Tuesday, July 31, 2012

Homeless Shelter Mural 2010

Via Flickr:
Sony Carl Zeiss
2, 8-5/7, 9-23,7


out from the night

out from the night by PHOTOFENNISH
out from the night, a photo by PHOTOFENNISH on Flickr.

Via Flickr:
Sony Carl Zeiss
2, 8-5/7, 9-23,7

Byall Fen Planet

Byall Fen Planet by The Poss
Byall Fen Planet, a photo by The Poss on Flickr.

Via Flickr:
I don't normally do much in the way of extreme distortions, liquefying and so on but this planet effect was described in a video tutorial of "Digital Photo Magazine" and I spent an hour or so playing around with it. This was in the Cambridgeshire fens

Cf Bệt w Fen ♥

Via Flickr:
vì thích áo hỡ bụng qá nên sẽ giãm béoooooooooooooooooooooooooo \m/ Thôi kệ béo mà mặt đẹp :))


Cf Bệt cũng vui nhỉ :))

Niu nó càng ngày càng nữ ra còn mình càng ngày càng hỗ báo hơn :)) New styleeeeeeeeeeeeee =))

>> Mai up video :)) thật là vãi Loằng =))

Wicken Fen: Bonfire

Via Flickr:
Video: Pete J.


fen, a photo by SUN AND CAVE on Flickr.

Via Flickr:

How Hill & Turf Fen

How Hill & Turf Fen by Gerry Balding
How Hill & Turf Fen, a photo by Gerry Balding on Flickr.

Via Flickr:
Turf Fen drainage mill seen from How Hill gardens on the Norfolk Broads (16th February 2008).

Monday, July 30, 2012


Mustache. by PHNEUTRON
Mustache., a photo by PHNEUTRON on Flickr.

Via Flickr:
Estudo de identidade visual, desenvolvido para o estúdio Mustache.


hypertrichosis by TerryJohnston
hypertrichosis, a photo by TerryJohnston on Flickr.

Via Flickr:
Super Happy Funtime Burlesque Show
Grand Rapids, Michigan

Moustache Street Art

Moustache Street Art by takinyerphoto
Moustache Street Art, a photo by takinyerphoto on Flickr.

Via Flickr:
Moustache street art at 42nd St./Times Square station


Mustache by danleyc
Mustache, a photo by danleyc on Flickr.

Via Flickr:
Active Assignment Weekly: February 14-21: Portraits

WIT: 55-200mm VR Nikkor lens (75mm), a little direction, post processing in Photoshop.

This is also Mehmet. To follow the perfect mustache, here comes a just plain big one. He has been growing it for 3 years. I was walking down the street. He was sitting on a bench and smiled really big at me. I sat down and talked with him for a few minutes, then he asked me to take his picture, so I did. It was straight on at first, so then I asked him to turn to the side, then I asked him to turn to the side and look at me. Anyway, I thought it turned out neat this way.

moustache monday

moustache monday by vie!
moustache monday, a photo by vie! on Flickr.

Via Flickr:
What's better on a manic monday than to waer a moustache?!

PS It's good to be back! :)

Moustache Champion

Moustache Champion by princess red
Moustache Champion, a photo by princess red on Flickr.

Via Flickr:
This gentleman was one of the finalists at the World Beard and Moustache Championships 2005. I went to Berlin (from Australia) especially for the event.

113/365 || Moustache Max

113/365 || Moustache Max by Aqua Libra
113/365 || Moustache Max, a photo by Aqua Libra on Flickr.

Via Flickr:
FGR: Moustache Monday

My dear friend Dracorubio said just a few days ago...."Now if only you could grow a moustache like him!! " (referring to Dali).....well what do you think ....... HAH!!!!!!!!

Friday, July 27, 2012


LA Olympic Coliseum by vlup2us65
LA Olympic Coliseum, a photo by vlup2us65 on Flickr.

LA Olympic Coliseum

Via Flickr:
Olympic torsos, front. Los Angeles Olympic Coliseum, CA


11.jpg by matt_mcknight
11.jpg, a photo by matt_mcknight on Flickr.

