Hermosa Beach, CA, 1948
Photo by John Florea
Hermosa Beach, CA, 1948
Photo by John Florea
I don't dress even for the weather :(
Oh little one, you’re growing up
You’ll soon be writing C
You’ll treat your ints as pointers
You’ll nest the ternary
You’ll cut and paste from github
And try cryptography
But even in your darkest hour
Do not use ECB
CBC’s BEASTly when padding’s abused
And CTR’s fine til a nonce is reused
Some say it’s a CRIME to compress then encrypt
Diffie Hellman will collapse if hackers choose your g
And RSA is full of traps when e is set to 3
Whiten! Blind! In constant time! Don’t write an RNG!
But failing all, and listen well: Do not use ECB
They’ll say “It’s like a one-time-pad!
The data’s short, it’s not so bad
the keys are long—they’re iron clad
I have a PhD!”
And then you’re front page Hacker News
Your passwords cracked—Adobe Blues.
Don’t leave your penguin showing through,
Do not use ECB
In 1874, Stepan Andreevich Bers published The Cookbook and gave it as a gift to his sister, countess Sophia Andreevna Tolstaya, the wife of the great Russian novelist, Leo Tolstoy. The book contained a collection of Tolstoy family recipes, the dishes they served to their family and friends, those fortunate souls who belonged to the aristocratic ruling class of late czarist Russia. Almost 150 years later, this cookbook has been translated and republished by Sergei Beltyukov. Available in an inexpensive Kindle format ($3.99), Leo Tolstoy’s family recipe book features dozens of recipes, everything from Tartar Sauce and Spiced Mushrooms (what’s a Russian kitchen without mushrooms?), to Stuffed Dumplings and Green Beans à la Maître d’Hôtel, to Coffee Cake and Viennese Pie. The text comes with a translation, too, of Russian weights and measures used during the period. One recipe Mr. Beltyukov provided to us (which I didn’t see in the book) is for the Tolstoy’s good ole Mac ‘N’ Cheese dish. It goes something like this:
Bring water to a boil, add salt, then add macaroni and leave boiling on light fire until half tender; drain water through a colander, add butter and start putting macaroni back into the pot in layers – layer of macaroni, some grated Parmesan and some vegetable sauce, macaroni again and so on until you run out of macaroni. Put the pot on the edge of the stove, cover with a lid and let it rest in light fire until the macaroni are soft and tender. Shake the pot occasionally to prevent them from burning.
We’ll leave you with bon appétit! — an expression almost certainly heard in the homes of those French-speaking Russian aristocrats.
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Leo Tolstoy’s Family Recipe for Macaroni and Cheese is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
The post Leo Tolstoy’s Family Recipe for Macaroni and Cheese appeared first on Open Culture.
Readers based in London may be interested in hearing that the Hay Hill Gallery, who represent a selection of internationally recognized contemporary artists, will be presenting a double exhibition from the 26th May to the 21st June, showcasing the photographic works of fashion photographer, Marco Sanges, entitled “The Indecent Eye”, and the architectural images of Alexey Lyubimkin, called “City Lights”.
Marco Sanges and possess a matchless photographic eye that creates alluring photography echoing the works of art from the Byzantine, Surrealist and Gothic periods. Not only are his images reminiscent of art paintings but he has ability to transmute and infuse each subject matter with its own and distinctive vibrancy and energy.
From developing and printing black and white photos in his uncle’s photographic lab, Sanges went on, in the pursuit of fashion, to become a photographer for Vogue Italia, before relocating to London where he presently resides. He has been exhibited worldwide, worked with clients such as Cutler and Gross, Agent Provocateur, Sunday Telegraph, Vogue, Trace, Elle, Dolce & Gabbana, and there is even a permanent collection of his work held in the Virginia Museum of Fine Arts, in the United States.
With his exhibition, Marco Sanges invites the public to visit and open their imaginations. As a storyteller, Sanges photographs appear to look more like cinematic narratives, as though we are looking through the lens as the photographer tells his tale. Having been influenced by the silent films of the 1920’s and 30’s, his dark and enchanting images portray the frailty and strength of humanity, confronting the viewer with the conclusion that there can be a funny side to our own mistakes if you choose to see it. Magician, puppet master and photographer, Sanges takes you on a journey of mystique and romantic intrigue in “The Indecent Eye” exhibition.
Having been provoked into deep thought by “The Indecent Eye”, you may wish to proceed through the “City Lights” exhibition in the same venue, displaying the architectural works of photographer, Alexey Lyubimkim. What can be described as love letter to the cities he shoots, revealing the tree and building lines as though they were part of the original city’s design blue-print. With a camera in hand, the lens is like a magnifying glass under Lyubimkim’s scrutinising eye that reveals what our naked eyes can’t see – an ever changing landscape.
