photo-blog

"Whispers heard, without a sound.
Helpless souls, never found.
Whispers there, but never thought.
Their treasure there, but never sought.

Whispers falter, on the brink of the mind.
Helpless souls, forever they are blind.
Whispers there, Lost within a darkness so bright,
Submerged in murky deep waters, in fright.

Whispers dreamed of, without an image,
Helpless souls, cry out for help.
Whispers there, but the mind never triggers,
Memories collide, distorting the view.

Whispers felt, by the sixth sense
Helpless souls, reach for defense.
Whispers there, but frightened mind,
Blocks the sound, so there's nothing to find.

Whispers questioned, by intellect,
Helpless souls, cause mind to reflect.
Whispers there, mind finally thinks,
And creates a bridge, across the brink.

Whispers sensed, willfully by comprehension,
Helpless souls, undergo analyzation,
Whispers there, bid ignorance 'way,
But forever, they remain, unheard."

Source : www.poems-and-quotes.com

Kevin Carter (September 13, 1960 – July 27, 1994) was an award-winning South African photojournalist and member of the Bang-Bang Club.

Carter began his career as a weekend sports photographer in 1983 for Johannesburg's Sunday Express. A year later he moved on to work for the Johannesburg Star bent on exposing the brutality of apartheid. That same year Carter's first Time cover appeared.

Carter was the first to photograph a public execution by "necklacing" in South Africa in the mid-1980s. He later spoke of the images; "I was appalled at what they were doing. I was appalled at what I was doing. But then people started talking about those pictures... then I felt that maybe my actions hadn't been at all bad. Being a witness to something this horrible wasn't necessarily such a bad thing to do."

In March 1993 Carter made a trip to southern Sudan with intentions of documenting the local rebel movement. However, upon arriving and witnessing the horror of the famine, Carter began to take photographs of starving victims. The sound of soft, high-pitched whimpering near the village of Ayod attracted Carter to a young emaciated Sudanese toddler. The girl had stopped to rest while struggling to a feeding center, wherein a seemingly well-fed vulture had landed nearby. He said that he waited about 20 minutes, hoping that the vulture would spread its wings. It didn't. Carter snapped the haunting photograph and chased the vulture away. However, he also came under heavy criticism for just photographing — and not helping — the little girl:

"The man adjusting his lens to take just the right frame of her suffering might just as well be a predator, another vulture on the scene."

The photograph was sold to The New York Times where it appeared for the first time on March 26, 1993. Practically overnight hundreds of people contacted the newspaper to ask whether the child had survived, leading the newspaper to run a special editor's note saying the girl had enough strength to walk away from the vulture, but that her ultimate fate was unknown. On April 2, 1994 Nancy Buirski, a foreign New York Times picture editor, phoned Carter to inform him he had won the most coveted prize for photography. Carter was awarded the Pulitzer Prize for Feature Photography on May 23, 1994 at Columbia University's Low Memorial Library.

He later confided to friends that he wished he had intervened and helped the child. Journalists at the time were supposedly warned never to touch famine victims for fear of disease. This criticism and the death of a close friend, Ken Oosterbroek, who was accidentally shot and killed in Tokoza on April 18, 1994 while covering township violence, may have contributed to Carter's suicide. On July 27, 1994 Carter drove to the Braamfonteinspruit river, near the Field and Study Center, an area he used to play at as a child, and took his own life by taping one end of a hose to his pickup truck’s exhaust pipe and running the other end to the passenger-side window. He died of carbon monoxide poisoning at the age of 33. The last person to see Carter alive was Oosterbroek's widow, Monica. Portions of Carter's suicide note read:

"I am depressed ... without phone ... money for rent ... money for child support ... money for debts ... money!!! ... I am haunted by the vivid memories of killings & corpses & anger & pain ... of starving or wounded children, of trigger-happy madmen, often police, of killer executioners...I have gone to join Ken if I am that lucky."

Source : http://en.wikipedia.org

A little boy needs Daddy
For many, many things:
Like holding him high off the ground
Where the sunlight sings!

Like being the deep music
That tells him all is right
When he awakens frantic with
The terrors of the night.