Via Flickr:
Bret Carr, an actor/director from Santa Monica, CA, taunts Chinese paradegoers in the nude while they wait to see the Olympic torch in San Francisco. Thousands of people waited throughout the day on April 9th, 2008 but never saw the ceremony due to severe route changes.

(©Matt McKnight, 2008)

The Stretch

17/365 by rischmauers
17/365, a photo by rischmauers on Flickr.


Via Flickr:
Haha im so crazy. Thank God no one saw me. :)

Hope you guys like!

Crazy Finnish Sauna Dudes

Via Flickr:
Drinking beer in 90 celsius degrees, swimming naked in a lake, beating one another with a sauna birch whisk.

Yeah, welcome back to home.

"Naked Alaska." Chugach Mountains, Alaska.

Via Flickr:
We do things differently up North.


crazy naked guy

crazy naked guy by Golden Trevor
crazy naked guy, a photo by Golden Trevor on Flickr.


Speedy by cszar
Speedy, a photo by cszar on Flickr.

Via Flickr:
Making Of Video
Well - sort of.
Same technique and lighting anyway.

Highlight reel from this photoshoot: here.

Strobist info: 5 Speedlights. SB900 into Softbox from camera right, SB800 through umbrella from camera left, bare SB600 to the right pointed at the wall, bare SB26 to the left pointed at the wall, bare SB28 above and behind Model (and clearly visible) ;-). Triggered with CLS.

You can see more photos at my Facebook page.

Thursday, July 26, 2012

white swan

white swan by anthonyli94
white swan, a photo by anthonyli94 on Flickr.

Is This Real?

Paul Swan

Fairy Man by fightingforward
Fairy Man, a photo by fightingforward on Flickr.

Fairy Man

Via Flickr:
Les plus bel homme du monde.
Postcard sent to child_of_heaven @ PCC.

Swan Lake, 1992

Swan Lake, 1992 by strawberryviagra
Swan Lake, 1992, a photo by strawberryviagra on Flickr.

Mashpee Zachary's Pub Swans 479

Via Flickr:
A family of swans makes regular visits to Zachary's Pub in Mashpee after leaving thier home in Washburn Pond and crossing Great Neck Road North to snack on grass and clover on the knoll in front of the establishment.

Photo by Joseph F. Cavanaugh III, Esq.
Mashpee Commons

swan dive.

nude swan dive. by Robert Fougere
nude swan dive., a photo by Robert Fougere on Flickr.

Via Flickr:

Peter Paul Rubens- Leda with Swan

Via Flickr:
Peter Paul Rubens- Leda with Swan, 1599

Oil on panel

Courtesy of Art Knowledge

Jan's Swans

Jan's Swans, a photo by PHOTOFENNISH on Flickr.

Via Flickr:
Sony Carl Zeiss
2, 8-5/7, 9-23,7


Wednesday, July 25, 2012


PhotoMashUp by ElOwElSmileeFays
PhotoMashUp, a photo by ElOwElSmileeFays on Flickr.

PhotoMash Up
Via Flickr:
The Pyramids of Giza with : Mount Rushmore, The Eiffel Tower, The Statue of Liberty, The Leaning Tower of Pisa, Stonehenge, Incredible Hulk, Batman, Spider-Man, Iron Man, Superman, Transformers(Megatron, Frenzy, Iron Hide, Jazz, Starscream, Optimus Prime, Bumblebee, Blackout), Fishes, Dragons, Shark, Polar Bear, Naked Lady, Kid flying a kite, and RT Students.

Jam with Charlie Parker

Jam with Charlie Parker by Vojtea
Jam with Charlie Parker, a photo by Vojtea on Flickr.


Self by Shilinn
Self, a photo by Shilinn on Flickr.

John Zorn / Naked City

John Zorn / Naked City by bradleyloos
John Zorn / Naked City, a photo by bradleyloos on Flickr.

Via Flickr:
ARTIST: John Zorn
TITLE: Naked City
LABEL: Elektra/Nonesuch
DATE: 1989

064/365 Jumping Jazz Hands

Via Flickr:
I haven't done a FGR photo for over a week now, but when it was Mikeys last shot in a 2 year long self portrait project how could I resist. I only did 2 out of his 4 tasks, I don't get naked as much as Mike though, lol.
So here is a shot for Jump for Mikey and B&W Self Portraits.
I do realise i look camp here but if I jumped with my hands out I looked like an ape, so for some reason I chose camp over ape.

