I’m always amazed at the LOMO LC-A’s ability to capture vivid colors in low light. Every other camera I’ve tried has given me washed out colors when I extend the shutter speed out in low light.
With my LOMO, I load up the slowest film I can find (Lucky 100 when I can find it, Fuji SuperHQ 100 when I can’t) and shoot away.
The loss of two MOBA works to theft has drawn media attention, and enhanced the museum’s stature. In 1996, the painting Eileen, by R. Angelo Le, vanished from MOBA. Eileen was acquired from the trash by Wilson, and features a rip in the canvas where someone slashed it with a knife even before the museum acquired it, “adding an additional element of drama to an already powerful work,” according to MOBA. The museum offered a reward of $6.50 for the return of Eileen, and although MOBA donors later increased that reward to $36.73, the work remained unrecovered for many years. The Boston Police listed the crime as “larceny, other,” and Sacco was reported saying she was unable to establish a link between the disappearance of Eileen and a notorious heist at Boston’s famed Isabella Stewart Gardner Museum that occurred in 1990. In 2006—10 years after Eileen was stolen—MOBA was contacted by the purported thief demanding a $5,000 ransom for the painting; no ransom was paid, but it was returned anyway.
Prompted by the theft of Eileen, MOBA staff installed a fake video camera over a sign at their Dedham branch reading: “Warning. This gallery is protected by fake video cameras.” Despite this deterrent, in 2004 Rebecca Harris’ Self Portrait as a Drainpipe was removed from the wall and replaced with a ransom note demanding $10, although the thief neglected to include any contact information. Soon after its disappearance the painting was returned, with a $10 donation. Curator Michael Frank speculates that the thief had difficulty fencing the portrait because “reputable institutions refuse to negotiate with criminals.”
Random LOMOs from my most recent roll of expired Lucky 100 film. Taken around South of Market, San Francisco. My 1991 LOMO is still going strong, after what I figure to be 100 rolls of film shot through it…
You’re trapped in a grocery store. Zombies are closing in from all sides. You have a crucial photo that could end the carnage, if only you had some way to develop the film.
What do you do?
You grab some instant coffee and vitamin C, you develop the film, and you vanquish the zombies.
What, you don’t think we’re serious?
First of all, zombies are an inevitable part of life.
And secondly, you really can develop film using vitamin C and coffee. For reals.
Read on, and we’ll show you everything you need to know. Quick, before the zombies regroup!
The Lomographic Society made me their OSCM expert last week! I’ve got 35 piggy points to spend in the Lomographic Shop! What should I do, buy some film or spend a little more and splurge on something bigger? I have a 1990 LOMO LC-A and a Colorsplash flash, and my $1 TIME camera beats a Holga 135 any day of the week.
Miru Kim is known as the “naked urban photographer,” a fearless artist who walks around naked in abandoned urban locales in cities such as New York, Paris and Berlin. She has photographed various familiar urban settings, such as abandoned subway stations, tunnels, aqueducts, factories, hospitals and shipyards. Her series, Naked City Spleen, is a dissection of places built and forgotten and somehow exposed by the naked body of the artist. She also founded Naked City Arts, a not-for-profit art concern in downtown Manhattan, helping young artists to further establish their careers.
I took this back in 2002? I gave the negatives to the mother of the groom and never got around to asking to borrow them back. My mother had a 4×6 which scanned nicely. LOMO LC-A, Fuji 100 film.
Miru Kim is known as the “naked urban photographer,†a fearless artist who walks around naked in abandoned urban locales in cities such as New York, Paris and Berlin. She has photographed various familiar urban settings, such as abandoned subway stations, tunnels, aqueducts, factories, hospitals and shipyards. Her series, Naked City Spleen, is a dissection of places built and forgotten and somehow exposed by the naked body of the artist. She also founded Naked City Arts, a not-for-profit art concern in downtown Manhattan, helping young artists to further establish their careers.
Fiat has re-introduced the 500, a model that helped Fiat pull itself out of the post-war years and enjoy some level of success, around the world and in America until the mid-1980s. I love the original Fiat 500, and have run into this beautiful, mint-condition 500 around the corner from my office a couple of times.
My first car was an evolution of this, the Fiat 850 Spyder. Cloth top, wood steering wheel, power nothing, rear-mounted 903cc engine, 1600 pounds wet, 145×13 tires… once you got up to speed, it was great fun.
I’ve been playing with my Buddha Machine v2.0 for the past week and love it. I downloaded the .wav files played by Buddha Machine 1.0 and decided to buy one to play next to my 2.0 unit.
While googling around, I came across a post on the Healing Beats forum describing a program called Boodler. From the web page:
Boodler is a tool for creating soundscapes — continuous, infinitely varying streams of sound. Boodler is designed to run in the background on a computer, maintaining whatever sound environment you desire.
Boodler is extensible, customizable, and modular. Each soundscape is a small piece of Python code — typically less than a page. A soundscape can incorporate other soundscapes; it can combine other soundscapes, switch between them, fade them in and out. This package comes with many example soundscapes. You can use these, modify them, combine them to arbitrary levels of complexity, or write your own.
What rocks is that FM3 has released the .wav files for 1.0, as I mentioned, and the author of Boodler has written agents to use them:
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