LEOPOLD et BONAPARTE

The two men of my life, and the infinite conversations, music, and glasses of wine we have shared

[austinkleon]

Fever Technique: The Spectral Photography Of Francine Winham

Winham found jazz intoxicating, particularly fuelled by the way in which jazz artists were able to communicate a way of being that felt beautifully alien to many. Winham arrived in time to see legendary performances by the likes of Miles Davis, John Coltrane, Ella Fitzgerald, Nina Simone, Thelonious Monk, Duke Ellington, Cat Anderson, Dizzy Gillespie, and more....During this era came perhaps the most stunning photography of Winham’s career. Her style of shooting was entirely unique... She shot predominantly in black-and-white, though her pictures carried with them a sense of the ethereal... The streaks of light owing to the flash of the camera against the brass instrument are deliberate, caused by Winham reducing the shutter speed and moving the camera as she took the photograph. The result is the communication of something beyond the perception of the naked eye – both a figment of Winham’s imagination but also a true depiction of how the music makes you feel. 

Here's Winham on how she came up with the technique:

“I tried to think of a way to make their photos more interesting and came up with my FEVER TECHNIQUE. I decided to do long exposures – although there was plenty of light, so to compensate for this I stopped down the lens to f32. Now I had to waste a shot to listen to the time a second lasted. Tschssst. By holding the shot still for half a second and then moving the camera for the other half, I created a blurred free-form image that mirrored the dynamic of the performer.”

These shots remind me of what Gjon Mili was doing with light and photography in the late 1940s and beyond.

[austinkleon]

Fever Technique: The Spectral Photography Of Francine Winham

Winham found jazz intoxicating, particularly fuelled by the way in which jazz artists were able to communicate a way of being that felt beautifully alien to many. Winham arrived in time to see legendary performances by the likes of Miles Davis, John Coltrane, Ella Fitzgerald, Nina Simone, Thelonious Monk, Duke Ellington, Cat Anderson, Dizzy Gillespie, and more....During this era came perhaps the most stunning photography of Winham’s career. Her style of shooting was entirely unique... She shot predominantly in black-and-white, though her pictures carried with them a sense of the ethereal... The streaks of light owing to the flash of the camera against the brass instrument are deliberate, caused by Winham reducing the shutter speed and moving the camera as she took the photograph. The result is the communication of something beyond the perception of the naked eye – both a figment of Winham’s imagination but also a true depiction of how the music makes you feel. 

Here's Winham on how she came up with the technique:

“I tried to think of a way to make their photos more interesting and came up with my FEVER TECHNIQUE. I decided to do long exposures – although there was plenty of light, so to compensate for this I stopped down the lens to f32. Now I had to waste a shot to listen to the time a second lasted. Tschssst. By holding the shot still for half a second and then moving the camera for the other half, I created a blurred free-form image that mirrored the dynamic of the performer.”

These shots remind me of what Gjon Mili was doing with light and photography in the late 1940s and beyond.

[austinkleon]

Fever Technique: The Spectral Photography Of Francine Winham

Winham found jazz intoxicating, particularly fuelled by the way in which jazz artists were able to communicate a way of being that felt beautifully alien to many. Winham arrived in time to see legendary performances by the likes of Miles Davis, John Coltrane, Ella Fitzgerald, Nina Simone, Thelonious Monk, Duke Ellington, Cat Anderson, Dizzy Gillespie, and more....During this era came perhaps the most stunning photography of Winham’s career. Her style of shooting was entirely unique... She shot predominantly in black-and-white, though her pictures carried with them a sense of the ethereal... The streaks of light owing to the flash of the camera against the brass instrument are deliberate, caused by Winham reducing the shutter speed and moving the camera as she took the photograph. The result is the communication of something beyond the perception of the naked eye – both a figment of Winham’s imagination but also a true depiction of how the music makes you feel. 

Here's Winham on how she came up with the technique:

“I tried to think of a way to make their photos more interesting and came up with my FEVER TECHNIQUE. I decided to do long exposures – although there was plenty of light, so to compensate for this I stopped down the lens to f32. Now I had to waste a shot to listen to the time a second lasted. Tschssst. By holding the shot still for half a second and then moving the camera for the other half, I created a blurred free-form image that mirrored the dynamic of the performer.”

