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Every commodity about Andy Goldsworthy tells you he’s an artisan who works with nature. Very aboriginal on in administrator Thomas Riedelsheimer’s new film Leaning into the Wind, his additional about the artisan (after Rivers and Tides, 2001), Goldsworthy says, “Why alike acknowledgment it? Attributes is everywhere.” For him, the boundaries amid attributes and cocky are dematerialization fast and that is the basal aesthetics abaft every allotment of art he creates. His artful adventure is an analysis of the inherent connectedness bounden people, places, and the environment. When, in one scene, he enters a mud hut in Rio de Janeiro, he feels the attendance of the bodies who accept been there afore him. It is an congenital affiliation that he detects, acknowledges, and strengthens through his art. There is an about Wordsworthian absorption in Goldsworthy’s adventure to affix with nature, which is alarming about to a fault.

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In the Brazilian hut, the artisan sees a little amphitheater of sunlight on the mud attic and traces the ray of ablaze to a aperture in the ceiling; his easily agitate the dust, as it goes on to draw alive shapes adjoin this sliver of light. He keeps abashing the dust and arena with the ray of ablaze till the ablaze and the dust are duplicate from one another. Riedelsheimer’s camera captures the initiation, the peak, and the abrasion of this process. As abundant as Goldsworthy is a sculptor, he is additionally a accurate photo archivist. He believes in attention the moment in which his brief and shape-shifting pieces of art attending their artful best.

Themes of activity and alternate rhythms recur in the film, as is alone applicable accustomed that Goldsworthy started out as a farmer. It is the accent of gathering, stacking, cutting, and architecture that pushed him into creating art. He has fatigued a lot from the accurate application that goes into farming. Riedelsheimer consistently focuses on the artist’s easily as he lifts, cuts, pastes, and creates. Leaning into the Wind conveys a faculty of Goldsworthy’s art actuality a artefact of immense labor, rather than the aftereffect of amusing inspiration.

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Riedelsheimer’s blur is a travelogue of Goldsworthy’s visits to San Francisco, Dumfriesshire, Morecambe, Missouri, Gabon, and Southern France. His camera advance the artist’s journeys, and alike above his accurate travelling, it moves in and out of Goldsworthy’s memories, demography us to Clougha Pike, Times Square, Leeds, and abounding added bearding spaces central the artist’s mind, with Goldsworthy’s articulation allegorical us. Standing at Morecambe, at a point area age-old accessible bean graves lie exposed, Goldsworthy talks of his academy in Leeds, of the abbey area he affiliated his (now departed) above wife, and of his acclaimed Clougha Pike sculpture, which is a agglomeration of all his life’s adventures in the above places. To booty memories from all over and drop them in a altered abode is the way he makes his belief travel; it is his way of abrogation his attendance behind.

In Dumfriesshire, Scotland (where he lives), Goldsworthy sees a huge canvas staring at his face afterwards a gigantic elm timberline falls. At first, his art with the timberline reflects the cracks and the accurateness of the fall; then, aback he fills the cracks with snow, we faculty a apathetic amusement of the abandon of the abatement as the elm log starts responding to the casual seasons. Goldsworthy uses the brightest chicken autumnal leaves to bless the awakening of the tree, its abiding activity as art — while absolutely acquainted of the closing abrasion of the leaves and the timberline itself. He incorporates afterlife into the action of art authoritative and celebrates the abiding kinetics of attributes and seasons, so abundant so that he names such artworks Brief Works. That is aback he decides to photograph his artworks: to abduction a moment, to benumb a anamnesis in the forever-shifting dynamics of time and life. We see the yellowest of yellows and the greenest of greens arctic in photographs, as the camera hovers over the aforementioned trees, leaves, and grass as they agilely achromatize away. There is consistently a crisis in seeing such brief artworks on screen, for the illusionary abidingness that blur offers. For admirers who haven’t apparent Goldsworthy’s art change with time, the boring of Riedelsheimer’s camera about imparts a apocryphal adherence to the works.

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However, Goldsworthy’s art is apprenticed by an acquaintance of alternation and mortality, which makes it a abstruse anniversary of the present, of life. In one scene, he giddily lies bottomward on the arena in the rain, abrogation abaft a dry outline of his body. He again walks away, alive that the rain will ample his “rain shadow,” yet accomplishing it anyway, as if to prove that he was actuality — present yet at accord with the inescapability of erasure. In addition scene, the artisan pastes the brightest petals assimilate banal anchorage with water, alive that rain baptize will accordingly ambit it all away. For him, the point is the joy of seeing the adorableness of red and chicken petals lighting up the concrete.

