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The cult of Leica.
Image by nimboo
From The New Yorker
www.newyorker.com
A Critic at Large
Candid Camera
The cult of Leica.
by Anthony Lane
September 24, 2007
Fifty miles north of Frankfurt lies the small German town of Solms. Turn of the main thoroughfare and you find yourself driving down tranquil suburban streets, with detached houses set back fro the road, and, on a warm morning in late August, not a soul in sight. Nobody does bourgeois solidity like the Germans: you can imagine coming here for coffee an cakes with your aunt, but that would be the limit of excitement. By the time you reach Oskar-Barnack-Strasse, the town has almost petered out; just before the railway line, however, there is clutch of industrial buildings, with a red dot on the sign outside. As far as fanfare is concerned, that’s about it. But here is the place to go if you want to find the most beautiful mechanical objects in the world
Many people would disagree. Bugatti fans, for instance, would direct your attention to the Type 57 Atlantic, the only car I know that appears to have been designed by masseuses. Personally, I would consider it a privilege to die at the wheel of a Lamborghini Miura—not difficult, when you’re nudging a hundred and seventy m.p.h. and waving at passersby. But automobiles need gas, whereas the truest mechanisms run on nothing but themselves. What is required is a machine constructed with such skill that it renders every user—from the pro to the banana-fingered fumbler—more skillful as a result. We need it to refine and lubricate, rather than block or coarsen, our means of engagement with the world: we want to look not just at it, however admiringly, but through it. In that case, we need a Leica.
There have been Leica cameras since 1925, when the Leica I was introduced at a trade fair in Leipzig. From then on, as the camera has evolved over eight decades, generations of users have turned to it in their hour of need, or their millisecond of inspiration. Aleksandr Rodchenko, Andre Kertesz, Walker Evans, Henri Cartier-Bresson, Robert Capa, Robert Frank, William Klein, Garry Winogrand, Lee Friedlander, and Sebastiao Salgado: these are some of the major-league names that are associated with the Leica brand—or, in the case of Cartier-Bresson, stuck to it with everlasting glue.
Even if you don’t follow photography, your mind’s eye will still be full of Leica photographs. The famous head shot of Che Guevara, reproduced on millions of rebellious T-shirts and student walls: that was taken on a Leica with a portrait lens—a short telephoto of 90 mm.—by Alberto Diaz Gutierrez, better known as Korda, in 1960. How about the pearl-gray smile-cum-kiss reflected in the wing mirror of a car, taken by Elliott Erwitt in 1955? Leica again, as is the even more celebrated smooch caught in Times Square on V-J Day, 1945—a sailor craned over a nurse, bending her backward, her hand raised against his chest in polite half-protestation. The man behind the camera was Alfred Eisenstaedt, of Life magazine, who recalled:
I was running ahead of him with my Leica, looking back over my shoulder. But none of the pictures that were possible pleased me. Then suddenly, in a flash, I saw something white being grabbed. I turned around and clicked.
He took four pictures, and that was that. “It was done within a few seconds,” he said. All you need to know about the Leica is present in those seconds. The photographer was on the run, so whatever he was carrying had to be light and trim enough not to be a drag. He swivelled and fired in one motion, like the Sundance Kid. And everything happened as quickly for him as it did for the startled nurse, with all the components—the angles, the surrounding throng, the shining white of her dress and the kisser’s cap—falling into position. Times Square was the arena of uncontrolled joy; the job of the artist was to bring it under control, and the task of his camera was to bring life—or, at least, an improved version of it, graced with order and impact—to the readers of Life.
Still, why should one lump of metal and glass be better at fulfilling that duty than any other? Would Eisenstaedt really have been worse off, or failed to hit the target, with another sort of camera? These days, Leica makes digital compacts and a beefy S.L.R., or single-lens reflex, called the R9, but for more than fifty years the pride of the company has been the M series of 35-mm. range-finder cameras—durable, companionable, costly, and basically unchanging, like a spouse. There are three current models, one of which, the MP, will set you back a throat-drying four thousand dollars or so; having stood outside dustless factory rooms, in Solms, and watched women in white coats and protective hairnets carefully applying black paint, with a slender brush, to the rim of every lens, I can tell you exactly where your money goes. Mind you, for four grand you don’t even get a lens—just the MP body. It sits there like a gum without a tooth until you add a lens, the cheapest being available for just under a thousand dollars. (Five and a half thousand will buy you a 50-mm. f/1, the widest lens on the market; for anybody wanting to shoot pictures by candlelight, there’s your answer.) If you simply want to take a nice photograph of your children, though, what’s wrong with a Canon PowerShot? Yours online for just over two hundred bucks, the PowerShot SD1000 will also zoom, focus for you, set the exposure for you, and advance the frame automatically for you, none of which the MP, like some sniffing aristocrat, will deign to do. To make the contest even starker, the SD1000 is a digital camera, fizzing with megapixels, whereas the Leica still stores images on that frail, combustible material known as film. Short of telling the kids to hold still while you copy them onto parchment, how much further out of touch could you be?
To non-photographers, Leica, more than any other manufacturer, is a legend with a hint of scam: suckers paying through the nose for a name, in a doomed attempt to crank up the credibility of a picture they were going to take anyway, just as weekend golfers splash out on a Callaway Big Bertha in a bid to convince themselves that, with a little more whippiness in their shaft, they will swell into Tiger Woods. To unrepentant aesthetes, on the other hand, there is something demeaning in the idea of Leica. Talent will out, they say, whatever the tools that lie to hand, and in a sense they are right: Woods would destroy us with a single rusty five-iron found at the back of a garage, and Cartier-Bresson could have picked up a Box Brownie and done more with a roll of film—summoning his usual miracles of poise and surprise—than the rest of us would manage with a lifetime of Leicas. Yet the man himself was quite clear on the matter:
I have never abandoned the Leica, anything different that I have tried has always brought me back to it. I am not saying this is the case for others. But as far as I am concerned it is the camera. It literally constitutes the optical extension of my eye.
Asked how he thought of the Leica, Cartier-Bresson said that it felt like “a big warm kiss, like a shot from a revolver, and like the psychoanalyst’s couch.” At this point, five thousand dollars begins to look like a bargain.
Many reasons have been adduced for the rise of the Leica. There is the hectic progress of the illustrated press, avid for photographs to fill its columns; there is the increased mobility, spending power, and leisure time of the middle classes, who wished to preserve a record of these novel blessings, if not for posterity, then at least for show. Yet the great inventions, more often than not, are triggered less by vast historical movements than by the pressures of individual chance—or in Leica’s case, by asthma. Every Leica employee who drives down Oskar-Barnack-Strasse is reminded of corporate glory, for it was Barnack, a former engineer at Carl Zeiss, the famous lens-makers in Jena, who designed the Leica I. He was an amateur photographer, and the camera had first occurred to him, as if in a vision, in 1905, twenty years before it actually went on sale
Back then I took pictures using a camera that took 13 by 18 plates, with six double-plate holders and a large leather case similar to a salesman’s sample case. This was quite a load to haul around when I set off each Sunday through the Thuringer Wald. While I struggled up the hillsides (bearing in mind that I suffer from asthma) an idea came to me. Couldn’t this be done differently?
Five years later, Barnack was invited to work for Ernst Leitz, a rival optical company, in Wetzlar. (The company stayed there until 1988, when it was sold, and the camera division, renamed Leica, shifted to Solms, fifteen minutes away.) By 1913-14, he had developed what became known as the ur-Leica: a tough, squat rectangular metal box, not much bigger than a spectacles case, with rounded corners and a retractable brass lens. You could tuck it into a jacket pocket, wander around the Thuringer woods all weekend, and never gasp for breath. The extraordinary fact is that, if you were to place it next to today’s Leica MP, the similarities would far outweigh the differences; stand a young man beside his own great-grandfather and you get the same effect.