These shots remind me of what Gjon Mili was doing with light and photography in the late 1940s and beyond.

[leopoldetbonaparte]

In a jasper fable, my dream glittered all the more blue.

Shuzo Takiguchi, The Fish’s Desire

[leopoldetbonaparte]

And the heart does not die when one thinks it should, we smile, there is tea and bread on the table. (...)

Czesław Miłosz, Elegy for N.N.

[leopoldetbonaparte]

‘The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world.’

- Marc Chagall

[leopoldetbonaparte]

The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world.

Marc Chagall

[somenicemusic]

Visit Original Link

Erik Satî // Gnossienne no. 1

[leopoldetbonaparte]

n. a moment of awareness that someone you’ve known for years still has a private and mysterious inner life, and somewhere in the hallways of their personality is a door locked from the inside, a stairway leading to a wing of the house that you’ve never fully explored—an unfinished attic that will remain maddeningly unknowable to you, because ultimately neither of you has a map, or a master key, or any way of knowing exactly where you stand.

[leopoldetbonaparte]

Nous réveiller tous les matins aussi surpris de nous trouver si bien dans le même lit, de ne désirer rien de plus que ce si quotidien plaisir d'être ensemble, aussi bien.

- Jamais je ne t’ai dit que je t’aimerai toujours

[leopoldetbonaparte]

A box of photographs on a blue night, Paris blue. A box of ribbons, postcards, old tickets, faces, and rose petals. "You will never be lovelier than you are now. We will never be here again." - Homer https://yarazgheib.com/?p=2677 #nonutilitarian #thenonutilitarian #yarazgheib https://www.instagram.com/p/CHQUgmqF2rN/?igshid=bpmqxgp9qipd

[leopoldetbonaparte]

A post on happily ever after. I glimpsed it once, tasted it, red and perfect as a ripe tomato, fresh as basil freshly picked, somewhere in the Tuscan countryside. Somewhere on a hill. https://yarazgheib.com/?p=2735 #nonutilitarian #thenonutilitarian #yarazgheib https://www.instagram.com/p/CGpNck8FN-d/?igshid=1361lfvtdh8wg

[leopoldetbonaparte]

Like every other form of art, literature is no more and nothing less than a matter of life and death.

Mavis Gallant

[leopoldetbonaparte]

I found a secret garden. It's wonderful, so wonderful I had to take you. Come, it's on the top floor. https://yarazgheib.com/?p=2690 #yarazgheib #nonutilitarian #thenonutilitarian https://www.instagram.com/p/CFjv1AyHxRM/?igshid=1ttlycmbohe9d

[leopoldetbonaparte]

When I am among the trees,

especially the willows and the honey locust, equally the beech, the oaks and the pines, they give off such hints of gladness. I would almost say that they save me, and daily. I am so distant from the hope of myself, in which I have goodness, and discernment, and never hurry through the world but walk slowly, and bow often. Around me the trees stir in their leaves and call out, “Stay awhile.” The light flows from their branches. And they call again, “It’s simple,” they say, “and you too have come into the world to do this, to go easy, to be filled with light, and to shine.”

- Mary Oliver, When I am Among the Trees

[finita--la--commedia]

The sea silently outstretched beneath the moon. Yes, it is here that I feel the right to die peacefully, here that I can say: “I was weak, yet I have done what I could.”

Albert Camus (1913-1960), from “Notebooks 1951-1959″, translated from the French by Ryan Bloom (Notebook VII, December 51)

[butteryplanet]

cinemagraph artist on instagram

[leopoldetbonaparte]

Air.

[leopoldetbonaparte]

I don't know exactly what a prayer is. I do know how to pay attention, how to fall down into the grass, how to kneel in the grass, how to be idle and blessed, how to stroll through the fields, which is what I have been doing all day. Tell me, what else should I have done? Doesn't everything die at last, and too soon? Tell me, what is it you plan to do with your one wild and precious life?

—Mary Oliver, The Summer Day