As Goldworthy admits, his activity did not booty the linear, aggressive aisle he had envisioned in his youth. As the awning fills with an angel of Goldsworthy’s face coughing up petals and ascent into the air adjoin moss covered hills, alone to be absolute abroad by a access of wind, we see the alternate processes that are inherent in his art. What goes abroad comes back, and what comes in charge go away. The joy of freezing the moment aback his works blossom pushes the 61-year-old to balloon the affliction of falling off a timberline aback he was 14, angular into the wind, airing on — through forests, brooks, and farmlands — and appear out with the brightest flowers in hand.

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Leaning into the Wind is arena at Blur Forum (209 West Houston Street, West Village, Manhattan).

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Like food, music, or literature, every country puts its own ambit on cars. While European and Japanese firms are accepted for emphasizing handling, the acceptable American access has been all about power.

In the 1960s, American automakers began capacity the better engines they could acquisition into the smallest, lightest anatomy that would authority them. It was a time back achievement was as important a business bend as smartphone connectivity is today, and it birthed American beef cars.

Traditionally, a beef car’s achievement is authentic by the admeasurement of its engine. As the adage goes, there’s no backup for displacement. Avant-garde American achievement cars are added well-rounded, but big engines and lots of application are still their calling card.

Many abundant beef cars accept been unleashed over the years, but this account represents our claimed favorites. We’ve got article from every above manufacturer, including affluence of abstract and a scattering of newer models. We listed agent displacement in both cubic inches and liters for the earlier cars, back that’s how they were articular back new.

Plymouth Barracuda (1964)

While the Mustang is accustomed with creating a class of “pony cars,” the Plymouth Barracuda absolutely exhausted the Ford to showrooms. But Plymouth didn’t bazaar its car with the aforementioned alacrity as Ford, and “Fish Cars” aloof doesn’t complete as good. The Barracuda acquired into a Plymouth-badged adaptation of the Dodge Challenger, complete with an accessible 426-cubic-inch Hemi V8. While Plymouth is gone, rumors occasionally apparent that Chrysler is planning to recycle the Barracuda name for use by addition brand.

The Pontiac GTO is arguably the aboriginal beef car. Numerous American achievement cars preceded it, but the GTO was the aboriginal to amalgamate an colossal engine, affordable pricing, and business that emphasized performance.

In 1964, Pontiac put a 389-cubic-inch (6.4-liter) V8 into its Tempest, blank restrictions put in abode by the GM higher-ups on agent sizes for abate cars. To top it all off, Pontiac blanket a name from Ferrari. “GTO” is abbreviate for “Gran Turismo Omologato,” cogent hunt cars that charge accept road-going counterparts. The Pontiac GTO wasn’t congenital to race, but the name still articulate cool.

The GTO kicked off a beef car accoutrements race, with Pontiac’s adolescent GM divisions, as able-bodied as rivals Ford, Chrysler, and AMC accepting in on the action. The GTO itself grew added elaborate, with bigger engines and added affable styling. It eventually disappeared, abiding briefly in the aboriginal 2000s as a rebadged Holden Monaro. That car wasn’t as able-bodied accustomed as the 1960s aboriginal and was bound scrapped. Pontiac itself didn’t survive abundant longer.

Chevrolet Camaro Z/28 (1967)

The aboriginal Camaro Z28 was congenital for Trans Am racing, area it faced off adjoin the cast of the Ford Mustang Boss 302 and Dodge Challenger T/A. It alveolate an absorbing record, acceptable the championship in 1968 and 1969. On the street, the Z28 name has been activated to assorted hot Camaro models over the years, best afresh a hardcore, track-focused adaptation of the fifth-generation Camaro.

American Motors Corporation (AMC) was the underdog compared to Detroit’s Big Three, but the automaker from Kenosha, Wisconsin had its moments. The AMX was one of them.

Rather than aloof soup up a accepted assembly car, AMC beneath the wheelbase of its Javelin to actualize a audible two-seat achievement model. The AMX had muscle, in the anatomy of an accessible 390-cubic-inch (6.4-liter) V8, but additionally a different look. Alike today, the aboriginal AMX stands out amidst the sea of Ford, GM, and Mopar beef cars that flood every car show.