Barnack took a picture on August 2, 1914, using his new device. Reproduced in Alessandro Pasi’s comprehensive study, “Leica: Witness to a Century” (2004), it shows a helmeted soldier turning away from a column on which he has just plastered the imperial order for mobilization. This was the first hint of the role that would fall to Leicas above all other cameras: to be there in history’s face. Not until the end of hostilities did Barnack resume work on the Leica, as it came to be called. (His own choice of name was Lilliput, but wiser counsels prevailed.) Whenever you buy a 35-mm. camera, you pay homage to Barnack, for it was his handheld invention that popularized the 24-mm.-by-36-mm. negative—a perfect ratio of 2:3—adapted from cine film. According to company lore, he held a strip of the new film between his hands and stretched his arms wide, the resulting length being just enough to contain thirty-six frames—the standard number of images, ever since, on a roll of 35-mm. film. Well, maybe. Does this mean that, if Barnack had been more of an ape, we might have got forty?
When the Leica I made its eventual debut, in 1925, it caused consternation. In the words of one Leica historian, quoted by Pasi, “To many of the old photographers it looked like a toy designed for a lady’s handbag.” Over the next seven years, however, nearly sixty thousand Leica I’s were sold. That’s a lot of handbags. The shutter speeds on the new camera ran up to one five-hundredth of a second, and the aperture opened wide to f/3.5. In 1932, the Leica II arrived, equipped with a range finder for more accurate focussing. I used one the other day—a mid-thirties model, although production lasted until 1948. Everything still ran sweetly, including the knurled knob with which you wind on from frame to frame, and the simplicity of the design made the Leica an infinitely more friendly proposition, for the novice, than one of the digital monsters from Nikon and Canon. Those need an instruction manual only slightly smaller than the Old Testament, whereas the Leica II sat in my palms like a puppy, begging to be taken out on the streets.
That is how it struck not only the public but also those for whom photography was a living, or an ecstatic pursuit. A German named Paul Wolff acquired a Leica in 1926 and became a high priest to the brand, winning many converts with his 1934 book “My Experiences with the Leica.” His compatriot Ilsa Bing, born to a Jewish family in Frankfurt, was dubbed “the Queen of the Leica” after an exhibit in 1931. She had bought the camera in 1929, and what is remarkable, as one scrolls through a roster of her peers, is how quickly, and infectiously, the Leica habit caught on. Whenever I pick up a book of photographs, I check the chronology at the back. From a monograph by the Hungarian Andre Kertesz, the most wistful and tactful of photographers: “1928—Purchases first Leica.” From the catalogue of the 1998 Aleksandr Rodchenko show at MOMA: “1928, November 25—Stepanova’s diary records Rodchenko’s purchase of a Leica for 350 rubles.” And on it goes.
The Russians were among the first and fiercest devotees, and anyone who craves the Leica as a pure emblem of capitalist desire—what Marx would call commodity fetishism—may also like to reflect on its status, to men like Rodchenko, as a weapon in the revolutionary struggle. Never a man to be tied down (he was also a painter, sculptor, and master of collage), he nonetheless believed that “only the camera is capable of reflecting contemporary life,” and he went on the attack, craning up at buildings and down from roofs, tipping his Leica at flights of steps and street parades, upending the world as if all its old complacencies could be shaken out of the bottom like dust. There is a gorgeous shot from 1934 entitled “Girl with a Leica,” in which his subject perches politely on a bench that arrows diagonally, and most impolitely, from lower left to upper right. She wears a soft white beret and dress, and her gaze is blank and misty, but thrown over the scene, like a net, is the shadow of a window grille—modernist geometry at war with reactionary decorum. The object she clasps in her lap, its strap drawn tightly over her shoulder, is of the same make as the one that created the picture.
When it came to off-centeredness, Rodchenko’s fellow-Russian Ilya Ehrenburg went one better. “A camera is clumsy and crude. It meddles insolently in other people’s affairs,” he wrote in 1932. “Ours is a guileful age. Following man’s example, things have also learned to dissemble. For many months I roamed Paris with a little camera. People would sometimes wonder: why was I taking pictures of a fence or a road? They didn’t know that I was taking pictures of them.” Ehrenburg had solved the problem of meddling by buying an accessory: “The Leica has a lateral viewfinder. It’s constructed like a periscope. I was photographing at 90 degrees.” The Paris that emerged—poor, grimy, and unposed—was a moral rebuke to the myth of bohemian chic.
You can still buy a right-angled viewfinder for a new Leica, if you’re too shy or sneaky to confront your subjects head-on, although the basic thrust of Leica technique has been to insist that no extra subterfuge is required: the camera can hide itself. If I had to fix the source of that reticence, I would point to Marseilles in 1932. It was then that Cartier-Bresson, an aimless young Frenchman from a wealthy family, bought his first Leica. He proceeded to grow into the best-known photographer of the twentieth century, in spite (or, as he would argue, because) of his ability to walk down a street not merely unrecognized but unnoticed. He began as a painter, and continued to draw throughout his life, but his hand was most comfortable with a camera.
When I spoke to his widow, Martine Franck—the president of the Henri Cartier-Bresson Foundation, in Paris, and herself a distinguished photographer—she said that her husband in action with his Leica “was like a dancer.” This feline unobtrusiveness led him all over the world and made him seem at home wherever he paused; one trip to Asia lasted three years, ending in 1950, and produced eight hundred and fifty rolls of film. His breakthrough collection, published two years later, was called “The Decisive Moment,” and he sought endless analogies for the sensation that was engendered by the press of a shutter. The most common of these was hunting: “The photographer must lie in wait, watching out for his prey, and have a presentiment of what is about to happen.”
There, if anywhere, is the Leica motto: watch and wait. If you wer a predator, the moment—not just for Cartier-Bresson, but for al photographers—became that much more decisive in 1954. “Clairvoyance” means “clear sight,” and when Leica launched th M3 that year, the clarity was a coup de foudre; even now, when you look through a used M3, the world before you is brighter and crisper than seems feasible. You half expect to feel the crunch of autumn leaves beneath your feet. A Leica viewfinder resembles no other, because of the frame lines: thin white strips, parallel to each side of the frame, which show you the borders of the photograph that you are set to take—not merely the lie of the land within the shot, but also what is happening, or about to happen, just outside. This is a matter of millimetres, but to Leica fans it is sacred, because it allows them to plan and imagine a photograph as an act of storytelling—an instant grabbed at will from a continuum. If you want a slice of life, why not see the loaf?
The M3 had everything, although by the standards of today it had practically nothing. You focussed manually, of course, and there was nothing to help you calculate the exposure; either you carried a separate light meter, or you clipped one awkwardly to the top of the camera, or, if you were cool, you guessed. Cartier-Bresson was cool. Martine Franck is still cool: “I think I know my light by now,” she told me. She continues to use her M3: “I’ve never held a camera so beautiful. It fits the hand so well.” Even for people who know nothing of Cartier-Bresson, and for whom 1954 is as long ago as Pompeii, something about the M3 clicks into place: last year, when eBay and Stuff magazine, in the U.K., took it upon themselves to nominate “the top gadget of all time,” the Game Boy came fifth, the Sony Walkman third, and the iPod second. First place went to an old camera that doesn’t even need a battery. If the Queen subscribes to Stuff, she will have nodded in approval, having owned an M3 since 1958. Her Majesty is so wedded to her Leica that she was once shown on a postage stamp holding it at the ready.
