Jean Painleve, Pince de Homard (Lobster Claw), 1929.
gelatin silver print
Alisa U Zemlji Chuda

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Misplaced Lens Cap
RMH

祝日 / Permanent Vacation

Andulka
Aqua Utopia|海の底で記憶を紡ぐ
we're not kids anymore.
Sweet Seals For You, Always

Product Placement

PR's Tumblrdome
Keni

Kaledo Art
NASA

pixel skylines

roma★
trying on a metaphor
will byers stan first human second
seen from France
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seen from United States

seen from Chile
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@lockecito
Jean Painleve, Pince de Homard (Lobster Claw), 1929.
gelatin silver print
William Gedney, San Francisco, 1975
Frederick H. Evans - Bude, 1910-20s
also
Jean Painlevé / Araignée et autoportrait de profil / 1929.
Aaron Wynia, Sunset Puddle, Toronto, 2014
Harald Lönnqvist - Stilleben, 1928
Alan Archibald Campbell Swinton, “Negative Discharge” (1892) (© National Media Museum, Bradford SSPL)
(via Hyperallergic)
Max B http://www.maxbphoto.com/
Vintage shot of a dive in Erie school, Erie, Pennsylvania
[::SemAp FB || SemAp::]
Thread - Njideka Akunyili Crosby
Highway 66, Gallup, 1979
Roswell Angier
Robert Mapplethorpe - Untitled (1973)
Always reblog, always so good
Going down the mountains on the Atchison, Topeka, and Santa Fe Railroad between Barstow and San Bernardino, California, March, 1943
Jack Delano
Oskar Kaubisch - Bleilochtalsperre nördlich Saalburg, kugelschalige Struktur des Diabas-Gesteins am Bahneinschnitt südlich des Wettera-Viaduktes, 1940-45
Blue shawl on the cable car with reflection
La Paz, Bolivia
2016
Manuel Jesus Glave
Sexual desire became frustrated sexual desire and, for all White’s efforts at emulation, his photography could not sustain the optical machismo of his forebears; it could not continue in the prescribed modernist tradition. Indeed, despite his own best efforts, White’s “perversion” converted that tradition into something else, retuning the self-assurance of American modernism to a register of ambivalence and ambiguity, countered by proclamations of spiritual bravado.
Kevin Moore from “Cruising and Transcendence in the Photographs of Minor White”