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Charlotta María Hauksdóttir wanted to use her craft of photography to show how families are intimately linked to the homes they inhabit.

In her series of photos entitled Moments, Charlotta set up her camera in the corner of a family room and snapped photos in regular intervals. Afterwards, she combined the images into these lovely composite photos.

Photo Series Documents the Moments Families Share at Home

via Slate

Watch on explore.noodle.com

This wonderful short film chronicles a day in the life of a printmaker – here’s to hoping it never ends up among this omnibus of bittersweet short films about obsolete occupations

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In March of 2011, a monumental tsunami battered the coast of Japan, crippling a nuclear reactor and causing an environmental disaster.

Though it’s nearly impossible to access the site, TIME was able to send photographer Dominic Nahr to document what’s currently going on at one of the world’s most secretive, environmental tragedies.

A Peek Inside Fukushima’s Crippled Nuclear Reactors

via Reddit

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Black & White in Color Nikon FM3A, Nikkor 50mm/f1.8 w/ Kodak Color Plus 200 ____

I am increasingly drawn to photograph the simple, subtle shapes sketched out on the surfaces of everyday materials. The contrast between the delicate quality of these images and the processes involved in their creation fascinates me.

Everything is damaged, broken or compromised, and yet quietly retains its function. The more focused I become on these details, the more order I find in the chaotic gestures. The closer I look the more beautiful and familiar the conversation between the shapes.

These shots are my social documentary. The stories of the materials are the stories of the unseen people. Their arrows are a recurring theme in my work, whether man-made pointing the way, or something that has been turned, or dragged, I am always drawn to follow.

—Di Emerson

Discover more of Di’s unconventional photography at www.diemerson.co.uk, Flickr & Tumblr.

Russla's Lost Princesses Part 1 (on the BBC) - Quick Review

For those who don’t know this is a 2-part documentary on OTMA, mostly it seems from material from Helen Rappaport’s “Four Sisters” book.

More here: http://www.bbc.co.uk/programmes/b04fljy7

PROS: 

Some nice (and CLEAR) footage and photos.

Nice views of the present day Alexander Palace and interiors.

Kudos to BBC for actually doing a doc on the Grand Duchesses.

That’s it.

CONS:

Alexandra is blamed for everything - including at one point as being the main force behind the death of the family (and here I thought that was Yurovsky and Lenin). For the commentators, either she’s too much of a (smothering) mother or not enough of one.

Nicholas, like him or hate or anywhere in between, was a very hard working man. He DID believe in the autocracy (a negative) to the point where he personally looked at every single law/letter to the Tsar/petition that was put on his desk. He worked HOURS. This has been known for decades going back to Massie’s “Nicholas and Alexandra”. Yet the documentary would have us believe he (a man who spoke half a dozen languages fluently and was frequently his father’s ambassor/envoy to different parts of the world) spent all his time as Tsarevich goofing around and then spent all his time as Tsar holed up in Tsarskoe Selo.

Hated, HATED the insinuations about Olga and Tatiana and Rasputin. The show says “there is no evidence” anything untoward takes place AFTER they discuss the rumors. Pure gossip mongering just like the the gossips in N&A’s time.

The voice-overs for the Imperial Family! WTF! After telling us right in the documentary that Alix was more English than German and was practically raised by Queen Victoria, they have an actress reading her letters in a vague German accent (not as bad as how she was treated in “The Lost Prince” also by the BBC but close…) Nicholas II, a man well-known in his time, for having an English accent so perfect that even Englishmen couldn’t tell where he was from is given a very bad Russian accent. OTMA (well Olga, Tatiana and Maria) are given cutesy Russian little girl accents. Remember these are the same girls that Edward VII complained about (in the English visit mentioned in the documentary) for speaking English with an IRISH accent (a hold over from their Irish nanny Eager) to the point that Alix had to employ Sidney Gibbes to correct them and who spoke English with their mother (and members of their extended royal family since it was the one language they had in common) and who grew up with it as their second language and were STILL using it in exile when there were no English people around and in letters. Gleb Botkin actually said OTMA’s accent was neither entirely Russian nor English but a strange combination of the two that he had never heard before or since. One would think BBC would love an excuse to actually play up the English-part of the girls given its an English language documentary (and British broadcaster) but no….