It’s no insult to call the M3 a gadget. Such beauty as it possesses flows from its scorn for the superfluous; as any Bauhaus designer could tell you, form follows function. The M series is the backbone of Leica; we are now at the M8 (which at first glance is barely distinguishable from the M3), and, with a couple of exceptions, every intervening camera has been a classic. Richard Kalvar, who rose to become president of the Magnum photographic agency during the nineties, remembers hearing the words of a Leica fan: “I know I’m using the best, and I don’t have to think about it anymore.” Kalvar bought an M4 and never looked back: “It’s almost a part of me,” he says. Ralph Gibson, whose photographs offer an unblinking survey of the textures that surround us, from skin to stone, bought his first Leica, an M2 (which, confusingly, postdated the M3), in 1961. It cost him three hundred dollars, which, considering that he was earning a hundred a week, was quite an outlay, but his loyalty is undimmed. “More great photographs have been made with a Leica and a 50-mm. lens than with any other combination in the history of photography,” Gibson said to me. He advised Leica beginners to use nothing except that standard lens for two or three years, so as to ease themselves into the swing of the thing: “What you learn you can then apply to all the other lengths.”
One could argue that, since the nineteen-fifties and sixties, the sense of Europe as the spiritual hearth of Leica, with the Paris of Kertesz and Cartier-Bresson glowing at its core, has been complemented, if not superseded, by America’s attraction to the brand. The Russian love of the angular had exploited the camera’s portability (you try bending over a window ledge with a plate camera); the French had perfected the art of reportage, netting experience on the wing; but the Leicas that conquered America—the M3, the M4, and later the M6, with built-in metering and the round red Leica logo on the front—were wielded with fresh appetite, biting at the world and slicing it off in unexpected chunks. Lee Friedlander, photographing a child in New York, in 1963, thought nothing of bringing the camera down to the boy’s eye level, and thus semi-decapitating the grownups who stood beside him. (All kids dream of that sometime.) Men and women were reflected in storefront windows, or obscured by street signs; many of the photographs shimmered on the brink of a mistake. “With a camera like that,” Friedlander has said of the Leica, “you don’t believe that you’re in the masterpiece business. It’s enough to be able to peck at the world.” One shot of his, from 1969, traps an entire landscape of feeling—a boundless American sky, salted with high clouds, plus Friedlander’s wife, Maria, with her lightly smiling face—inside the cab of a single truck, layering what we see through the side window with what is reflected in it. I know of long novels that tell you less.
Before Friedlander came Robert Frank, born in Switzerland; only someone from a mountainous country, perhaps, could come here and view the United States as a flat and tragic plain. “The Americans” (1958), the record of his travels with a Leica, was mostly haze, shade, and grain, stacked with human features resigned to their fate. No artist had ever studied a men’s room in such detail before, with everything from the mop to the hand dryer immortalized in the wide embrace of the lens; Jack Kerouac, who wrote the introduction to the book, lauded the result, taken in Memphis, Tennessee, as “the loneliest picture ever made, the urinals that women never see, the shoeshine going on in sad eternity.” Then, there was Garry Winogrand, the least exhaustible of all photographers. Frank’s eighty-three images may have been chosen from five hundred rolls of film, but when Winogrand died, in 1984, at the age of fifty-six, he left behind more than two and a half thousand rolls of film that hadn’t even been developed. He leavened the wistfulness of Frank with a documentary bluntness and a grinning wit, incessantly tilting his Leica to throw a scene off-balance and seek a new dynamic. His picture of a disabled man in Los Angeles, in 1969, could have been fuelled by pathos alone, or by political rage at an indifferent society, but Winogrand cannot stop tracking that society in its comic range; that is why we get not just the wheelchair and the begging bowl but also a trio of short-skirted girls, bunched together like a backup group, strolling through the Vs of shadow and sunlight, and a portly matron planted at the right of the frame—a stolid import from another age.
I recently found a picture of Winogrand’s M4. The metal is not just rubbed but visibly worn down beside the wind-on lever; you have to shoot a heck of a lot of photographs on a Leica before that happens. Still, his M4 is in mint condition compared with the M2 owned by Bruce Davidson, the American photographer whose work constitutes, among other things, an invaluable record of the civil-rights movement. And even his M2, pitted and peeled like the bark of a tree, is pristine compared with the Leica I saw in the display case at the Leica factory in Solms. That model had been in the Hindenburg when it went up in flames in New Jersey in 1937. The heat was so intense that the front of the lenses melted. So now you know: Leica engineers test their product to the limits, and they will customize it for you if you are planning a trip to the Arctic, but when you really want to trash your precious camera you need an exploding airship.
If you pick up an M-series Leica, two things are immediatel apparent. First, the density: the object sits neatly but not lightly i the hand, and a full day’s shooting, with the camera continuall hefted to the eye, leaves you with a faint but discernible case of wris ache. Second, there is no lump. Most of the smarter, costlier camera in the world are S.L.R.s, with a lumpy prism on top. Light enter through the lens, strikes an angled mirror, and bounces upward to th prism, where it strikes one surface after another, like a ball in squash court, before exiting through the viewfinder. You see wha your lens sees, and you focus accordingly. This happy state of affair does not endure. As you take a picture, the mirror flips up out of th light path. The image, now unobstructed, reaches straight to the rea of the camera and, as the shutter opens, burns into the emulsion of th film—or, these days, registers on a digital sensor. With every flip however, comes a flip side: the mirror shuts off access to the prism meaning that, at the instant of release, your vision is blocked, and yo are left gazing at the dark
To most of us, this is not a problem. The instant passes, the mirror flips back down, and lo, there is light. For some photographers, though, the impediment is agony: of all the times to deny us the right to look at our subject, S.L.R.s have to pick this one? “Visualus interruptus,” Ralph Gibson calls it, and here is where the Leica M series plays its ace. The Leica is lumpless, with a flat top built from a single piece of brass. It has no prism, because it focusses with a range finder—situated above the lens. And it has no mirror inside, and therefore no clunk as the mirror swings. When you take a picture with an S.L.R., there is a distinctive sound, somewhere between a clatter and a thump; I worship my beat-up Nikon FE, but there is no denying that every snap reminds me of a cow kicking over a milk pail. With a Leica, all you hear is the shutter, which is the quietest on the market. The result—and this may be the most seductive reason for the Leica cult—is that a photograph sounds like a kiss.
From the start, this tinge of diplomatic subtlety has shaded our view of the Leica, not always helpfully. The M-series range finder feels made for the finesse and formality of black-and-white—yet consider the oeuvre of William Eggleston, whose unabashed use of color has delivered, through Leica lenses, a lesson in everyday American surrealism, which, like David Lynch movies, blooms almost painfully bright. Again, the Leica, with its range of wide-aperture lenses, is the camera for natural light, and thus inimical to flash, yet Lee Friedlander conjured a series of plainly flashlit nudes, in the nineteen-seventies, which finds tenderness and dignity in the brazen. Lastly, a Leica is, before anything else, a 35-mm. camera. Barnack shaped the Leica I around a strip of film, and the essential mission of the brand since then has been to guarantee that a single chemical event—the action of light on a photosensitive surface—passes off as smoothly as possible. Picture the scene, then, in Cologne, in the fall of 2006. At Photokina, the biennial fair of the world’s photographic trade, Leica made an announcement: it was time, we were told, for the M8. The M series was going digital. It was like Dylan going electric.