LALO SCHIFRIN - Jazz & Film Composer

Via Flickr:
What a splendid day with cool hand Lalo, the jazz pianist and composer to such films as Bullitt, Enter The Dragon and the Mission: Impossible Theme. It began at the Phoenix recording studios for the final day of scoring on The Bridge of San Luis Rey, an historical epic with Robert DeNiro and ended with an intimate interview over dinner at the decadent Four Season on Park Lane in London. The twice Oscar-winner was mild mannered, gracious and wonderfully entertaining as he chugged on his pipe, pouring fourth great anecdotes and bad jokes. What greater kick surely than hearing this septuagenarian recall Miles Davies call a polite fan a "motherfucker" after being congratulated on his live performance. On the subject of Lalo being the most sampled musician of all time, he simply said, "This is like a bridge across time. I feel like my music is not a museum piece. It rejuvenates me."

Appeared in Naked - Magazine of the Weird & Wonderful (Issue 4)

Here is the original article:


It’s high noon and several bottles of champagne have already disappeared. Inside a plush recording suite, a small ensemble celebrates the final recording session for a grandiose new film score. The director and producer clink glasses, and toast their composer. A white-haired Lalo Schifrin sips at his champagne and smiles satisfactorily. The world-renowned composer and arranger of jazz, film and classical music appears pleased with his work on this particular project. Today, he was adding the finishing touches to his score for The Bridge Of San Luis Rey, capturing the vocal talents of a twenty-strong school choir for an ecclesiastical scene. This epic set in 18th century Peru, stars craggy-faced Robert DeNiro as a priest in search of divine providence, the actor’s first historical piece on celluloid. The film has brought the legendary composer to the UK for a recording session inside London’s enormous Phoenix Studio.

Schifrin’s reputation as a leading player in 20th Century music makes for a sparkling atmosphere in the studio suite. All morning, po-faced engineers have been dutifully hovering over the mixing desk, tweaking sound levels, as members of the production team sip coffee, smoke cigarettes and discuss the movie and its soundtrack. Everyone seems full of nervous excitement. Producer Denise O’Dell (of Sexy Beast) excitedly whispers in my ear, “Lalo is looking at an Oscar for this film.” A line of noses is constantly pressed against the glass window that looks out into the soundstage floor, peering below to get a glimpse of this outstanding ability at work, all to the sound of compact cameras clicking and whirring. Even Mary McGuckian, the director of The Bridge Of San Luis Rey who “doesn’t normally do that sort of thing,” blushes with embarrassment when she requests a photo with this icon of music. On playback of one section of the choir, Schifrin complains, “One of the boys is half an octave out!” All asunder mutter agreeing, but secretly wondering how the hell he can tell. The answer is simple; Lalo Schifrin is a peerless master and is musically vital as ever.

The septuagenarian composer has a glittering career, enabling him to live three musical lives, finding success in sweaty jazz dens, grand concert halls and popcorn-filled cinemas. Schifrin began this musical adventure in humid Buenos Aires, earning his escape from its fascist dictatorship by winning a scholarship to the prestigious Paris Conservatory in 1955. His talents were recognized by a touring Dizzy Gillespie, the godfather of bee-bop jazz, who offered him a place in his prestigious band. When Schifrin’s studies were completed, he moved to the modernity of nineteen-fifties America, composing and arranging for Gillespie and many other legendary jazz figures including Stan Getz, Jimmy Smith, Oliver Nelson and Sarah Vaughn, while playing with countless others. His first LP stateside for Dizzy was The Gillespiana Suite, selling over one million records and going gold, an incredible achievement for a jazz recording in the height of rock and roll boom.

Jazz producer and pianist Quincy Jones noticed Schifrin’s talent with composition, quickly giving him entree into the studio system in Los Angeles. He became one of the most popular and successful film and television composers of the 1960s, with scores that are amongst the most memorable and significant of screen history. Schifrin composed the famous thumping theme for Mission: Impossible and for film wrote Bullitt (1967), Dirty Harry (1971), THX1138 (1973) and Enter The Dragon (1973). His acclaim has garnered an incredible six Grammy awards and a further six Oscar nominations including Original Score for Cold Hand Luke (1967) and The Amityville Horror (1979).

