^ on Flickr.
Via Flickr:
katie martin
bloomington, indiana
may, 2012
back yard
In some cultures, people believe a taking a photograph "steals the soul".
Susan Sontag argued "Against Interpretation"
that to the contrary, photographic images keep the souls of those we love -- among us.
This small blog is proof.
Susan Sontag argued "Against Interpretation"
that to the contrary, photographic images keep the souls of those we love -- among us.
This small blog is proof.
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(Source: raccoonology, via fixedopsgenius)
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Beautiful portraits by Troy Moth from the 2010 Whitesands Powwow in Northern Ontario, Canada.
Troy’s portfolio’s pretty amazing considering he’s shot everything from fashion to animals.
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April 1943. Clinton, Iowa. “Mrs. Marcella Hart, mother of three, employed as a wiper at the roundhouse. Chicago & North Western R.R.”
4x5 Kodachrome transparency by Jack Delano for the Office of War Information.
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Marlon Brando and Francis Ford Coppola on the set of Apocalypse Now
(via coldmountainway)
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![harvestheart:
PRAYER FOR THE DEAD
Photographer’s Description [Hu Yuanjia]: “I remember clearly that it was about 5 p.m. on November 25. I was just finishing an assignment photographing retired military soldiers bidding farewell to their comrades at the train station. On my way out, I heard someone yelling from a corner and soon after lots of people gathered around. I ran towards the sound and made my way to the front of the crowd, only to find an old man dead on the bench. As I raised my camera, a Buddhist monk walked out of the crowd and went directly towards the dead man. The monk bent down to hold the old man’s hand and started to chant scriptures. I began to take pictures immediately. One minute later, police came over and cordoned off the area. After the monk finished the ceremony, he bowed to the old man and quickly disappeared among the other busy passengers.” [Shanxi Taiyuan Train Station]](http://24.media.tumblr.com/tumblr_m034jzzawY1qa944oo1_500.jpg)
View high resolution
PRAYER FOR THE DEADPhotographer’s Description [Hu Yuanjia]: “I remember clearly that it was about 5 p.m. on November 25. I was just finishing an assignment photographing retired military soldiers bidding farewell to their comrades at the train station. On my way out, I heard someone yelling from a corner and soon after lots of people gathered around. I ran towards the sound and made my way to the front of the crowd, only to find an old man dead on the bench. As I raised my camera, a Buddhist monk walked out of the crowd and went directly towards the dead man. The monk bent down to hold the old man’s hand and started to chant scriptures. I began to take pictures immediately. One minute later, police came over and cordoned off the area. After the monk finished the ceremony, he bowed to the old man and quickly disappeared among the other busy passengers.” [Shanxi Taiyuan Train Station]
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![chagalov:
Bertolt Brecht (lt) with Lion Feuchtwanger, Los Angeles, 1947 -by Ruth Berlau
Brecht was passionately fond of debating. He especially like to debate about which method and approach would be the most fertile one for creating good literature. In the course of our intimate collaboration, I realized more and more clearly that the origin of his creations were the gestures and the word. Story, plot, continuity did not matter to him: what mattered to him, was the right situation, the right gesture, the right word.He visualized the gesture, out from the gesture grew the word, and out of the word grew the character. […]Sometimes we quarreled bitterly about the turn of a phrase. He was totally unconcerned with the rules of grammar. When I pointed out that this or that line of his offended an elementary rule of grammar, he liked to paraphrase a famous saying: “Ego, poeta Germanicus, supra grammaticos sto.” (I, a German poet, stand above the grammarians.)— Lion Feuchtwanger, 4 Oct. 1958, in a text written for a BBC program about Brecht
photo and quote from USC](http://24.media.tumblr.com/tumblr_m0379mdWk61qcl8ymo1_500.jpg)
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Bertolt Brecht (lt) with Lion Feuchtwanger, Los Angeles, 1947 -by Ruth Berlau
Brecht was passionately fond of debating. He especially like to debate about which method and approach would be the most fertile one for creating good literature. In the course of our intimate collaboration, I realized more and more clearly that the origin of his creations were the gestures and the word. Story, plot, continuity did not matter to him: what mattered to him, was the right situation, the right gesture, the right word.
He visualized the gesture, out from the gesture grew the word, and out of the word grew the character. […]
Sometimes we quarreled bitterly about the turn of a phrase. He was totally unconcerned with the rules of grammar. When I pointed out that this or that line of his offended an elementary rule of grammar, he liked to paraphrase a famous saying: “Ego, poeta Germanicus, supra grammaticos sto.” (I, a German poet, stand above the grammarians.)
— Lion Feuchtwanger, 4 Oct. 1958, in a text written for a BBC program about Brechtphoto and quote from USC
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Burlesque star Blaze Starr poses at her home in Baltimore, Maryland.
Photo by Diane Arbus, 1964
(via manero1969ever)
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![harvestheart:
PRAYER FOR THE DEAD
Photographer’s Description [Hu Yuanjia]: “I remember clearly that it was about 5 p.m. on November 25. I was just finishing an assignment photographing retired military soldiers bidding farewell to their comrades at the train station. On my way out, I heard someone yelling from a corner and soon after lots of people gathered around. I ran towards the sound and made my way to the front of the crowd, only to find an old man dead on the bench. As I raised my camera, a Buddhist monk walked out of the crowd and went directly towards the dead man. The monk bent down to hold the old man’s hand and started to chant scriptures. I began to take pictures immediately. One minute later, police came over and cordoned off the area. After the monk finished the ceremony, he bowed to the old man and quickly disappeared among the other busy passengers.” [Shanxi Taiyuan Train Station]](http://25.media.tumblr.com/tumblr_m034jzzawY1qa944oo1_1280.jpg)
![chagalov:
Bertolt Brecht (lt) with Lion Feuchtwanger, Los Angeles, 1947 -by Ruth Berlau
Brecht was passionately fond of debating. He especially like to debate about which method and approach would be the most fertile one for creating good literature. In the course of our intimate collaboration, I realized more and more clearly that the origin of his creations were the gestures and the word. Story, plot, continuity did not matter to him: what mattered to him, was the right situation, the right gesture, the right word.He visualized the gesture, out from the gesture grew the word, and out of the word grew the character. […]Sometimes we quarreled bitterly about the turn of a phrase. He was totally unconcerned with the rules of grammar. When I pointed out that this or that line of his offended an elementary rule of grammar, he liked to paraphrase a famous saying: “Ego, poeta Germanicus, supra grammaticos sto.” (I, a German poet, stand above the grammarians.)— Lion Feuchtwanger, 4 Oct. 1958, in a text written for a BBC program about Brecht
photo and quote from USC](http://24.media.tumblr.com/tumblr_m0379mdWk61qcl8ymo1_1280.jpg)
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