In a way, this had to happen. The tide of our lives is surging in a digital direction. My complete childhood is distilled into a couple of photograph albums, with the highlights, whether of achievement or embarrassment, captured in no more than a dozen talismanic stills, now faded and curling at the edges. Yet our own children go on one school trip and return with a hundred images stashed on a memory card: will that enhance or dilute their later remembrance of themselves? Will our experience be any the richer for being so retrievable, or could an individual history risk being wiped, or corrupted, as briskly as a memory card? Garry Winogrand might have felt relieved to secure those thousands of images on a hard drive, rather than on frangible film, although it could be that the taking of a photograph meant more to him than the printed result. The jury is out, but one thing is for sure: film is dwindling into a minority taste, upheld largely by professionals and stubborn, nostalgic perfectionists. Nikon now offers twenty-two digital models, for instance, while the “wide array of SLR film cameras,” as promised on its Web site, numbers precisely two.
Even a company like Leica, servant to the devout, has felt the brunt. For the fiscal year 2004-05, the company posted losses of almost twenty million euros (nearly twenty-six million dollars), and in 2005 the banks partially terminated its credit lines; in short, Leica was heading for extinction. Since then, there has been something of a turnaround. Major restructuring is still under way, with a new C.E.O.—a genial Californian called Steven K. Lee—brought in to oversee the changes. According to a report of June 20, 2007, the past year has seen the company inching back into profitability, and much of that improvement is due to the M8. The camera’s birth was fraught with complications, and reports streamed in from owners that in certain conditions, thanks to a glitch in the sensor, black was showing up on digital images as deep purple—troubling news if you happened to be shooting a portrait of Dracula, or a Guinness commercial. There were also rumblings about the quality of the focus, which is the last thing you expect from a Leica. One well-known photographer described the camera to me as “unusable,” and said he sometimes felt like throwing it against a wall. But the company responded: cameras were recalled to the factory, Lee signed four thousand letters of apology, and the crisis passed. Nevertheless, the camera still needs a filter fixed to every lens to correct its vision, and Leica will want to do better next time. When I asked Lee about the possibility of an M9—an upgraded M8, with all the kinks ironed out—he smiled and said nothing.
Lee knows what is at stake, being a Leica-lover of long standing. Asked about the difference between using his product and an ordinary camera, he replied: “One is driving a Morgan four-by-four down a country lane, the other one is getting in a Mercedes station wagon and going a hundred miles an hour.” The problem is that, for photographers as for drivers, the most pressing criterion these days is speed, and anything more sluggish than the latest Mercedes—anything, likewise, not tricked out with luxurious extras—belongs to the realm of heritage. There is an astonishing industry in used Leicas, with clubs and forums debating such vital areas of contention as the strap lugs introduced in 1933. There are collectors who buy a Leica and never take it out of the box; others who discreetly amass the special models forged for the Luftwaffe. Ralph Gibson once went to a meeting of the Leica Historical Society of America and, he claims, listened to a retired Marine Corps general give a scholarly paper on certain discrepancies in the serial numbers of Leica lens caps. “Leicaweenies,” Gibson calls such addicts, and they are part of the charming, unbreakable spell that the name continues to cast, as well as a tribute to the working longevity of the cameras. By an unfortunate irony, the abiding virtues of the secondhand slow down the sales of the new: why buy an M8 when you can buy an M3 for a quarter of the price and wind up with comparable results? The economic equation is perverse: “I believe that for every euro we make in sales, the market does four euros of business,” Lee said.
I have always wanted a Leica, ever since I saw an Edward Weston photograph of Henry Fonda, his noble profile etched against the sky, a cigarette between two fingers, and a Leica resting against the corduroy of his jacket. I have used a variety of cultish cameras, all of them secondhand at least, and all based on a negative larger than 35 mm.: a Bronica, a Mamiya 7, and the celebrated twin-lens Rolleiflex, which needs to be cupped at waist height. (“If the good Lord had wanted us to take photographs with a 6 by 6, he would have put eyes in our belly,” a scornful Cartier-Bresson said.) But I have never used a Leica. Now I own one: a small, dapper digital compact called the D-Lux 3. It has a fine lens, and its grace note is a retro leather case that makes me feel less like Henry Fonda and more like a hiker named Helmut, striding around the Black Forest in long socks and a dark-green hat with a feather in it; but a D-Lux 3 is not an M8. For one thing, it doesn’t have a proper viewfinder. For another, it costs close to six hundred dollars—the upper limit of my budget, but laughably cheap to anyone versed in the M series. So, to discover what I was missing, I rented an M8 and a 50-mm. lens for four hours, from a Leica dealer, and went to work.
If you can conquer the slight queasiness that comes from walking about with seven thousand dollars’ worth of machinery hanging around your neck, an afternoon with the M8 is a dangerously pleasant groove to get into. I can understand that, were you a sports photographer, perched far away from the action, or a paparazzo, fighting to squeeze off twenty consecutive frames of Britney Spears falling down outside a night club, this would not be your tool of choice, but for more patient mortals it feels very usable indeed. This is not just a question of ergonomics, or of the diamond-like sharpness of the lens. Rather, it has to do with the old, bewildering Leica trick: the illusion, fostered by a mere machine, that the world out there is asking to be looked at—to be caught and consumed while it is fresh, like a trout. Ever since my teens, as one substandard print after another glimmered into view in the developing tray, under the brothel-red gloom of the darkroom, my own attempts at photography have meant a lurch of expectation and disappointment. Now, with an M8 in my possession, the shame gave way to a thrill. At one point, I stood outside a bookstore and, in a bid to test the exposure, focussed on a pair of browsers standing within, under an “Antiquarian” sign at the end of a long shelf. Suddenly, a pale blur entered the frame lines. I panicked, and pressed the shutter: kiss.
On the digital playback, I inspected the evidence. The blur had been an old lady, and she had emerged as a phantom—the complete antiquarian, with glowing white hair and a hint of spectacles. It wasn’t a good photograph, more of a still from “Ghostbusters,” but it was funnier and punchier than anything I had taken before, and I could only have grabbed it with a Leica. (And only with an M. By the time the D-Lux 3 had fired up and focussed, the lady would have floated halfway down the street.) So the rumors were true: buy this camera, and accidents will happen. I remembered what Cartier-Bresson once said about turning from painting to photography: “the adventurer in me felt obliged to testify with a quicker instrument than a brush to the scars of the world.” That is what links him to the Leicaweenies, and Oskar Barnack to the advent of the M8, and Russian revolutionaries to flashlit American nudes: the simple, undying wish to look at the scars.
Watch and Wait
Image by Flamsmark
Caitlin and Sophie, atop Mont Aigu.
This isn’t really a single photo, technically it’s a manipulation. I took a lot of photos while I was up there with these two, and pon our way up. However none of them has everything that I wanted. The clouds were beautiful that afternoon, while we were travelling, but had dissapated somewhat by the time we arrived. All the photos that included a nice green expanse of the forest had the girls too small for the detail to come out right when I go to print it. So I decided to mix up three photos to get the effect that I was going for.
I really like the texture in the trees in the background. Fortunately, the noise in these is low, as is the fringing against the dark edges, so it’s easy to blow them up to large resolutions without too much artefacting. However, the girls on the rock are details that really catch the viewer’s eye, and they really need to be right, because the human eye is very good at interpreting the way that humans are meant to look. So: I started with a large scenery expanse against a simple sky, and pulled the ground out with a simple clipping mask. I exposed a nice sky from earlier that day, and put that in as the beckground. Then, I took a close-up of the girls on the rock, and [gods praise the edge-finding ploygon tool thing] cut out the girls, resizing the back image to put them neatly on a thirds line in the foreground.