In recent years, Schifrin has received prolific exposure in the concert hall while steadily re-releasing or re-recording his classic scores for distribution through his own record label, Adelph. A healthy appetite for experimentation remains with his classical and jazz releases, ranging from bee-bop jazz to classical. He also remains the coolest cat on the street, testified by hip-hop musicians seemingly endless slicing and dicing of his classic recordings, with the likes of DJ Shadow and Portishead amongst his admiring samplers.

Today, after the rush of the recording session has ended, Lalo Schifrin now sits in a leather armchair, amidst the decadent architecture of the Four Seasons Hotel on Park Lane. With darkly tinted specs, polo neck jumper and smoking a wooden pipe, he oozes cool from every pore of his black-belt-in-Korean-Karate body. The composer crosses his arms, chugs away on his pipe and we begin our interview.

NAKED: Are you happy with the description in your PR biography that describes you as a “renaissance” man?

LALO: You can’t believe everything you read! There was a critic who once wrote that I was a renaissance artist because in music I do many things. I feel very comfortable in classical, jazz and film music.

NAKED: What was it like growing up in Argentina?

LALO: When Peron was in the government, it was horrible. You couldn’t talk. You couldn’t say what you wanted in newspapers. It was a fascist dictatorship. Peron and Evita were bad news. Before I could leave for the United States, I needed a passport to get to Paris, and that was hard. I got a summons to go to the special section, which is like the Gestapo. And once you are summoned, you have to go. There, while they play tangos very loud, people are tortured. It’s in order to soften up the screams of the victims. I went to this typical totalitarian building. After waiting a long time they made me go downstairs. I was only nineteen years old and I was shaking. I went into the office and there was a picture of Peron and Evita. A man in boots and uniform sat behind the desk. He started interrogating me, but I soon I realized he was fishing for information and I felt a little better. He asked me why I wanted to go to Paris. “Aren’t there good teachers of composition in Argentina?” he said. I told him that it was thanks to those teachers that I had been accepted in one of the most prestigious schools in the whole world. Then I went to his side and went super-patriotic and jingoist. “Do you realize the honour for Argentina to be accepted in this school?” and I kept going. He just looked at me, then opened a drawer, took out the passport, stamped it and said “go!” I was shaking. I left and I got drunk, the only time in my life. I had cinzano, cognac, scotch, everything. I got sick and couldn’t go back home. The first night the boat left Buenos Aires, everyone in the boat was shouting, “Peron is the son of a whore!”

NAKED: Meeting Dizzy was how you came to leave for the US.

LALO: In 1956 when I came back from Paris, I put together the best Argentinian players as the Lalo Schifrin Big Band. It was very modern jazz, basically a bebop big band and we became successful imediately. Dizzy came six months later with the State Apart-ment all-star band. One night, there was a reception for Dizzy. They asked after the interval whether I would play, so I conducted from the piano. Dizzy heard my arrangements and playing, and asked me to come to America. I thought he was joking. But here I am. Maybe if it hadn’t been for that, I wouldn’t have been here. I remember, when Dizzy died. He belonged to the Bahai religion, which is a beautiful Unitarian religion from Iran where people are all seen as equal. They promote tolerance. On the other hand, Dizzy’s widow is a Catholic. So, here you have a bunch of Bahai monks, a lot of priests, Catholics and also jazz musicians from the old to the new generation. Everybody was there. Suddenly I’m told that his widow wants me to say something. I thought, “What am I going to say in front of these theologians?” Something important occurred to me and I said, “People don’t understand what Dizzy played with the trumpet. Perhaps they were messages from God, they were up to us to decipher. Those of us who knew Dizzy, played with him, became friends with him; we were very lucky. But also, together with that luck we got a big responsibility, which is to extend his legacy, to extend his ideas. Not to only copy him but to keep going.”
NAKED: Previously to meeting Dizzy Gillespie, you had turned down Chet Baker’s offer to be in his band?

LALO: It’s a very sad story. He was a junkie. He asked me to play for him when his pianist died of an overdose in Paris. They were all into that. I was preparing for the Conservatory tests and had to make a decision. I was hoping to continue his European tour, but I decided not to do it. It was a difficult decision, but I am not sorry I because maybe I would be dead right now.