Born in Novosibirsk, Russia in 1963, Lyubimkim has worked as a professional architect, published the “Russian Gallery” art magazine, developed the growth of the Moscow’s Artist Center at Tretyakov Gallery and Savvinskaya Arts Center, was a founding member of London’s Hay Hill Gallery (where the exhibitions are held), and holds memberships in both the Russian Photo Artists Union and the International Journalist Union. His works have been sought after in private collections across the globe, including Russia, UK, Germany, Mexico and USA.
How does architecture apply to fashion photography you may ask? Well, according to Alex Lyubimkin he says that “Architecture is the most stylish way of culture representation, and… like many people, I like to make my own discoveries. In this variety of city landscapes and cultural traditions no creative person can remain indifferent. I often carry my camera with me, which becomes my interpreter and even my partner… London is one of the most beautiful cities in the world for me.” Be inspired by the lines, shapes and bold use of color in Lyubimkin’s courtship of the cities he has photographed.
Lyubimkin pays homage to the old technique of tinting images but incorporates a variety of contemporary solero hues. This artist’s colour fascination embodies the double take turn of the head towards beauty in amidst the bustle of a metropolitan city, encouraging the viewer to take notice of their surroundings next time they step outside. He brings to the surface the sense of home and belonging, while making conscious of the world around us at a local scale.
To visit or find more information for both Marco Sanges’ “The Indecent Eye” & Alexey Lyubimkin’s “City Lights” exhibitions, the contact details for the Hay Hill Gallery are below:
Hay Hill Gallery
Address: 35 Baker Street, London W1U 8EN
Phone: 020 7486 6006
Opening hours: Monday – Friday 10.30-6, Saturday 11-5
Pictures 1, 2, 3, 4, 5, 8 & 9: from Marco Sanges’ “The Indecent Eye” Exhibition
Pictures 6 & 7: from Alexey Lyubimkin’s “City Lights” Exhibition
Update: A few months after this piece was published, I was invited by Harvard's Berkman Center to speak about this topic in more detail. Though the final talk is an hour long, it offers much more insight into the topic, and I hope you'll give it a look.
The tech industry and its press have treated the rise of billion-scale social networks and ubiquitous smartphone apps as an unadulterated win for regular people, a triumph of usability and empowerment. They seldom talk about what we've lost along the way in this transition, and I find that younger folks may not even know how the web used to be.
So here's a few glimpses of a web that's mostly faded away:
[Y]ou could, in theory, write software to examine the source code of a few hundred thousand weblogs, and create a database of the links between these weblogs. If your software was clever enough, it could refresh its information every few hours, adding new links to the database nearly in real time. This is, in fact, exactly what Dave Sifry has created with his amazing Technorati. At this writing, Technorati is watching over 375,000 weblogs, and has tracked over 38 million links. If you haven’t played with Technorati, you’re missing out.
This isn't our web today. We've lost key features that we used to rely on, and worse, we've abandoned core values that used to be fundamental to the web world. To the credit of today's social networks, they've brought in hundreds of millions of new participants to these networks, and they've certainly made a small number of people rich.
But they haven't shown the web itself the respect and care it deserves, as a medium which has enabled them to succeed. And they've now narrowed the possibilites of the web for an entire generation of users who don't realize how much more innovative and meaningful their experience could be.
When you see interesting data mash-ups today, they are often still using Flickr photos because Instagram's meager metadata sucks, and the app is only reluctantly on the web at all. We get excuses about why we can't search for old tweets or our own relevant Facebook content, though we got more comprehensive results from a Technorati search that was cobbled together on the feeble software platforms of its era. We get bullshit turf battles like Tumblr not being able to find your Twitter friends or Facebook not letting Instagram photos show up on Twitter because of giant companies pursuing their agendas instead of collaborating in a way that would serve users. And we get a generation of entrepreneurs encouraged to make more narrow-minded, web-hostile products like these because it continues to make a small number of wealthy people even more wealthy, instead of letting lots of people build innovative new opportunities for themselves on top of the web itself.
We'll fix these things; I don't worry about that. The technology industry, like all industries, follows cycles, and the pendulum is swinging back to the broad, empowering philosophies that underpinned the early social web. But we're going to face a big challenge with re-educating a billion people about what the web means, akin to the years we spent as everyone moved off of AOL a decade ago, teaching them that there was so much more to the experience of the Internet than what they know.
