Tuesday, August 30, 2011
Deus Ex Machina. Bike / Surf Design + Cafe. Australia.
Surfboard Bike.
Deus Bali.
custom boards.
Deus cafes.
Deus New Zealand.
Deus gear.
Deus ex Machina. Monkey Riding.
Fixies + Balinese kecak dancers = whole lotta radness
Deus is an epic powerhouse brand producing all kinds of goodness when it comes to custom bicycles of all kinds, and surfboards. While headquarters are in Sydney, they've got outposts in New Zealand, Bali Indo, and Venice California... where it matters. They also do proper coffee and food service at their 'bike-museum like' shops. Aussies Dare Jennings, founder/past owner of Mambo clothing, and Action Motorcycles’ Rod Hunwick are the creators of Deus ex Machina. They ditched corporate cloning and decided to celebrate individuality, while paying homage to ‘the god in the machine’ (translation of the greek-inspired co. name). The dudes were always bike-enthusiasts who decided to set up shop after visiting Japan and being inspired by Japanese bike culture.
deus.com.au
deuscustoms.tumblr.com
deuscafe.com.au
Lewis Hine
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| Little Julia tending baby at home, Bayou La Batre, Alabama, 1911 |
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| Rosie 7 year old , South Carolina 1913 |
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| Bertha, six-year old. Port Royal, South Carolina, February 1912 |
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| Girl spinner, 11 years old, Rhodes Manufacturing Co., Lincolnton, North Carolina 1908 |
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| Jennie Camillo, 8 years, cranberry picker, Pemberton, New Jersey 1910 |
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| Messenger boy for Mackay Telegraph Co., Waco, Texas 1913 |
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| Messenger boy for Mackay |
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| Cigarmakers, Tampa, Florida 1909 |
Monday, August 29, 2011
Photographer Profile ~ Michael Kenna
Michael Kenna (born 1953) is an English photographer best known for his black & white landscapes.
Kenna attended Upholland College in Lancashire, the Banbury School of Art in Oxfordshire, and the London College of Printing. In 1977, he moved to San Francisco, where he met Ruth Bernhard and became her assistant and photographic printmaker for eight years. Michael is equally dedicated to the darkroom and makes his own prints ensuring a subdued, intimate atmosphere in every image.
Kenna's photography focuses on unusual landscapes with ethereal light achieved by photographing at dawn or at night with exposures of up to 10 hours. Since about 1986 he has mainly used Hasselblad medium format and Holga cameras and this accounts for the square format of most of his photographs.
His work has been shown in galleries and museum exhibitions in Asia, Australia, Europe and the United States. He also has photographs included in the collections of the National Gallery of Art in Washington, D.C., the Patrimoine photographique in Paris, the Museum of Decorative Arts in Prague, and the Victoria and Albert Museum in London. His photography of the ruins of concentration camps was featured in the opening credits of the Holocaust film Esther's Diary (2010).
[via wiki and here]
Kenna attended Upholland College in Lancashire, the Banbury School of Art in Oxfordshire, and the London College of Printing. In 1977, he moved to San Francisco, where he met Ruth Bernhard and became her assistant and photographic printmaker for eight years. Michael is equally dedicated to the darkroom and makes his own prints ensuring a subdued, intimate atmosphere in every image.
Kenna's photography focuses on unusual landscapes with ethereal light achieved by photographing at dawn or at night with exposures of up to 10 hours. Since about 1986 he has mainly used Hasselblad medium format and Holga cameras and this accounts for the square format of most of his photographs.
His work has been shown in galleries and museum exhibitions in Asia, Australia, Europe and the United States. He also has photographs included in the collections of the National Gallery of Art in Washington, D.C., the Patrimoine photographique in Paris, the Museum of Decorative Arts in Prague, and the Victoria and Albert Museum in London. His photography of the ruins of concentration camps was featured in the opening credits of the Holocaust film Esther's Diary (2010).
[via wiki and here]
'I gravitate towards
places where humans have been
and are no more, to the edge of man’s
influence, where the elements are
taking over or covering
man’s traces' ~ Michael Kenna
' I often think of my work as visual haiku.
It is an attempt to evoke and
suggest through
as few elements
as possible
rather than to describe
with tremendous detail. '
~ Michael Kenna
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