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Like abounding added beef cars, the AMX atrophied over the years. It eventually became aloof a cast activated to added banal AMC models, culminating with the blah Spirit AMX, afore dematerialization altogether in 1980.

Dodge Charger (second generation, 1968)

The Dodge Charger launched in 1966 as a glassy fastback, and lives on today as a four-door sedan, but it’s the second-generation archetypal awash from 1968 to 1970 that became an icon.

The 1968-1970 Charger is apparently one of the best apparent American cars every made. Aloof the attractive administration abandoned would accept ensured that, but the Charger is additionally accustomed from endless cine and television appearances, from The Dukes of Hazzard to Bullitt.

The Charger wasn’t all appearance and no go. A alternative of able V8 engines ensured it could accumulate up with Ford and GM rivals on the street. Back engineers begin out it was about as aerodynamic as a brick on the track, they created the Charger 500 and active Charger Daytona variants, arch to celebrity on the NASCAR circuit.

Ford Mustang GT (second generation, 1968)

The 1968 Ford Mustang GT may be the best iconic beef car of all, acknowledgment to its co-starring role in the Steve McQueen cine Bullitt. McQueen piloted a Highland Green Mustang with a 390-cubic-inch V8 to aeon in what abounding accede to be the greatest cine car hunt of all. To bless Bullitt’s 50th anniversary, Ford created a special-edition 2019 Mustang, and helped accompany one of the aboriginal cars acclimated in the cine out of hiding.

Plymouth Alley Runner (1968)

By the backward 1960s, the aboriginal abstraction of beef cars as affordable achievement cars seemed to accept run its course. Beef cars were accepting added busy and, consequently, added expensive. That’s back Chrysler’s Plymouth analysis saw an befalling for a back-to-basics model.

The Alley Runner was annihilation added than an accustomed car with a big agent and copious references to a assertive animation character. On the outside, the Alley Runner didn’t attending like annihilation special, but it arranged some austere firepower beneath the hood, including Chrysler’s allegorical 426 (7.0-liter) Hemi V8. In 1970, Plymouth adapted the Alley Runner with a automated adenoids and massive rear addle-brain to actualize the Superbird, a NASCAR-inspired affinity to Dodge’s Charger Daytona.

Things went decline from there, though. Later Alley Runners lacked the audacity of models from the backward ’60s and aboriginal ’70s. Today, not alone is the Alley Runner gone, but so is the absolute Plymouth brand.

Ford Mustang Boss 302 (1969)

The aboriginal canicule of beef cars were all about NASCAR and annoyance racing, but those weren’t the alone motor sports disciplines beef cars were created for. The SCCA Trans Am road-racing alternation afire a war amid Ford, General Motors, Chrysler, and AMC.

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Ford’s weapon of best was the Boss 302, a adaptation of the Mustang congenital accurately to win in the Trans Am. The “302” referred to the car’s 302-cubic-inch (5.0-liter) engine, congenital to amuse Trans Am rules attached agent displacement.

In the easily of disciplinarian Parnelli Jones, the Boss 302 took the action to Ford’s rivals, arch to some ballsy on-track battles. While far from the alone memorable Mustang achievement variant, the Boss 302 was so affectionately remembered that Ford active the name for a limited-edition archetypal in 2011.

Pontiac Firebird Trans Am (1969)

Today, the Trans Am is apparently best accepted as the car Burt Reynolds collection in Smokey & The Bandit, but Pontiac launched the archetypal in 1969. It was alleged afterwards the Trans Am hunt alternation and positioned as a high-performance adaptation of the Pontiac Firebird, itself a accompanying of the Chevy Camaro. The Trans Am was one of the few beef cars to survive into the 1970s, continued abundant to accomplish figure cachet with Reynolds at the wheel.

Chevrolet Chevelle SS 454 (1970)

In the aureate age of beef cars, the Super Sport (or SS for short) cast denoted high-performance versions of Chevy’s boilerplate models. It’s survived to the present day on the Camaro SS and afresh discontinued SS sedan, and that’s acknowledgment to allegorical cars like the Chevelle SS.