As for why I think of this as a photo, rather than a manip? Because it’s the photo that I *should* have taken at the time, except with more quality where necessary, so that I can print it out at A3 size and have it look reasonable.
All in the Family: Complete First Season
Boy, the way the Beaver played. Ricky Nelson made the hit parade. Voices they were seldom raised. Those were the days. And then, on January 12, 1971, America met the Bunkers, and sitcoms would never be the same. The Bunkers were TV's first dysfunctional family: blue-collar bigot Archie (the late Carroll O'Connor in his iconic role), his long-suffering but loving wife Edith (Jean Stapleton), "little goil" Gloria (Sally Struthers), and her liberal husband "Meathead" Mike (Rob Reiner). Series creator Norman Lear broke near every rule and taboo in adapting the British series "Till Death Do Us Part" for American television. The series pilot, "Meet the Bunkers," was a bracing shocker that dared to find humor in prejudice. Archie dispenses racial epithets and ethnic slurs. Mike and Gloria clearly have an active sex life, while Edith, in the pilot at any rate, is more "pip" than "dingbat." In its first season, the series refused to, in Archie's words, "stifle" itself, tackling such hot-button topics as homophobia ("Judging Books by Covers"), racism ("Lionel Moves into the Neighborhood"), feminism ("Gloria Discovers Women's Lib"), and the generation gap (the touching "Success Story," with William Windom as Archie's former army buddy, a successful man who is revealed to be estranged from his son). All in the Family was a rich human comedy. Brought to life by a peerless ensemble, these characters would come to feel like family. Their foibles produced some of television's biggest laughs. They could also make us cry, as with the heartbreaking "Gloria's Pregnancy." Another series landmark is the season finale, "The First and Last Supper," in which we meet Isabel Sanford's Louise Jefferson (but, hilariously, not her husband, George). All in the Family was an instant lightning rod for controversy but went on to earn the comedy Emmy Award in its first year. This three-disc set has no extras (future sets will hopefully contain commentary by Lear or surviving cast members), but each episode is presented complete and uncut, restoring the funny, sometimes touching codas that were cut for syndication. --Donald LiebensonPrice: $19.94
Take the stage in the Barbie Dolls "beauty of the year"
Venezuela may have some of the most beautiful women in the world, but the light was Shining on the previously dolls Barbie in the year with a difference. Skip to related contentCountry Barbie fanatics gave the famous toy own signature looks, adorning them in fresh, new hairstyles, shoes and accessories and stylish frocks swimwear, as their plastic dolls with competed with the title of Miss Venezuela Barbie in Caracas.
This is a unique contest of the fifth year and organizer of Jose Ernesto Sanchez says, this is a very personal experience for competitors.
"Has something magic about dolls. It is sort of fusion between the organiser and the doll. You can be something strange like your daughter, but at the same time you can you are and you can create your personality, "told Sanchez.
Venezuela is famous in the world beauty pageants production competitors corner and take home titles more than any country and its school year controversial beauty, where young girls are appropriately trained as a country of the next "Miss".
"I'm not sure whether this has something to do with the fact that in this contest of beauty of the country are part of Venezuela idiosyncrasies. Women Venezuelan Fame has in the world. A positive Connotation, that we have a Guinness world record, I don't know, a lot of things, it can be also "Sanchez added.
Contestants, many of them fashion designers have been vying for a place to represent the Venezuela top honored pageant Barbie Universe and other Miss World and Miss Barbie Barbie international.
Events include contestants representing their accessorized dolls in the demo and responding to questions by a team of similar expected in a typical year, the contest.
Spectators had anxiety and Feldman on their favorite Barbies.
Finally, Jose Luis Rebete and its Barbie granted gives the Crown and the right to represent the country in the pageant Barbie Universe. He said, victory confirmed his hard work.
"It reflects what people wanted, to appreciate the work that you do appreciate a" Rebete said.
The winner of Miss Barbie Universe last year brought a small Crown back to Venezuela and Rebete undoubtedly wishes again to repeat the magic, much as Miss Venezuelan to win the contest year Miss Universe competitions won back to back in 2008 and 2009.
Americans choose Russia ten beautiful women
First place-Irina Shayk. In the past was Miss Chelyabinsk 2004 Irina Shayhlislamova, born in the village of mining Emanzhelinsk in the region of Chelyabinsk. Now it is known, the model who captured one of the most eligible bachelors on the planet.
Cristiano 25 years, which has a contract with Real Madrid gets paid a hefty 40 million dollars per year. In accordance with the Western press, the Portuguese have already Shayk. Ronaldo met Irina during the filming of A TV commercial for Armani. Irina 24-year-old had the possibility to work with the guess, Lacoste, Missoni, La Perla, was a surface Intimissimi brand and has appeared on the cover of fashion magazines, a lot of time, but only after its romantic with Ronaldo was raised to the status of top model and its payments have soared.
The second team is Maria Sharapova. Maria, incidentally, is also the intention to get married. Her boyfriend is a Slovenian Basketball player Sasha Vuyachich, who proposed the Player Tennis after the Lakers vs. Golden State meet in Los Angeles. "We are involved and very happy," said Vuyachich. "The anniversary of our first meeting on proposed and to Maria. May look used, but I wanted to act like a gentleman. "
Maria is Dating Alexander per year and para was carefully hiding their relationship. Reported by the press, the player had her fiance to Tennis Belarus to introduce him to his grandmother, who lives in Gomel. After this trip a couple stopped, hiding their relationship.
Third place-Natalia Vodianova. Cinderella from Nizhny Novgorod denial again Rumors about its intention to leave the catwalk and her husband, Lord Justin Portman. The mother of three children announced that she will have another child, and will now work to its fullest. "This is not true. Had never told. I love really my husband and our divorce is only rumors, "said Natasha in recent interview. "In respect of the work, not I'm going to leave the catwalk. Simply told that could do enough shows as before, because simply, I don't have the time. "
Fourth place was the winner of the title of Miss Russia 2009 Sofia Rudeva from St. Petersburg. The beauty of the famous thanks to its intimate pictures, where it is still a minor. Photos have appeared on the Web before the year Miss Universe.
The fifth digit moves to model Playboy Irina Voronina. Was born in Dzerzhinsk, Nizhny Novgorod region.
Sixth place is taken by the model Galkina Natasha. Was born in the Rostov region Bataisk. Now American fashion model, actress and producer who works as a correspondent of the TV channel and produces films Chance and photo shoots.
The seventh place goes to the model of Valentina Zelyaeva, which is located in New York.
The eighth place is taken by the pop singer Zhanna Friske.
Ninth place is occupied by the American actress of Russian origin Anya Monzikova, who starred in the TV series "Knight Rider," "Plantation" and the films "Tropic Thunder" and "Iron Man 2."
Tenth place shall be taken in the Player Tennis Maria Kirilenko.
In October, another authoritative-Esquire magazine-published "Atlas of Sexuality" which, in the case where the most beautiful women on the planet were born, raised and reside. In accordance with this rating is the sexiest woman in Russia Natalia Vodianova, who lives in London.
Pravda .ru Lady
Donna Erickson: If the "DOM" beautiful "is your priority, holiday, it should be a family Affair
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Updated:?12/17/2010 02:27:51 PM CST
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Print?? Email?? Font ResizeBy Donna Erickson Updated:?12/17/2010 02:27:51 PM CST
"It's dirty work, but someone has to do it!" That has been my catchy refrain the past few months while partnering with Scrubbing Bubbles to reveal its fascinating Dirty Work Index data on women's attitudes and feelings on cleaning their homes.