Overall verdict:

I think maybe 1/5 of the show was about the girls. It was mostly about Nicholas, Alexei’s illness and especially Alexandra. So to that extent its basically another rehash of the girls being in the shadow of their parents and brother’s story. Sad.

Part 2 is about “romance” during the war years (and the hard-to-overlook mass murder at the end). Oy vey.

I’ll probably still watch it though. Just to see if there’s any new footage,

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Irukandji jellyfish

Irukandji jellyfish are small and extremely venomous jellyfish that inhabit marine waters of Australia. But according to a National Geographic documentary on jellyfish the species has been found in waters as far north as the British Isles, Japan, and the Floridacoast of the United States. They are able to fire their stingers into their victim, causing symptoms collectively known as Irukandji syndrome. The Irukandji syndrome is produced by a small amount of venom and induces excruciating muscle cramps in the arms and legs, severe pain in the back and kidneys, a burning sensation of the skin and face, headaches, nausea, restlessness, sweating, vomiting, an increase in heart rate and blood pressure, and psychological phenomena such as the feeling of impending doom. The symptoms last from hours to weeks, and victims usually require hospitalisation. The size of the Irukandji jellyfish is roughly a cubic centimetre (1 cm3). There are 4 known species of Irukandji. photo credits: wikipedia, deadlylist, life-sea

New Member Submission

Hello I’m Jasmin and I live in San Francisco.  Living in San Francisco is wonderful - each neighborhood has a distinct personality with its own cast of characters, still and alive.  Everyone in the city seems to be an outsider from somewhere else. I love that the outsiders are the insiders in this city.  Keep San Francisco weird!

Gardening, reading, music (specifically Indian classical), design, food and photography are major passions.  They are even more exciting in new places other than our garden and neighborhood.  

My blog began as a personal, visual documentary of inspirations. We put in an edible garden - a little urban farm of sorts - around the same time. I began capturing the beauty, geometry and whimsy I found in the garden, along with inspirations in my surroundings wherever I go. This photographic journal prompted me to rediscover my love for photography, which I studied in college but abandoned due to practical and predictable considerations.

My gear is simple. a Nikon d40x and a 35mm lens, along with the iphone. Recently I got a Nikon df with a 50mm lens, which I am learning and loving.  All are trusty and light. I believe a good photo has emotion, mood and composition.

Rediscovering photography has been tremendously rewarding, prodding me, challenging me, and allowing me to contemplate and capture life’s big bowl of watermelon slices.

http://desixlb.tumblr.com/

We’re so excited to have you on board, Jasmin, and we’re really looking forward to working together!
Welcome, welcome, welcome!

PWS - Photos Worth Seeing

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This week’s Modern Art Notes Podcast features documentary filmmaker Dyanna Taylor and art historian and author Judith Zilczer. 

Taylor is the director of the forthcoming PBS "American Masters" documentary on the life and work of Dorothea Lange. Titled "Dorothea Lange: Grab a Hunk of Lightning," the film looks at Lange’s life from her upbringing outside New York City, to her emergence as a major American photographer. Lange is best-known for her work chronicling the Dust Bowl era, but her oeuvre includes much more, including pictures of Depression-era labor strife, the internment of Japanese-Americans and early environmentalist documentary photography. Such was Lange’s stature that just after she died in 1966 the Museum of Modern Art devoted just its sixth retrospective of a photographer’s career to her work. 

Taylor’s film is built around Lange’s preparation for that retrospective. It features documentary footage of Lange, assistant Richard Conrad and MoMA curator John Szarkowski in Lange’s home as Lange selects the photographs for the exhibition. The images above are shots of the installation of the retrospective at the Museum of Modern Art. In many instances it’s easy to see famous Langes and the pictures with which she wanted them seen and considered. Each image above is from the collection of the Library of Congress and is expandable to 1,200px wide.

