Macees Weblog

I made new Pictures in the last months – please tell me if you think they are good:

{Zähne selber bleachen – Tipps

There are a few of factors you should consider when choosing a photographer. Experience, references, portfolio and equipment are four key notes I would base my decision on.

Looking for a wedding photographer who has the most experience is not always the best choice. Though you do not want to hire somebody who appears to have very little experience, you may want to meet with potential photographers, looking through their portfolio and even asking for references! This will give you an idea what he or she is capable of. When you see a photographer's portfolio, generally you will see the photographers best work. You need a photographer who is not ashamed to show you what their good and bad shots look like, keep in mind that no photographer is perfect and no photographer always gets the shot. Your wedding is only going to happen once, so you want to make sure that you will be get the absolute best when it comes to your pictures.

Though equipment does not equal a great photographer you may want to consider what kind of equipment they use. You would not want your photographer showing up Kodak disposable camera's and expect good quality?? Generally speaking a photographer is going use an SLR camera it could be 35mm or it could digital, they will have accessories like lenses and flashes, tripods and screens. These are tools to make your pictures look amazing and help the photographer achieve the best they can. Don't be afraid to ask questions, any good photographer would expect you too. Find out why your photographer uses certain equipment that he or she does and what it will do for your photographs.

The last thing that was mentioned before is portfolio and references that the photographer should provide. These are so important tools for you as a consumer to know exactly what you are buying. I provide a link to my blog, a link to my web page just for clients who inquire to hire me, if I meet with them I further let them look through my latest works on my lap top portfolio and give them email addresses of clients who are okay with speaking to other people about me and my work. Being a photographer for the last 6 years has been amazing and the trade is all about keeping up and learning more. You need to know that your photographer is going to do an amazing job, though years of experience are great don't mistake that for quality.

Be informed. Know what you are buying. Good Luck

“Photography is an art for lazy people.” So said Robert Frank, the celebrated Swiss photographer, to Allen Ginsberg, the celebrated New Jersey poet, as they gathered in a Lower East Side flat to make a movie. Frank was at the height of his fame after publishing his monumental collection of photographs, “The Americans,” but had newly re-imagined himself as a beatnik and filmmaker. Also assembled in that apartment were Jack Kerouac, Gregory Corso, and an ensemble cast of hangers-on, lovers, admirers, and jazzmen, ready to conceive another erratic self-portrait.

The film that emerged from that afternoon in 1959 was called “Pull My Daisy,” and though it fell for ages into obscurity, it was reissued in 2008 as the first volume of “Robert Frank: The Complete Film Works,” a beautifully packaged DVD set from Steidl. (Volumes 4, 5 and 6 will go on sale in October.) Narrated by Kerouac in a bluesy ad-lib and built around the wistful tale of a bishop and a railway brakemen, “Pull My Daisy” skitters and crashes around the room like a bad ballerina. But at its end, it collapses at our feet as a beautifully drugged-up and dreamed-out elucidation of our almighty American bards.

After all, we could always bet on the Beats to be their own best biographers. Though they’ve certainly left us an intriguing catalog of written work to document their lives and times, Frank’s film adds an invigorating dimension. But Frank wasn’t the only one pointing a lens on the Beats. Even as Frank was turning away from still photography, Ginsberg was crossing from one end of his remarkable life to the other with a camera in hand, and the images he assembled have been superbly organized into an exhibition at the National Gallery of Art in Washington (through Sept. 6), accompanied by a glossy volume from Prestel.

The simultaneous resurfacing of Frank’s films and Ginsberg’s photographs gives us a chance to shine the curious light of our decade onto a bewildering moment in American art. Pulling their grimy slice of the old Atomic Age into our confused new millennium, these works stir up the smoky Bowery, hold a lantern to the San Francisco fogs, and re-enchant an exhausted Beat cosmos for a new moment.

We see William Burroughs and Paul Bowles frowning in sun-bleached Morocco; Bob Dylan draped in an overcoat in Tompkins Square Park; and Gary Snyder wearing a monk’s traveling garments in a Kyoto garden. We see Jack Kerouac, young and vital, howling in the Manhattan streets; he reappears later as a drunken and bloated shut-in, just short of death and a long way from the open road.

And since Ginsberg was a great voyager, so we become as well. We travel to Dakar and Leningrad, to sun-filled Parisian dormer windows, to the rooftops of Benares and Marrakech, and to James Joyce’s snowy Zurich grave. Ginsberg’s elaborate, handwritten captions, occasionally composed with Dylan’s help, narrate these scenes in the poet’s characteristically long, Whitmanesque lines, while a spontaneity of prose straight out of a Kerouac all-nighter yanks the images along like an eager pet.

The captions themselves, executed as later-life, retrospective afterthoughts, act as concentrated poem-documentaries and leave us with a welcome first-person perspective of Ginsberg’s peculiar element. When the project is taken as a whole, it seems to serve Ginsberg’s poetry almost as well as William Blake’s prints did for his own verse: as a necessary and lovely companion-opus that springs with new life from the spirit of the writings themselves.

Oddly, Ginsberg’s photographs sat for decades in closets and drawers, then in the tombs of a Columbia University archive. But when scholars finally descended on them with their lamps and spectacles, they found something magnificent. With his secondhand Kodak Retina, the poet had surreptitiously illustrated not only his energetic generation, but his own oeuvre, leaving behind a catalog of images to reawaken the euphoric thesis that he’d scribbled across the arch of his lifetime: namely, that sex and poetry and the “cosmic vibrations” of youth and life are way, way awesome.

I look at hundreds of images each week. Many of them are beautiful and noteworthy, but a few stick in my mind. Often, the ones I remember don’t have an obvious use in our publications or on our website, but they are visually dynamic nonetheless. This image by Miguel Samper is a good example. Miguel has traveled for us to Colombia, Sudan, Pakistan, and Haiti. His work's been a staple in our photo library since 2007.

This photograph is from Afghanistan in 2008. The woman’s hurried gait is exaggerated by the camera’s motion and I can’t help but wonder what’s on her mind and where she’s going with such purpose and concentration.

from: Presleys Weblog

Dear reader.

Im from Montana and now i also begin sharing my privacy too. 3 years later than all the others – but hey, you have to start your time has come! Ill hit up Stumbleupon in 2013

I love playing games, enjoying good wine and taking photos with my new camera 20. I will share my best images too – please take a second and give me a comment.

Hope you enjoy reading my cool Weblog. Will write more soon