Like being the great mountain
That rises in his heart
And shows him how he might get home
When all else falls apart.

Like giving him the love
That is his sea and air,
So diving deep or soaring high
He'll always find him there.


Source : www.poemsforfree.com

In common usage, an image (from Latin imago) or picture is an artifact that reproduces the likeness of some subject—usually a physical object or a person.

Images may be two dimensional, such as a photograph, or three dimensional such as in a statue. They are typically produced by optical devices—such as a cameras, mirrors, lenses, telescopes, microscopes, etc. and natural objects and phenomena, such as the human eye or water surfaces.

The word image is also used in the broader sense of any two-dimensional figure such as a map, a graph, a pie chart, or an abstract painting. In this wider sense, images can also be produced manually, such as by drawing, painting, carving, by computer graphics technology, or a combination of the two, especially in a pseudo-photograph.

A volatile image is one that exists only for a short period of time. This may be a reflection of an object by a mirror, a projection of a camera obscura, or a scene displayed on a cathode ray tube. A fixed image, also called a hardcopy, is one that has been recorded on a material object, such as paper or textile.

A mental image exists in an individual's mind: something one remembers or imagines. The subject of an image need not be real; it may be an abstract concept, such as a graph, function, or "imaginary" entity. For example, Sigmund Freud claimed to have dreamt purely in aural-images of dialogues. The development of synthetic acoustic technologies and the creation of sound art have led to a consideration of the possibilities of a sound-image comprised of irreducible phonic substance beyond linguistic or musicological analysis.

Source : http://en.wikipedia.org
http://greatblogabout.org

Black-and-white is a broad adjectival term used to describe a number of monochrome forms of visual arts. Most forms of visual technology start out in black and white, then slowly evolve into color as technology progresses.

"Black-and-white" as a description is also something of a misnomer, for in addition to black and white most of these media included varying shades of grey. Further, many prints, especially those produced earlier in the development of photography, were in sepia (mainly to provide archival stability), which gave a richer, more subtle shading than reproductions in plain black-and-white, although less so than color.

All photography was originally monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost and its "classic" photographic look. In modern times, black-and-white has mostly become a minority art form, and most photography has become color photography.

Many photographers continue to produce some monochrome images. Some full color digital images are processed using a variety of techniques to create black and whites, and some cameras have even been produced to exclusively shoot monochrome.

Source : http://pagebang.com

"The lonely sea
It never stops
For you or me
It moves along
From day to day.

That's why my love
You'll never stay.

This pain in my heart
These tears in my eyes
Please tell the truth
You're like the lonely sea
The lonely sea."

Source : http://www.80smusiclyrics.com
http://www.kuteev.ru

Kirlian photography refers to a form of contact print photography, theoretically associated with high-voltage. It is named after Semyon Kirlian, who in 1939 accidentally discovered that if an object on a photographic plate is connected to a source of high voltage, small corona discharges (created by the strong electric field at the edges of the object) create an image on the plate.

Kirlian's work, from 1939 onward, involved an independent rediscovery of a phenomenon and technique variously called "electrography," "electrophotography," and "corona discharge photography." The underlying physics (which makes xerographic copying possible) was explored as early as 1777 by Georg Christoph Lichtenberg (see Lichtenberg figures). Later workers in the field included Nikola Tesla; various other individuals explored the effect in the later 19th and early 20th centuries. Yet Kirlian took the development of the effect further than any of his predecessors.

In controversial metaphysical contexts, Kirlian photography, Kirlian energy, and so on, are sometimes referred to as just "Kirlian." Kirlian made controversial claims that his method showed proof of supernatural auras, said to resemble a rough outline of the object like a colorful halo. One of the more striking aspects of Kirlian photography is its reputed ability to illuminate the acupuncture points of the human body[citation needed]. An experiment advanced as evidence of energy fields generated by living entities involves taking Kirlian contact photographs of a picked leaf at set periods, its gradual withering being said to correspond with a decline in the strength of the aura. Scientifically, it is considered more likely that as the leaf loses moisture it becomes less electrically conductive, causing a gradual weakening of the electrical field at the drier edges of the leaf.

Source : http://en.wikipedia.org