their picture I’m likely to lie awake all night wondering “what if?”

It’s often that I meet artists/photographers who are also writers. Do you feel that you draw inspiration from the same subject matter(s) with both mediums or are they in two totally different categories for you?

Photography is something that I feel has evolved alongside my writing, like two plants in the same pot. Many of my poems and short stories are inspired by the visual world, and the photographs I take both inspire and draw their inspiration from the stories and poems that I write. When I write it is because I have internalized my inspiration and it has overflowed and spilled onto the page. When I am taking pictures, I am finding inspiration outside of me and giving it a frame so that I might understand it better. The dichotomy of the two helps to balance my life and my art.

What kind of art and photography grabs your attention?

I like the unknown in photography; the parts of the photo just outside the frame, and the moments that take place right before and right after the shutter clicks. I am strongly attracted to texture, shape and color in the art that I most admire. I like art that exists by its own rules, whether or not it is given the admiration such boldness deserves. Finding new and emerging artists and their work is important to me as I love the possibilities these new creations hold. I love the human form in art, and how something as two dimensional as a photograph or a painting can capture and hold something as seemingly uncontainable as emotion. A few examples of artists and photographers I greatly admire include Carmen Luceno, Yves Klein, Vincent van Gogh, Brad Carlile, and the old man who surprised me with an oil pastel portrait at a bar last year and left without signing his name.

What is your current focus (in art/photography) and how do you think that will evolve?

I feel like my photography is in a state of evolution even as I answer this question. My current focus changes every time I pick up my camera, much of it based on my mood, the weather, and how balanced (or unbalanced) I may be feeling, all of which is reflected back in my art. I find my biggest challenge is photographing people in motion and am working to better develop my eye for the human form through action shots and new angles. I am also brainstorming new ways to combine my photography with my writing, and am working on a website to showcase both. I enjoy collaborating with a wide range of artists in a variety of genres, and hope to see my art evolve as I expand into more integrative projects.

Check out some more examples of Rachel’s photography at: http://www.seahorserodeofolkrevival.com/Rachel-Walker.html

and on her blog: http://www.spinnertop.blogspot.com/

6 Tips for Photography (At Your Ex-Girlfriend’s Wedding):

I was able to capture this scene just seconds after a feral cat caught the newly released dove. Notice how I waited until the background was empty of feet to enhance the isolation of this omen. At the time, both sides of the family chuckled about the irony of the situation but no one will be chuckling years from now when the marriage is struggling from infidelity and alcoholism and the picture of a dead dove is the only memory of how nature aligned long ago to speak out against this unity.

H/t.

Guest Passes let you share your photos that aren't public. Anyone can see your public photos anytime, whether they're a Flickr member or not. But! If you want to share photos marked as friends, family or private, use a Guest Pass. If you're sharing photos from a set, you can create a Guest Pass that includes any of your photos marked as friends, family, or private. If you're sharing your entire photostream, you can create a Guest Pass that includes photos marked as friends or family (but not your private photos). Learn more about Guest Passes!

JOHN FRENCH (1906–1966) PHOTOGRAPHER
John French was one of London’s top fashion photographers of the 1950s and 1960s, an era when those who wore and photographed clothing for a living could become famous overnight. The models he worked with included the most famous of the time, many were debutantes who went on to become well-known society figures. French persuaded the art editors of the national press to use his flawlessly lit images of top models and his work appeared in virtually every newspaper and magazine. After his death the John French archive was presented to the Victoria and Albert Museum, the worlds greatest museum of decorative arts and design, and his work has been celebrated as part of a major exhibition ‘The Golden Age of Couture’.