Did you know that 51 percent of women avoid going into someone else's bathroom? I also was surprised to learn that three out of four women say the cleanliness of their homes speaks volumes about them personally, and 83 percent are prompted to clean if they're hosting a party or guests in their home. That can put a lot of pressure on one person, especially this time of year!
Now that we're in the hustle and bustle of the holiday season, with guests coming and going in our homes, here are some practical and easy cleaning strategies for busy families:
1. Start with the front door. Keep dirt and grime out of the house before it gets tracked in by reminding kids to leave their boots, shoes and wet and muddy winter gear at the entryway. When guests pop by, I like to add a bit of humor and suggest they do the "Cha, Cha, Cha" on the entry mat when they arrive. After a few steps, wiggles and laughs, their shoes are clean before they step inside.
2. Think of cleaning as exercise. It can be hard to get everything you want done during these busy days, so make cleaning do double duty when you can't squeeze in time at the gym. An active 30 minutes of cleaning can get the blood pumping and heart racing. Add music
to the mix, and it will be done before you know it.3. Get kids to help. You don't have to do all the tasks alone, especially kid-friendly jobs like shaking rugs, taking out the trash and cleaning bathroom mirrors.
4. Clear the clutter. Just before guests arrive at a dinner party, wash and put away mixing bowls and utensils and be sure counters are sparkling clean. A clutter-free kitchen makes you feel organized and relaxed.
5. Save the night with candlelight. Perfection isn't everything. If you throw a last-minute get-together, don't worry about dusting every corner. Simply dim lamps and light candles. There is something about candlelight that makes everything glow.
6. Holiday helpers ring in the New Year. When packing holiday decorations in boxes until next year, make it a family affair. Laugh together, tell stories and share cups of cocoa while you get another cleanup job done!
For more information on the Dirty Work Index, visit Face book.com/scrubbingbubbles.
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Students want to paddy to find true love
9: 50 am on Sunday 19th december 2010
BOLTON dance students have never been on a date lid comedian Paddy McGuinness find her dream man.
Singleton Abi Scarlett Howard appear on ITV1 's Saturday night entertainment show, Take Me Out, in addition to the 29 other single ladies are looking for love in the evening.
Abi, a 20-year-old musical theatre students at Bolton College, said: "what are you going for the career, I have always chosen to practice rather than go out meeting boys.
"I have never had a girlfriend before or even been on a date, so I trode, it was a fun way to get me out there."
The series, which runs in the 14 weeks, four brave bachelors are trying to impress the Panel each week and the girls compete to bag yourself a date.
If Abi and other girls do not like what they see, they can vote to send the boys Home alone by switching from their light — prompting the Paddy to Trot out his catchphrase, "no likey, no easier".
ABI of Burnley, joins the Panel, in the evening after the acquisition from successful girl bags a date at the end of last week show.
She will remain on the show for the rest of the series, which has already attracted millions of viewers, or until she wins a date.
Abi said: "it was a really fun experience.
"Paddy was really wonderful and was very much to get everyone laugh.
"I look forward to sitting down with my family to see the slide show, but I know that I would cringe loads."
She also does not work extra TELEVISION and has appeared in Hollyoaks, a Pepsi TELEVISION advertising and the accused, which was screened on BBC1 last month.
ABI, who filmed the Show last month, are sworn to secrecy about how far she got.
This year will be the lucky few to be whisked off to a dream date the exclusive sunkissed Isle of Fernandos, where they will get to indulge in a range of activities including horse Riding, wine tasting, helicopter tours and spa treatments.
The Get Your Girl Back System
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Why are you not meeting women?
(Topics related to this blog includes How to meet women online, how to meet women meet women online, guy Gets girl)
When meeting women come sometimes for some simple facts. And it is some guys have it and not just some guys. You know these guys, just have a Chick magnet aura surrounds them wherever they go. They can pick up hot chicks everywhere and everywhere you have then these guys who look just flat out back women away from them. T hey couldnt pick up any women to save their own lives.
So what makes a difference between chick Magnet and the guy who couldnt pick up even the simplest Jane in the world.
Well, looks do matter … … …. but who takes their time and grooms himself and bear some nice clothes can get around this.
It really comes down to is this one thing … … … … ….. ATTITUDE.? Thats right, women are attracted to some guys who portray a specific type of position. This position is one of confidence and intelligence. They are looking for a guy that can be gentle and friendly, but also a guy who is fixed and will not allow anyone to go over to him. They are looking for a guy who can speak and communicate with efficiency and is intelligent. They want a guy who knows what they want and are able to articulate exactly what they want when they want it.
You have to look like Brad Pitt to pick up hot women. If you have a strong sense of who you are and walk around with a strong sense of self confidence, you can get any women that you want.
If you can connect with women, emotionally and spirtually you can have your pick of any you want to pursue.
Just always remember its less visual, when it comes to what women focus. Prefer to focus on how the women a man handles himself and how he carries himself.
Develop this self confidence in your walk and you are well on the way to becoming a Chick magnet!!
(Tags include How to meet women online, how to meet women, meet women online, guy gets girl)
How To Find And Marry A Girl Like Me
How To Meet a Beautiful, Intelligent, Educated and Sincere Russian Woman Online - Starting a Relationship, Dating, and Ultimately Marriage
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2010年12月25日 星期六
Latest news on Asian women
Light official said that pH can host 2012 AFF Suzuki Cup finals
The Philippines can host Cup 2012 Suzuki Federation of football of ASEAN (AFF), in accordance with an agreement forged yesterday by Puentevella for Monico Chairman of Olympic Philippine and the competition of the President of the Commission Khek Ravy AFF. Quoted PhilStar.com Puentevella: "we shook hands on this." "There are only three things we ask for: lighting, security and live broadcast"Khek said...".
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Kashyap, Arvind advance to quarters India open
Second seed Indian Chetan Anand suffered a defeat shock but P Kashyap and Arvind Bhat notched WINS contrasting to reach the quarter-finals of the Indian open Grand Prix in Hyderabad Thursday.
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Indoor cycling with John Wilcockson: interview with Pat McQuaid, part 3
Editor's Note: this is the last part of an interview into three parts with Pat McQuaid, focusing on five years of McQuaid at the head of the UCI. Part 2 was published last week in part 1 on November 29. In his five years as President of the Union Cycliste Internationale and close to a year as a member of
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How To Attract Women and Men (dating & relationships
We have a few products here and details are in the affiliates area about how to link to each product (for women and men). Now earn up to $100 per sale! See http://www.000relationships.com/affiliates.php for details, resources and tips.
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500 Secrets About Girls Every Guy Should Know
Know what Women Secretly wish you knew about Sex, Romance, Dating, Marriage and Relationships. Grow and Keep her love for you by pushing her "physical" and "emotional" Hot buttons! Required reading for every Guy who loves his Girl!
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Meet common women at Church?
You say ' what Rob '??? Thats right you can meet single women on women, the Church and the good.
I know that many of them will say that the Church is full of hypocrites and judgmental people, etc.., etc.. Well, there is some truth to that. Much like there are hypocrites on any place you go to. To be in school, shop, football games, gyms, clubs and most everywhere.
Personally, I come into contact with people who have met the really, really good women at a church, and is now happily married. And I am not saying that you should be looking for a person by the Church for marriage. But you may be exposed to some really classic and very nice-looking women in the Church.? Of course, there may be some bad, them scattered in there, but from what I have seen many of them are good people.