NAKED: Do you think you might have been sucked into the whole scene?

LALO: Well, you have to understand that besides the musical feel, there was something social about the drugs. If you don’t take drugs, you’re an outcast. I had a lie and an excuse. I told them I had been a junkie, that I had been through this intoxication and did not want to do it anymore. They knew that if they would pass me majurana igarettes, needles or coke, I would say “no.” And they accepted me.

NAKED: Do you think the drugs helped them musically in any way?

LALO: No, not at all. Sometimes they played terrribly. Dizzy told me that Charlie Parker was so high many times, that he thought he was playing right and good, but he was playing horrible. The perception of reality is a distortion.

NAKED: What experience as a jazz musician do you bring to bear upon writing a film score?

LALO: I don’t allow the musicians to improvise because they don’t face the screen. I do put in a little improvisation, but within certain parameters. So say with Bullitt and Dirty Harry, it’s basically all written up. It’s a variation of jazz but its jazz oriented. It’s in the idiom of jazz.

NAKED: How did the opportunity to score Bullitt come about, an iconic sixties score?

LALO: MGM wanted me to do the film. After a screening, I gave them some ideas. I remember they asked me to write music for the chase but I said, “No, that would be wrong.” Four minutes before the car sequence there is a chase on foot with the tension building and building. McQueen gets in the car, looks in the rear view mirror and is off. Many people say to me “I love the music you did for the chase in Bullitt!” But there is no music! Sound effects are very important because sometimes the camera is at a part on the street and you don’t know whether the hero or villain is coming. The audience has to recognise the sound of the car. If you have music, it’s going to be muddy. Dirty Harry I also like because there were some interesting ideas about the villain. Here, I was one of the first to use voices on a score. The director said, “why are you using voices?” I said “because the guy’s crazy, he hears voices. It happened in the Vietnam war. He’s a mass murderer who has a belt with a peace sign!”
NAKED: Is it important to get that level of experimentation?

LALO: It wasn’t an experiment. I knew what I was doing. One day I asked Picasso, “what are you looking for?” He said “I never look for anything I’ve found.”

NAKED: For you, at what point does jazz music become too ‘way out’ or experimental?

LALO: Ornette Coleman. It doesn’t mean I don’t like him, but he’s not something I enjoy listening to all of the time. I’m not conservative though. The sort of stuff that people like him or Don Cherry were trying to do, had already been done in the so-called classical; the very avant-garde music of Pedoreski, or Luigi Nornor. They were doing this, in a much more organized way and with textures! I really love these compositions and they are extremely avant-garde. The difference between the two forms is that one is terribly improvised and the other composed. Or sometimes arbitary; they let the musicians play a group of notes in any order as fast as possible. I also like electronic music made by composers who know how to use the electronic means.

NAKED: You like pushing boundaries?

LALO: Yes. Here in The Bridge Of San Luis Ray also. There are so many things going on in this movie that it would take me five interviews to explain. There is one particular cue where there is great urgency. You know how many urgency cues I have done in my life? This time I have done it completely different; baroque combined with a lot of other things like Inca and Peruvian. I wrote at least one hour of music in three weeks.

NAKED: You’re one of the most sampled musicians for hip-hop. Is ‘sampling’ positive for music?

LALO: Yes I think so, because it’s not different from doing collage or montage in film. Sometimes you can be doing a movie and you’ll use old music. You know, every day I get requests for licenses from hip-hop artists. But with the hip hop artist, most of the time they cannot create certain sounds electronically. I always came with sounds. In the last two days on The Bridge Of San Luis Rey, I was doing a combination that has never been done. I was using a twelve-string guitar with a cymbal and a harp. I always think like a painter. It’s not enough to have a drawing in black and white; it’s just a sketch. What painters are doing is combining colour. They develop shadows and perspective, the foreground and the background. I have a similar approach. These sounds are acoustic sounds with exotic instruments put together with something else. And hip-hop artists don’t know where it came from. Recently I was told that I am the “guru” of the hip-hop. But this to me is very surprising, a pleasant surprise because it is like a bridge across time. It makes me feel like my music is not a museum piece. It rejuvenates me.