"Grab a Hunk of Lightning" premieres on PBS stations on Friday, August 29. Check your local listings to see if your PBS station is airing it at that time.

Taylor has won five Emmy awards for her work as a cinematographer and director of photography, and as also won a Peabody Award for the “American Masters” episode “Winter Dreams: F. Scott Fitzgerald.” She’s currently at work on a documentary about James Turrell and Roden Crater. Taylor also happens to be Lange and husband Paul Taylor’s granddaughter. 

How to listen to this week’s show: Listen to or download this week’s program on SoundCloudvia direct-link mp3, or subscribe to The MAN Podcast (for free) at:

go-captain-chris-redfield said:

Is guinea pig as horrible as people say?

Well, the entire series is notorious not simply for the gruesome, somewhat malicious content of the films, but also due to one of the entries being mistaken for a genuine snuff film.  As I’ve mentioned previously, a copy of the second film, Flower of Flesh and Blood (1985) was given to actor Charlie Sheen by Film Threat founder Chris Gore.  Sheen, not being as familiar with horror cinema in general, mistook the film (excessive even by the standards of 80’s horror) as legitimate snuff, and turned it over to the FBI.  Because of this, as well as investigation from Japanese law enforcement officials, the creators of the series produced a documentary titled Making of Guinea Pig (1986), which profiles how the effects were created for both Flower, and and third entry in the series, He Never Dies (1986).

Flower was also the film mistakenly believed to have been confiscated among the film collection of Japanese serial killer Tsutomu Miyazaki, and speculation was given that the film had served to influence him in his killings.  In reality, it was the series’ fourth entry, Mermaid in a Manhole (1988), that was discovered among his belongings.

I have discussed in the past just why these films were created, and why they gained such a cult status among horror fans.  Unlike even more intentionally vicious and barbaric fair like Tumbling Doll of Flesh (aka Psycho: The Snuff Files; Niku Daruma) (1998), the Guinea Pig series was not intending to be fetishistic in it’s portrayal of horror and gore, because it is completely lacking any truly sexual element to any of the films.  The blanket term of “guinea pig” stems from the common theme of people being used as experimental subjects, which is, more often than not, painful and torturous, and typically resulting in death.

Films in the Guinea Pig series:

  1. Guinea Pig: The Devil’s Experiment (1985) - As far as films go, it is hard to classify this among others, as it is completely without plot or character development.  It attempts to create what a true snuff film might possibly look like, though fails right from the start by giving us an explanatory text introduction.  What follows is literally nothing more than the prolonged, explicit torture of a captive woman by a group of men, under the guise of testing the human threshold of pain.  It is quite graphic in its depiction of gore, which I believe is really the entire point.  It isn’t meant to “entertain” us.  It is meant to shock us, and make us feel uneasy, despite also forcing us to watch due to our own, innate curiosity of the inner workings of the human body.  It is a group of effects people trying to push the boundary of realism in horror effects.
  2. Guinea Pig 2: Flower of Flesh and Blood (1985) - Much like the first film, the second film not only begins with explanatory text, but also revolves around the torture and dismemberment of a captive woman.  However, this time around, there is only one man, inexplicably dressed as a samurai, and spouting poetic lines in between each act of mutilation.  It is also shot in a much more artistic manner, and (while still not particularly “enjoyable”), comes off with a higher level of sophistication and aesthetic merit.  This may be due to this entry being directed by celebrated horror mangaka, Hideshi Hino, based on one of his stories.  In the end, its intention appears to be equating gore with the beauty of nature, but is also really just the effects team (headed by Nobuaki Koga) showing off their skills.
  3. Guinea Pig 3: He Never Dies (1986) - This installment is the first to make an attempt at a plot and characterization, and has to do with a man, driven by a woman to attempt suicide, discovering that he can endure any amount of pain and dismemberment, not only without feeling any pain, but without dying.  Like the previous entries, it revels in excessive gore, but this time around, it is a male inflicting it upon himself, and the overall tone of the film is much more comical.
  4. Guinea Pig 4: Mermaid in a Manhole (1988) - This is another entry directed by Hideshi Hino, based on another of his stories.  It concerns a man finding a mermaid in a sewer, and bringing her home to tend to the wounds she has, only for her condition to continue to deteriorate (ostensibly the result of living in a heavily-polluted sewer).  During this time, the man attempts to paint a picture of the mermaid, and—much like another of Hino’s stories, “Zoruko’s Strange Disease”—eventually begins to use the effluence from the numerous boils forming on the mermaid’s body as paint for his canvas.  The man eventually ends up killing the mermaid, or at least, what he thought was a mermaid.
  5. Guinea Pig 5: Android of Notre Dame (1989) - The fifth film in the series centers around a scientist with dwarfism trying to find a cure for his terminally-ill sister, using test bodies supplied by a mysterious stranger.  Unlike all of the other entries in the Guinea Pig franchise, this entry lacks the same taboo-breaking excesses, and its flimsy story is more along the veins of traditional horror (the most obvious influence being Mary Shelley’s Frankenstein).  While there is gore to be found, it is performed mostly on cadavers, and lacks the audacity and shock value of its predecessors, and overall stands out as an oddity of the series.
  6. Guinea Pig 6: Devil Woman Doctor (1986) - The last of the franchise is by far the most comical, to the point where it can be considered pure camp.  There is less a plot than there is a succession of patients with bizarre afflictions seeking help from the titular physician, who is played by famous Japanese drag actor, Peter.  Of course, the entire affair is rife with blood and gore, and—much like Android of Notre Dame—is wildly different in tone from previous installments.  Produced in 1986, it was actually intended to be the fourth film of the bunch, but was released as the final.
  7. The Making of Guinea Pig (1986) - This look behind-the-scenes of both Flower of Flesh and Blood and He Never Dies exists solely as proof to both the FBI and Japanese authorities that there was nothing but movie magic behind the brutality present in Flower.  It is nonetheless a fascinating look into the impressive work that went into the making of both films.
  8. The Best of Guinea Pig (1988) - This compilation exists purely as a showcase for the goriest moments from the franchise, with nothing new to add to the mix.

There is another Japanese splatter film, Lucky Sky Diamond (1989), that is often erroneously credited as being part of the Guinea Pig collection.  While it is short, gory, and bizarre (with a definite streak of malice towards yet another captive woman pitted against menacing and shady hospital personnel), it is a stand-alone film that has no association with the series.

Overall, the entire franchise (also produced by Hideshi Hino), existed initially to be a film adaptation of his manga work, but ended up becoming a unique part of Japanese horror history.  While newer filmmakers like Yoshihiro Nishimura have built their careers around films featuring outlandish levels of blood, guts, and violence, there have been no films since the Guinea Pig series ended that have matched the level of graphic violence and sheer malevolence of what has rightfully become known as the most infamous and reviled horror franchise in Japanese cinema history.

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I made an informational documentary - The Wild Noobs of Realm Wu

After seeing so many gross comments containing homophobia, ableist slurs, and other general bullying while casually strolling through the Shopping District. 

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Monterey Pop | D.A. Pennebaker | 1968

Press Kit for the seminal 1968 film documentary, in original red labeled folder. Includes 16 single weight photographs of the principal musical acts in the film, most with snipes (in manual type) specific to the photos and even the cinemas in Pennsylvania and New Jersey where the film was to premiere. Also present are production and biographical notes, as well as material specific to the radio station servicing the Delaware/Pennsylvania/New Jersey area—to which the press kit was originally sent.

All the snipes present are stamped by the Brentwood Cinema of Pennsylvania, the cinema chain to which the film was inexplicably having a premiere. Noted on the snipes are three Pennsylvania locations having a premiere on July 9, 1968: Jenkintown, PA, Springfield, PA, and and Barclay Farms, NJ.

Photographs 8 x 10 inches. Near Fine. Folder: Near Fine.

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