Many churches have a Singles Sunday School class. And this can really be something that you can take advantage of. When I went to a Singles class was full of the same nominee females who came from the same background as me with some intelligence and education.
I do not want call waiting-panels and clubs as bad places to meet single women. But sometimes in these locations you are running in some attractive women, but they are different and it is difficult to make a connection with them outside of a physically. And this coming from someone who saw their beautiful wife in a bar!
So as to exclude the possibility of meeting women in a place as a church. There will always be some clothes every where you go. But I believe by the Church, you can limit the amount you meet. Which has just come from my own personal experience and opinion on this subject!!!
Tell the case body Language that a women dig you … … … …
(Topics related to this item includes the which must meet the women how to meet women meet women online)
Hey guys. You know, women can be curious creatures, when you try to figure out what is going on in their heads. For many centuries, men have marketing plan their hard head against the wall trying to figure out woemn.
They are absolutely hard cookies to crack. So how can you tell when a women really dig you or not? This is a good question that most men have asked themselves at least once in their lives.
So here is a 5-tell tale signs that a women really are attracted to you.
1. She is running his hands through the hair and giggles your helper ceaselessly for something you say. This flirtatious activity is exhibited by many compensatory premium, which have their eyes on a lighthouse.
2. She mimic everything you do in the conversation. If she is inclined forward when you lean forward or tilts head when you tilt your head are the chances she likes you.
3. she has strong eye contact with you. When she can't take his eyes off you and stares deep in your eyes, then she definately gets down in the ground you.
4. she has a considered and sparkling look in his eyes and a glow in his smile and face. Many women will look like this when they are turned on the man who they are talking to. Its quite an obvious characteristics for spot colors in the flirtatious women.
5. She bites his lower lip seal when we talk with you. Okay guys, this is a comment, I have noticed me over. When a women is that you will many times she bite his lower lip seal. I do not know if this is a kind of small quantity of testoterone run through these women veins, but I have seen all too common.
Anyway, the next time you are talking to a women in the Office or out on the town thinks about these characteristics I have spoken. There is no rule that says women are interested in you, because she exhibits, some of these features. But there is a separate probablity that she is.
Greetings to women and cheers to flirt with them!!
(Tags include which must meet the women how to meet women, meet women online)
2010年12月24日 星期五
Overview: in the "Marwencol," the contractor finds life in fantasyland, strange, beautiful
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Print?? Email?? Font Resizemovies**** STAR REVIEW (out of 4) | DocumentaryBy Ty Burr
The Boston GlobePosted:?12/10/2010 01:00:00 AM MST
Mark Hogancamp sets up a scene in "Marwencol." (The Cinema Guild ) Print?? Email?? Font ResizeReturn to Top??
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Print?? Email?? Font Resizemovies**** STAR REVIEW (out of 4) | DocumentaryBy Ty Burr The Boston GlobePosted:?12/10/2010 01:00:00 AM MST
"Marwencol" is a strange and very beautiful documentary about the gray area between obsession and art — about the compulsive need to create something when the world leaves you with nothing. Its subject is Mark Hogancamp, a small-town nobody with an epic inside him.
Actually, he's Mark Hogancamp version 2.0. The first Mark Hogancamp was a Kingston, N.Y., artist and alcoholic who had the bad luck to be beaten into a coma by five men outside a bar one night in April 2000. He awoke nine days later lacking memories, the ability to write and, interestingly, his taste for booze. After five weeks in the hospital, his benefits ran out and he was sent back home to make some sense of his life.
Since no help was forthcoming, Hogancamp created his own therapy: a richly detailed World War II-era European village in his backyard, one-sixth life-size and peopled with modified GI Joes and Barbie-like dolls, and one green-haired, time-traveling Belgian witch. This is Marwencol, and it's safe to say Hogancamp lives here more than in Kingston.
Over many months, he created and photographed scenes from his private mythology, a running narrative in which a U.S. soldier named Mark "Hogie" Hogancamp wanders into a small village that has been abandoned by everyone except its women. They allow him to set up a bar and welcome in other battlefield survivors: Americans, British, Germans. The only rule is that everyone has to get along. In the evening, the women stage mock catfights for entertainment. When the SS invade, the Marwencol-ites fight back with startlingly undoll-like violence.
Eerily lifelike
It sounds ridiculous until you see the photographs, at which point your jaw hits the floor. Using a point-and- shoot camera with a broken light meter, Hogancamp shoots eerily lifelike tableaux of wartime action and longing. Some of the images look like frames from a long-lost WWII movie — aching moments of frozen melodrama. There's no other word for these photos: They are art.
They're also necessary to the artist's mental and spiritual well-being. The movie is as much about Mark as Marwencol: about how a battered misfit creates order out of ruin by casting everyone he knows as dolls in a private fantasy world, and about his struggle to keep reality and fiction separate. The sharpest insights in "Marwencol" come when Hogancamp is discovered by artsy upstate locals — a photographer who befriends him; Jeff Malmberg, the director of this film — and is in turn embraced by the Manhattan gallery scene. His photographs are published in a literary magazine, then a book; a Greenwich Village show follows. Do the hipoisie appreciate the art or are they exploiting Hogancamp for his freak-show potential?
The answer isn't easy and, to their credit, Mark's art-world fans ask themselves the same question. In its mythic detail, its naivete, its eccen- Marwencol — the town, the story line, the psychic space — is an infinite universe sprung from a loneliness so intense even an audience can't soothe it away.
Not rated. 1 hour, 24 minutes. Starring Mark Hogancamp; directed by Jeff Malmberg. Opens today at the Denver FilmCenter/Colfax.
Print?? Email?? Font ResizeReturn to Top?? Hollywood mourns Blake Edwards
Hollywood mourns Blake Edwards
BLAKE Edwards, who died at 88, better be remembered for the comedy the Pink Panther built around Inspector Clouseau and marrying Julie Andrews.
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Critical moments choose favorite poster 2010
What is striking about the list this year is how unfolded page top productions are among the companies of Cape and old favorite "Violin on the roof" how to "A Funny Thing Happened on the way to the Forum,"...
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Smoking lag area Red Hot answers your Stupid Questions! [Video]
# jamboroo Thursday afternoon NFL Dick Joke Drew Magary Jamboroo runs every Thursday during the NFL season. Find more of his stuff at his Twitter feed. "More".
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Beautiful women black-new proposed module Web content a Black man's survival guide
12.14.2010 – afrodaddy.com (1888PressRelease)-black Man survival guide starts a new proposed content module showing the talented and beautiful women, black.
Oakland, CA-today, afrodaddy.com starts a new module Beautiful Black women-the place of the most beautiful black women in America. Black man's survival guide is a Web site devoted to black men and their families, questions and answers to questions about how to survive and prosper in America, and a significant part of this adventure is to help and support from the women in our life. "Black man is nothing without a good woman-black, Brown, white or otherwise so here we create a module afrodaddy.com this celebration and confirm all beautiful black women, help us, teaching us and sharing their initial world," says Darrell Garrett, Senior editor at afrodaddy.com. Profiles in the Beautiful Black women are women, who actually constitute the beauty in all its forms. Some women are standard physical beauty, while others are equally beautiful inside-the creation of art, music, literature and poetry, showing really us black Woman is an example of incredible talent and grace.