This isn't some standard polemic about "those stupid walled-garden networks are bad!" I know that Facebook and Twitter and Pinterest and LinkedIn and the rest are great sites, and they give their users a lot of value. They're amazing achievements, from a pure software perspective. But they're based on a few assumptions that aren't necessarily correct. The primary fallacy that underpins many of their mistakes is that user flexibility and control necessarily lead to a user experience complexity that hurts growth. And the second, more grave fallacy, is the thinking that exerting extreme control over users is the best way to maximize the profitability and sustainability of their networks.
The first step to disabusing them of this notion is for the people creating the next generation of social applications to learn a little bit of history, to know your shit, whether that's about Twitter's business model or Google's social features or anything else. We have to know what's been tried and failed, what good ideas were simply ahead of their time, and what opportunities have been lost in the current generation of dominant social networks.
So what did I miss? What else have we lost on the social web?
A follow-up: How we rebuild the web we lost.
Favorite Banksy of the last few years. Downtown, Los Angeles.
Heidi: I know you started the project with just 3 photos, is that all you had pitched to the NYT for the story and then it developed from there?
Damon: Yes. I was marketing myself for a NYC editorial meetings trip for the following week and I had emailed Amy Kellner at the NYT about a week before going, letting her know I would be coming to town and would love to meet her and show my work. Towards the end of the email, I had one sentence telling her about the project and I attached 2 out of the 3 photos. That’s how this all started.
Who did you address to the pitch to and what was your presentation?
The pitch was to Amy Kellner at the NYT. It was super basic, along the lines of “Here is a new project I’m working on about Boomerang kids, young adults who’ve had to move back home after college.” I got a response within the hour, asking if the photos had been published anywhere. We had a phone call shortly after that and she let me know that she would be pitching it to the editorial team and to not show anyone else the photos for now. The next day I received an email saying that it went over great with the team and they wanted me to continue it across the country as a photo essay. It was a dream come true.
Did you send it to anyone else besides the NYT?
I did, I sent it out to about 4 other news based magazines that I thought it would be a great fit for. I didn’t receive any other responses and stopped pitching it.
Was this your first big national news story?
Yes, this was my first national feature story and first cover, of course. I shoot a lot for Los Angeles Magazine, have shot a couple profiles for Bloomberg Businessweek and have had a couple of photos in Pacific Standard Magazine. I assist half time and shoot half time for my income as I’m starting out.
Were you concerned about rejection or did you have enough positive reinforcement prior to reaching out to them?
I’ve learned over the last couple of years after graduating and trying to get my name out in the photo world that rejection is a big part of marketing. You have to have thick skin when you are starting out and no one has heard of you. After making the 1st photo (Jacqueline Boubion,) I knew that the project had potential. Also, after trying to find people on craigslist, I had more responses from writers and photographers who wanted to jump on the project with me. I even got a call from some Hollywood book agent who wanted me to think about making the project into a book or sitcom, since it’s such a relevant topic. I took it down shortly after, ha.
Were you in despair when you decided to to this project, thus it was cathartic?
Yes and no. I had to move back home after having a rough summer where assisting work and shooting work was extremely slow and I had no savings because my overhead was so high with student loans, rent, insurance, etc. Moving back home was my last resort and I felt like a failure for a bit. After beginning the project and realizing how many others were out there like me, it was clear that I needed to bring this story to light and share the experience of the “Boomerang Kids,” including my own story.
What advice would you give to young photo college students?
I would tell students that you have to prepare yourself as much as you can in college. A lot of students don’t and have no idea what they will do after art school and begin trying to figure it out, and then the loans start coming. I had two amazing internships and a few mentors in college and I always tried to meet with other LA photographers, show them my work and get feedback and ask all kinds of questions. I first interned with Maren Levinson, owner of Redeye Reps photo agency, where I learned the business side and marketing side of photography. Next, I interned with Amy Feitelberg, who is photo editor at Los Angeles Magazine. I was able to see how the magazine was run and witness stories from their beginning to it being published. I’m still good friends with both Maren and Amy and constantly ask them for advice and feedback on new work, which is another reason why you should intern.
How receptive has your former school been about this body of work?
My school was extremely receptive. They were very happy to hear the news and hopefully will have me speak there soon! I learned so much on this job and have a lot of insight I could share with students.
How did you decide who you would shoot and how did you go about finding them? Did the magazine get involved?
I found most of the people through a mix of craigslist, and friends of friends. I used Facebook to have my friends reach out to their network of friends and so on. I also found one person, Jessica Meyer, on instagram, by searching hashtags. When I had a potential subject, I would have a long phone conversation with them to see if they were a good fit for the project, then we would talk about their home life so I could get a better idea how I would photograph them. From that point, I would send a brief about each person to the photo editor and we would figure out together if they were right for the story. There were a lot of factors involved for choosing the people, such as what was their major, age, if they had loans, what they were doing now and when they moved back home.
