Dangerous Beauty (1998) movie costumes are known as the pinnacle of shlock, but did you know that there’s actually some historical basis in there?
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Donna San Francisco has changed both rapidly and radically over recent years. As it’s become more appealing both for cosmopolitan urbanites and the exploding tech sector, gentrification has blessed The City by the Bay with the most expensive one-bedroom apartment in America, even surpassing New York. Many mourn the loss of an earlier San Francisco and its formerly affordable counterculture and queer subculture, while San Francisco documentary photographer and filmmaker James Hosking manages to actually catch some of the twilight. For his series, Beautiful by Night, Hosking documents the lives of three senior drag queens Donna Personna, Collette LeGrande and Olivia Hart, performers at aunt Charlie’s Lounge, the very last gay bar in San Francisco’s Tenderloin district. The notoriously seedy Tenderloin has managed to mostly resist gentrification on the merits of its reputation and a concerted effort by inhabitants. Still, without the surrounding culture of a former San Francisco to sustain it, the once vibrant queer scene has faded. Hosking’s photographs are intimate and unflinching, but the mini-documentary is also an amazing portrait of three drag foremothers. Their reflections and reminiscing are complex but disarmingly at peace, and their performances and beauty rituals are (as...
It's a beautiful city. What dangers? What happened on your Copenhagen Vacation? Of course, it's their business. But, I still don't understand that practice.
I found these photos taken by Mervyn O’Gorman of his daughter Christina O’Gorman to be absolutely breathtaking. The images look modern. They look now. It’s hard to believe these were shot back in 1913. The photographs were taken at Lulworth Cove, in the English county of Dorset. And as you can tell by the images, Christina’s color of choice was red. The autochrome process used during that time period captured red particularly well. It’s vivid. It’s vibrant. She looks like an ethereal goddess. Here’s a brief description of autochrome: Autochrome is an additive color[3] “mosaic screen plate” process. The medium consists of a glass plate coated on one side with a random mosaic of microscopic grains of potato starch[4] dyed red-orange, green, and blue-violet (an unusual but functional variant of the standard red, green, and blue additive colors) which act as color filters. Lampblack fills the spaces between grains, and a black-and-white panchromatic silver halide emulsion is coated on top of the filter layer. Mervyn was an electrical engineer and wrote the book O’Gorman’s Motoring Pocket Book in 1904. Photography was just a hobby for him. Mervyn died in 1958. Sadly, I...
Thanksgiving is just around the corner. That means that the event of awkward reunions, family quarrels, uncomfortable conversations, and embarrassing auntie questions is dangerously close.
The lowly potato gave the world sustenance, French fries, and would you believe color photography? In 1903, two French inventors and photographers, Auguste and Louis Lumière, used the potato as the basis for their patented process in creating color photographs, or Autochromes as they were called. It was a simple but ingenious technique—crush potatoes into tiny particles; separate these minuscule starch particles into three; add red, violet and green dye; mix onto a glass plate; brush off the excess; flatten the dyed particles onto the plate between two rollers—thus creating microscopic color filters; fill in any gaps with soot; brush with light-sensitive silver bromide. Voila! You have a photographic plate ready to take color pictures. The Lumières were also behind early advances in motion pictures but the brothers thought there was no future in movies and stuck to developing color photography. By 1907, the Lumières’ technique had proved so successful it infected the photographic world with “color fever.” Photographers across Europe and America (including talented amateurs like Gustave Eiffel better known for his Parisien tower) started producing a gallery’s worth of pictures—from portraits to nudes. To get an idea of scale, take for example...
"......On Tuesday, July 30, 2008, the U.S. House of Representatives issued an unprecedented apology to black Americans for the institution of slavery, and the subsequent Jim Crows laws that for years discriminated against blacks as second-class citizens in American society......" NPR www.npr.org/templates/story/story.php?storyId=93059465&am... Okinawa_Soba has literally hundreds of original images of the descendants of slaves in America, as well as several showing actual slaves who were "freed" during the America's Civil War. To match these images, he also has a box of 19th Century and early 20th Century images of "Black Africa", showing the tribes, roots, and culture that is now a universe away from the modern day existence of "African Americans". Most of the American images were taken in the south during the years of "Reconstruction", and through to the early 20th Century --- most showing the American Negro in either great destitution, or in mocking stereotypes of the age. However, this set of 17 images --- all taken from original 19th Century "Cabinet" photographs made by White photographers in the Northern "Free States" from Ohio to New England --- show a level of dignity and respect for the sitter that was seldom seen in the images from the backwater towns of the "Deep South". Although the North was far from free of racial prejudices, these images show what even a minimal attempt at paying "lip service" to the proclamation of "Freedom" could do for the sons and daughters of of almost 250 years of Slavery. Okinawa_Soba is under no illusions as to the state of "race relations" in the USA today. However, the fact that the subjects of these photographs all radiate a personal dignity, and equality of spirit in a Country that did not see them as equals, is a testament not to the Anglo-Saxon, but to these who stood tall in the face of a nation's inhumanity and injustice. Behind the faces are lives and experiences that most White people in America will never understand -- either then, or now. [This caption is the same for all. If you have read this far, no need to do so for all the others with the same picture Title]
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