Stigmata Jazz

Stigmata Jazz by PHOTOFENNISH
Stigmata Jazz, a photo by PHOTOFENNISH on Flickr.

Via Flickr:
Summer 2012
Sony Carl Zeiss
2, 8-5/7, 9-23,7


Tuesday, July 24, 2012

young men on raphael perez studio modeling with his paintings erotic male nude photo man body beautiful figure image images picture pictures sexy photographer photographers art artists portrait portraits

Via Flickr:

The nudes in the box

The nudes in the box by drea_geneva
The nudes in the box, a photo by drea_geneva on Flickr.

Nude Photography Workshop with Photographer Gustavo Hochman

Via Flickr:
Featured in www.acidzen.org/2010/monochrome-pornography-art

As the title indicates some images in this set may contain female nudity (partial and total) which may or may not be pleasant for you to view. Therefore, viewer discretion is strongly advised!

If you are interested in this kind of photography you may find the third installment at:

Ranh giới ... “boundaries”

Via Flickr:
Press "F" if you like this.


Via Flickr:


AN EXHIBITION of drawings, prints, painting and sculpture | Guest Curators John Wilson and Roger Cucksey | Newport Museum and Art Gallery | 19 July - 20 September 2008

* View as slideshow *

THE ART OF THE NUDE photo archive on flickr is best viewed as slideshow



+ website
+ flickr gallery | slideshow
+ video clips

+ Preface and exhibition theme
+ Exhibition Catalogue


+ THE ART OF THE NUDE is the third project in the Explorations series, which provides a frame to explore the diverse range of artists, genre and art historical periods represented in the Newport Museum and Art Gallery collections.

"As virtual museum's develop, the role of actual museums will shift; they will increasingly be seen as places for going back to the originals" (William J. Mitchell, City of Bits, 1995)


Photograph of a men's art class at the Chase School of Art

Via Flickr:
Description: A men's art class. Instructor William Merritt Chase is pictured in the photo. Photographed by Byron, either Joseph or his son Percy Claude.
Chase, William Merritt, 1849-1916

Co-Creator: Byron, Joseph
Byron, Percy C.

Creator/Photographer: Unidentified photographer

Medium: Black and white photographic print

Dimensions: 21 cm x 26 cm

Date: 1897

Persistent URL: http://photography.si.edu/SearchImage.aspx?id=5450

Repository: Archives of American Art

Accession number: aaa_laniedwa_10600


G3MEOS by Paulo Arrivabene
G3MEOS, a photo by Paulo Arrivabene on Flickr.

Via Flickr:
art by Paulo Arrivabene

original photo:

Monday, July 23, 2012



Via Flickr:
Yep! The perfect gift! All iPolas can be bought. Nicely placed behind 15mm acryl... delivered worldwide with nail in a cute little box. Signed and limited to 25 editions. More Infos: www.polarize.ch or mail to john@polarize.ch (Price 99 Swiss francs or 75 Euro)

Crazy young wolf

Via Flickr:
If you like my photos, like me on facebook please: [click]


Via Flickr:
Yep! The perfect gift! All iPolas can be bought. Nicely placed behind 15mm acryl... delivered worldwide with nail in a cute little box. Signed and limited to 25 editions. More Infos: www.polarize.ch or mail to john@polarize.ch (Price 99 Swiss francs or 75 Euro)


wienerli a video by John Wilhelm is a photoholic on Flickr.

Dancing Bunch of Carrots

Via Flickr:
If you like my photos, like me on facebook please: [click]

Brinkmann & Carrel

Via Flickr:
If you like my photos, like me on facebook please: [click]

La Pulpa 2

Via Flickr:
If you like my photos, like me on facebook please: [click]

Friday, July 20, 2012


Irony by bayswater97
Irony, a photo by bayswater97 on Flickr.

Via Flickr:
Bread Line During the Louisville Flood, Kentucky, 1937

All photos in the "Vintage Photos" section are reprints that I have purchased at various ephemera shows.


irony by Suzba
irony, a photo by Suzba on Flickr.

The definition of irony

Via Flickr:
If anyone ever asks you what 'irony' means, you can show them this picture.