Module beautiful women Black is not intended only for the models, vixens video or actresses and does not need to be famous to be listed here. Many of these profiles include women on athletes, teachers or other competitions, completely independent of their physical gifts. In addition, the module is not reserved exclusively for black women. All women are welcome and encouraged to submit their profiles for inclusion on the site. The primary reason for black women are to be highlighted is that black women are underrepresented in digital discussion of beauty. "Too often, black women are excluded from the list and profiles of the most beautiful women in the world. This module allows for some of these women are to be visible and included in the discussions, "says Mr. Garrett.
Black man's survival guide is a project of the community, and from all parts of the Web site, the people from the community are encouraged to submit their profiles for inclusion. This module provides an excellent opportunity to aspiring actress, model, or anyone who is looking for exposure. "We would be very happy if beautiful women Black became the number one source when it was discovered the fresh New faces," says Jordan Guy, students and contributor. Someone wants to submit your profile for this account may do so on the website or through e-mail us directly to admin AT afrodaddy (dot) com.
About afrodaddy.com
Afrodaddy.com is the website of the project community focuses on young black men and black Fathers answers to questions about how to survive and prosper in America. The cornerstone of the Web site is a black man, survival, which is divided into sections 6 (food, shelter, clothing, health, relationships and Money), with each section contains articles of survival, whether or not you Knows and q & A-related area of the survival of the key. In addition to the Guide to the survival of the Web site also contains articles on entrepreneurship and skills, as well as a special section, which deals with issues related to the black fatherhood and the child.
For people who want to be the basis for the black Community by contributing content, listing their company as a resource or become a member, e-mail us at teamafro AT afrodaddy (dot) com or visit Web site at www.afrodaddy.com.
Source of:
http://www.1888pressrelease.com/beautiful-black-women-new-featured-content-module-from-the-pr-264066.html
2010年12月23日 星期四
Psychic Scan - Dating Tips For Women
Read His Mind! 50% com. This ebook is Red Hot! Easy, real 'psychic' mind tools from an international psychic. Great For Speed Dating! Instant xray on his hidden emotions. Find out if your date really loves you! What is he Really like deep down underneath!
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Jacksonville single woman provides you with an opportunity to have a hot partner for your next date
Jacksonville single woman provides you with an opportunity to have a hot partner for your next date
Jacksonville single woman provides you with an opportunity to have a hot partner for your next date
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Home > relations > meetings > Jacksonville single woman provides you with an opportunity to have a hot partner for your next date
Jacksonville single woman provides you with an opportunity to have a hot partner for your next date
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Dating has become a part of the lives of girls and boys. And if you are talking about culture dating back to Jacksonville, you will arrive then know that every guy wants to date girl nearby and each girl seeks to spy on a cool guy around. This means that dating is something, which keeps people live their playful life filled manner. If you are a citizen of Jacksonville, then you should be aware of Jacksonville single women demand. Men are looking for these women, who are not mixing with the guys. If you are also looking forward to adorn your next date and actually want to glorify it, then you must locate Jacksonville meeting, which will act as the most effective of the directive.
There are a large number of ads at your service in this city, which can help you find single women for you and guide you to the dating process. And the best part of getting help from trained professionals. You'll see that these meetings can offer you services of planning a date set for you, which may include the selection of sites, gift you give food to the woman, which will allow you to order and other stuff like that. If this is the first time that you have decided to find a partner by looking in the list of Jacksonville spinsters, you then need to take the help of a qualified professional, so that you are not of any dating disaster.
By committing to any error, it means that you are going to spoil and your personality in front of your friend. And it is certain that you would not like to see what is happening with you. This is the reason, why it is recommended that you that you always take help of professionals, who will not leave you to associate any type problem, while you are dating from your partner. Jacksonvillesingle women would love to this day, they are also willing to find single men for themselves. Once you have become successful in finding a partner of your own choosing, additional guidelines will be given to you by your professional dating.
The success rate of dates, planned with the help of Jacksonville, meetings, has been up to 100%. This is the reason why their demand has increased with each passing day. These professionals will teach you the track; You should dress up for your date, your behaviour with the duration of your date and the gesture to say bye to your partner. And once you are finished with these steps, it is certain that you will be able to impress your girlfriend the way most magical and special. In all, to find Jacksonville single women is not the only important thing, but most important is to ensure that you are truly committed to your dating. And who will make a difference.
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Meeting Women-you will only want to use for women? Well DON ' T!!
Okay Guys I realize that all of us male species have a sexual drive, there are many times seems presumptuous. We all love women and many times is stretch the neck is out to get a good of hottie walking down the street.
But provides the ability to get real. We have all the sisters, daughters, mothers, wives, and so on, that we respect and really wouldnt appreciate other men try to lust after them, and try to use them to their own sexual pleasure.
So, I say to you guys out there is to be respectful of all women at ALL times. Sure, there is nothing wrong with having a healthy sexual appetite. This is just a part of becoming a fulfiiled man. But teach and to recognise that women are emotionally and physically built differently than men.
So press ever a women to sexual contact or sexual relations with you. Let it be own her own time.
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2010年12月22日 星期三
Where to meet women, to which you want to??
(Topics that are related to this post on the cover to meet women online, meet single women, meet beautiful women)
Okay guys, it can be difficult to know where even time in trying to meet women.
Of course, to get started, it all depends on what kind of woman you are looking for.
There are loads of places to meet single women you simply must know what type you are searching for.
For example, are looking for some guys the tight body in shape athletic woman. Well, is probably one of the best places to look for one like this at a gym or a pilates class. Your local track could also be another place to find such a woman.
If you're looking for a very sophisticated and well rounded woman for you to test the library or even go to a college campus.
If you are still in the dark, what kind of woman you want, then here are a few suggestions.
There are adult classes for learning held a night and these can be a gold mine in order to find the specific individual woman. The fact is, many women are in the learning and absorb new hobbies. Try to look at the classes on topics of Arts and crafts and cooking and yoga.
Check out the local Dance lesson Club is another good place to meet more women. And believe me you can really find some very hot, good looking single women who participate in these dance classes.
Finally, I know it sounds funny, but you can find a potential single woman to date at the local supermarket. You can usually spot them, of course, so there is no ring on your finger when they reach for the mango in the section of the fruit!
(Labels include meet women online, meet single women, meet beautiful women)
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Meet common women's – the experts has fun with women but always Treat them with respect!!
(Topics related to this record, which may be of interest to readers include meet women online, meet single women, meet beautiful women)
Okay, Guys I know all of us of the male species have sexual thoughts about women every 25 seconds or so. According to the latest scientific studies, give or take a little bit.
I also know that you guys Stretch your neck to check that hottie stroll on the street in high heels. This is just a man, right!
Hey, there is nothing wrong with the taste for women and there is nothing wrong to indicate a relationship with a women and finally have a kind of sexual relations with them; this is part of the human experience.
What I have a problem with is the guys who use women and treat them with respect and make a connection with them to only get in bag with them a healthy sexual appetite is fine, but to ensure that women with your feel the same way as you.
If it is only a physical thing you have against a women let her know from the git go so she knows exactly where she stands in the relationship. If she does not feel the same direction then you respect her wishes and move on, or just be friends with her.
Process a women, correctly and with respect means to be an effective Communicator with the person concerned. As a man, it is their obligation to let her know that the relationship is something you have a casual or serious, and you must do this right from the outset.
Personally, I have a few good male friends who have had sexual relations with many, many women over a period of time. I defence not promiscuity, but I am also not here to judge either. But what can I say, beyond a shadow of a doubt, is that all these women were willing participants who you want the exact same as my male friends.
So guys, just be honest about your intentions with each relationship in your, and always treat. women with respect.
(Labels include meet women online, meet single women, meet beautiful women)
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