benhästen
I am a photographer.
I like lurchers.
horseofbone.com
maudkristina at gmail dot com
(photographer unknown)
Thank you, peepingtom
A.A. Bondy - John the Revelator
Live at the Waldron 8/12/08, Bloomington, IN
Bela Lugosi in Chandu the Magician
(photographer unknown)
Shooting the Underwater Burial of Walt Disney’s 20,000 Leagues Under the Sea
Photo by Peter Stackpole, Florida, February 1954
“Actors prepare to shoot a big scene involving an underwater funeral procession while a scene coordinator hovers above them. The actors had to wait four weeks to shoot the scene, because bad weather made the depths too murky.”
Via bestoflife
Woman on hillside, ca 1910
(photographer unknown)
Autochrome from the private collection of Hugh Tifft
Found thanks to Luminous Lint
“so how can we hope to float?”, 2008
Six color screenprint, edition of 180
(photographer unknown)
“It has been said about her that she is the only artist to paint women without apology.”
via Wikipedia
Parsifal - pastel on paper, 1912
(Musée d’Orsay)/Hervé Lewandowski
“…stripped of his helmet and lance, the warrior has been transformed into a magus, haunted by an inner dream. (…)
The rocky shapes in the foreground are reminiscent of the early etchings by Redon, influenced by Rodolphe Bresdin (1822-1885). Thus, Parsifal is one example of the artist returning to an earlier inspiration, references to which can be found in his diary:
‘Oh my soul of former times, distant spirit, you came back to me tonight in the shadows… my nocturnal friend who returns, then leaves, and who I thought had disappeared forever, what brings you back, and at this time? I do not know.’”
Via Museé d’Orsay
(photographer unknown)
Claude Rains in The Invisible Man (1933)
“…known for its clever and groundbreaking visual effects by John P. Fulton, John J. Mescall and Frank D. Williams, whose work is often credited for the success of the film. When the Invisible Man had no clothes on, the effect was achieved through the use of wires, but when he had some of his clothes on or was taking his clothes off, the effect was achieved by shooting Claude Rains in a completely black velvet suit against a black velvet background and then combining this shot with another shot of the location the scene took place in using a matte process. Claude Rains was claustrophobic and it was hard to breathe through the suit. Consequently, the work was especially difficult for him, and a double, who was somewhat shorter than Rains, was sometimes used.
The effect of Rains seeming to disappear was created by making a head and body cast of the actor, from which a mask was made. The mask was then photographed against a specially prepared background, and the film was treated in the laboratory to complete the effect.”
via Wikipedia
thanks to monstercrazy
(photographer unknown)
“A lurcher, mainly Scottish Deerhound, yearning to go outside.”
Via Yohan euan o4 - Wikimedia Commons
Photo by Jane Bown
“…she was still using her faithful Olympus because she was ‘supremely uninterested in photographic technology, accepting her camera’s limitations as imposing a necessary discipline on her image-making,’ as Germaine Greer has observed.
Most of her photographs were taken in sessions that lasted no more than 15 minutes. She had no props and turned up carrying only a shopping bag with her camera in it. Annie Leibovitz she wasn’t. Even exposure meters were shunned. ‘I just looked at the light on the back of my hand and judged it that way.’ Thus Bown perfected minimalist photography: the same camera, the same lens, the same setting, but no flash or exposure meter. In this way she was left free to concentrate on those eyes.
Her work for The Observer was mostly made up of last-minute assignments. ‘I’d be sent with a writer and had to take my photographs quickly so they could get on with the interview. In a typical month I might do Dennis Hopper at the Savoy, Woody Allen at the Dorchester, and a senior politician at his home. Each time, I’d have 10 minutes. So I would march straight in and take over the situation. I had a quick mind. I could suss it all out immediately.’”
Exposures: Jane Bown: 100 Portraits
(photographer unknown)
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