Helen Bunney, photo John French. London, UK, 1957

Jennifer Howland in a printed cotton playsuit, photo John French. London, UK, 1957

Marla Scarafia in Dorville striped T-shirt and Londonus striped jeans, and Susan Abraham in Susan Small summer dress, photo John French. London, UK, 1954

Anne Larsen in Nina Ricci

Fiona Campbell- Walter and Anne Gunning in two tailored suits, photo John French. London, UK, 1953

Barbara Miura with Madame Crystal printed rayon poult handbag and neck tie, photo John French. London, UK, 1953

Susan Abraham in a velvet evening dress, photo John French. London, England, 1950s

Pierre Balmain evening gown, 1961

Yves Saint Laurent 'smock' suit, photo John French. London, UK, 1962

Cocktail dress

Day dress

Frilled lace dress

Enid Boulting in a Nina Ricci suit of fine wool, photo John French. London, UK, 1960s

Evening gown…

Nicole de la Marge in an Otto Lucas jersey scarf over an ocelot hat, photo John French. London, UK, 1964

Marie- Lise Gres, Moyra Swann and Paulene Stone in Mix' n' match' gingham outfits, photo John French. London, UK, 1965

Model looking through a mirror…

Tania Mallet in a Madame Paulette stiffened net picture hat, photo John French. London, UK, 1963

Twiggy in a fur coat, photo John French. London, England, 1963

Pattie Boyd and Celia Hammond in Edward Mann dots and moons helmets, photo John French. London, UK, 1965

Ros Watkins in Nina Ricci wrap-over coat, photo John French. London, UK, 1961

Ungaro spotted outfit, photo John French. London, UK, 1965

Summer at Brighton…

Jean Shrimpton

Model and car, photo by John French

David Bailey about his friend, John French:

“…When he demobbed in August 1958, Bailey acquired a Canon Rangefinder camera and the ambition to make a living with it. He applied to the London College of Printing but was rejected because he'd dropped out of school. Instead, he wound up working as a second assistant to photographer David Olins at his studio in Charlotte Mews in the West End. He was a glorified gofer–not even glorified, actually, at three pounds, ten shillings a week–and was therefore delighted a few months later to be called to an interview at the studio of John French, a somewhat better-known name and a man who had a reputation for nurturing his assistants' careers.
French, then in his early fifties, was the epitome of the fashion photographer and portraitist of the era: exquisitely attired, fastidious, posh and gay (although, as it happened, married). “John French looked,” Bailey remembered, “like Fred Astaire. 'David,' he said, 'do you know about incandescent light and strobe? Do you know how to load a ten-by-eight film pack?' I said yes to everything he asked and he gave me the job, but, at that time, I didn't even know what a strobe was. We became friends and after six o'clock Mr. French became John. One night I asked him why he gave me the job. 'Well, you know, David,' he said, 'I liked the way you dressed.' Six months later everyone thought we were having an affair, but in fact, although we were fond of each other, we never got it on.”
In fact, French–”a screaming queen who fancied East End boys,” according to documentarian Dick Fontaine–was the first person to really recognize something special in Bailey. Partly it was his bohemian style–Cuban-heeled boots, jeans, leather jacket and hair over the ears, all before the Beatles had been heard of; party in was his aptitude for the craft. French liked to compare his young protege to the unnamed hero of Colin MacInnes's cult novel about bohemian London, Absolute Beginners–a savvy insight–and he was perfectly willing, as he had with many previous disciples, to see Bailey get ahead in his own work.
“He was an incredibly decent type of man,” Bailey would say of his mentor after French died in 1966. “I don't think he was very good as a photographer, but he had a good attitude. His photography sort of slowed me down a bit, because I had to break away from his way of doing things, but I benefited from his attitude.”
Even more, he would say years later, “I owe my success to two gay men, really, who told me I was wonderful and pushed me. Being a Cockney and working class, I was an outsider, and in those days gays were outcasts, too. So we felt an affinity. Anyway, John French introduced me to the picture editor of the Daily Express, and John Parsons, the art director of British Vogue–the second gay man–saw my pictures in the newspaper and offered me a job at the magazine.”

Bluetramontana Style

from: Darneshas Weblog