James Ensor, Skeletons Fighting over a Pickled Herring
Kimye: the most “liked” photo ever on Instagram (via Kim Kardashian’s Instagram)
According to Kanye West, acclaimed photographer Annie Leibovitz is “like, scared of the idea of celebrity.”
The smack-talking rapper complained about the normally celebrity-loving photographer at the Cannes Lions Creativity Conference today, claiming she bailed on shooting the Kimye wedding a mere 24 hours before the nuptials. It’s not clear if she offered a reason.
In his musical hit “Bound 2,” Kanye prosaically asks, “How you gonna be mad on vacation?” Leibovitz has now answered West’s previously existential question. The rapper says that Leibovitz’s flakiness forced him and Kim Kardashian to spend multiple days of their honeymoon editing their own wedding pictures to make them look like Leibovitz had indeed taken them. Which begs the question: how many Photoshop web tutorials did it take Kimye to make the most “liked” photo ever on Instagram?
BOOKMARKLET TO THE RESCUE
Previously: Every English novel ever.
1. A Philosophical Murder
2. A Washerwoman Is Insulted
3. The Student’s Emotional Isolation Is Complete
4. The Estate Is Sold Off
6. An Argument That Is Mostly In French
7. It’s Very Cold Out And Love Does Not Exist Also
8. The Nihilist Buffs His Fingernails While Society Crumbles
9. There Is No God
10. 400 Pages Of A Single Aristocratic Family’s Slow, Alcoholic Decline
11. Is This A Dinner Party Or Is This Hell?
12. The Wedding Is Interrupted
13. Friendship Among The Political Prisoners
14. A Lackluster Duel
15. The Countess Attempts Suicide
16. Back From Siberia, Unexpectedly
17. A Fit of Impetuousness
18. Someone Middle-Class Does Something Awful
19. A Prostitute Listens To A Ninety-Page Philosophical Manifesto
20. I Advise You To Display More Emotional Control In The Future
21. The Manservant Dies Alone
22. Is This A Murder Mystery Or An Exploration Of The Nature Of Religious Faith? Turns Out, A Little Bit Of Both
23. The Mayor Tells A Self-Serving Lie
24. The Countess Finds Religion
25. New Political Waves of Liberalism, Radicalism, and Nihilism Wash Over Russia
26. The Time When We Might Have Found Happiness Together Has Passed
[Image via]Tags: books, chekhov, dostoevsky, gogol, pushkin, russian novels, tolstoy
Last year, the Chicago Sun-Times made the controversial decision to let go twenty-right of its photojournalists while making changes to their staff. Now that one year has passed, Poynter went out and got in contact with the photographers affected to see what’s happened since then. On one side, 61 year-old photojournalist Ernie Torres is forced [...]
The post The 28 Photojournalists Unexpectedly Laid Off By the Chicago Sun-Times: One Year Later appeared first on DIY Photography.
“By my fourth year in school, I was shooting every day and every night. I photographed every little thing—all my food, doorways covered in graffiti, and my friends and roommates. I tortured my first boyfriend, Marc, by capturing each moment of our relationship. I was obsessed with documenting my life. So that’s my advice to you: Find something to be obsessed with, and then obsess over it. Don’t compete; find what’s uniquely yours. Take your experience of life and connect that with your knowledge of photographic history. Mix it all together, and create an artistic world that we can enter into.”
Buying a new website?
APhotoFolio.com builds portfolio websites for photographers.
Have a look (here).
Ana Mendieta, Untitled, from the series Silueta Works in Iowa, 1978
Read up on Ana Mendieta!
Chinese iOS and Android camera app has a unique ‘defog’ feature to improve shots taken in poor air conditions.
*** New “Defog” feature magically turns smoggy sky into clear blue one.
***The most popular photo editor loved by over 300 million users worldwide!
Clinique chubby stuck?
A female honour guard has lipstick applied as they prepare for an official welcoming ceremony for Italy’s Prime Minister Matteo Renzi outside the Great Hall of the People in Beijing, June 11, 2014. (Photo by Jason Lee/Reuters)
There is a lot of pressure for photography departments in universities to almost guarantee their students – you will have employable skills at the end of this, you will get a job, you will have expertise in the field. I think it should be treated more like a literature or philosophy degree. Of people who study philosophy – one of them might become a philosopher, the others go off and do other things, but nobody questions a philosophy department and asks – how are you giving your students employability skills? It’s just respected as a field of study. It means that there are a lot of people in the world who are intelligent, engaged, informed and interested in that subject. That’s how I see it.
Buying a new website?
APhotoFolio.com builds portfolio websites for photographers.
Have a look (here).
Sofia Coppola, Roe Etheridge & Hilary Rhoda come together in the pages of W Magazine More...