The Chevelle SS was in abounding means the quintessential beef car. Chevy took its bread-and-butter midsize car and blimp a assumption of massive V8 engines beneath its hood. The carelessness culminated with the SS 454, which debuted in 1970 with a 454-cubic-inch (7.2-liter) engine. With that big agent and a beautiful exterior, the SS 454 represents the aiguille of archetypal beef cars. As the 1970s wore on, emissions standards and allowance companies gradually dead them off.

By the 1980s, the aureate age of beef cars was continued gone. But Buick was able to accumulate the abstraction alive, swapping big, artlessly aspirated V8s for a 3.8-liter turbocharged V6. With that additional engine, the Buick Grand National was one of the quickest cars of its time, and looked like it was advised by Darth Vader.

By 1987, the Grand National was on its way out, but Buick gave it a abundant sendoff. A bound cardinal (547) of GNX versions were built, with engines acquainted to aftermath 276 hp and 360 lb-ft of torque. The GNX ran the division mile in 12.7 abnormal at 113 mph — quicker than a Ferrari F40.

Like the Corvette, the Viper is absolutely added of a sports car with American beef car DNA. Congenital about a massive V10 engine, the Viper was accepted for actuality both refreshingly basal and difficult to drive, attributable to Dodge’s attrition to avant-garde disciplinarian aids like absorption control. The last-generation Viper acquired that feature, as able-bodied as added animal comforts, but that wasn’t abundant to accumulate it alive. At atomic Dodge beatific it out in a bonfire of celebrity with the ACR, a hardcore archetypal that set annal at 13 racetracks.

Ford Shelby Mustang GT350R (2015)

With the current-generation Mustang, Ford approved to body a car that would not alone address to acceptable American fans, but additionally do action with European sports cars. The Shelby GT350R was Ford’s abstruse weapon.

Inspired by a archetypal 1960s archetypal of the aforementioned name, Ford launched the Shelby GT350 in 2015, and with it the hardcore “R” variant. Both versions are powered by a high-revving 5.2-liter V8, but the GT350R takes things to the acute with carbon cilia auto and a callous access to weight savings. The rear seats and air conditioning are alternative extras.

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The aftereffect is a car that is abundantly able on the track, but additionally refreshingly analog. While best avant-garde achievement cars await on electronics to go fast, the GT350R relies on well-sorted automated components, and leaves the blow up to the driver.

Chevrolet Camaro ZL1 (2016)

In Chevrolet-speak, the appellation ZL1 denotes the fastest Camaro anytime built. It boasts 650 application from a supercharged, 6.2-liter V8 agent adopted from the Corvette Z06. Buyers can stick with the accepted six-speed stick, if you’ll absolution our pun, or pay a little bit added for a 10-speed automated transmission. Either way, the eight-cylinder routes its achievement to the rear auto — the way the beef car celestial capital it.

It’s not all about straight-line speed, though. This Camaro can handle, too, acknowledgment to a well-tuned anatomy additional adapted anchor and abeyance parts. Afterwards active the ZL1, we assured it “elevates the Camaro out of the beef car ranks into the branch of world-class sports cars.”

Chevrolet Corvette ZR1 (C7, 2017)

The Corvette is absolutely added of a sports car than a beef car, but Chevy has produced several abundant ‘Vettes over the decades that are aces of both titles. The current-generation C7 Corvette may be the best able aggregate of sports car and beef car attributes yet.

The C7 ancestors is currently crowned by the ZR1, the best able Corvette anytime produced.Based on the Z06 belvedere with a few changes, the agent appearance a 6.2-liter V8 with an upgraded supercharger, a bifold ammunition bang system, and four new radiators, adopting achievement to 755 hp and 715 lb-ft. The achievement assault the Z06 and alike the Dodge Hellcat out of the water, and with a top acceleration of at atomic 210 mph, it’ll leave about every car on Earth in its dust. The agent can be akin to either a seven-speed chiral or an eight-speed automatic.

Balancing out the ability is a anatomy set up for clue driving, as able-bodied as an cyberbanking bound blooper differential, alluring ride control, and achievement absorption management. The aforementioned goes for the Brembo carbon bowl brakes, authoritative abiding you can accompany the ZR1’s backpack to a stop consistently. Put it all calm and the ZR1 isa ample achievement car for drivers who appetite to do added than aloof go in a beeline line.

Dodge Challenger SRT Demon (2017)

Many automakers accept congenital track-focused cars for active on alley courses, but Dodge is the aboriginal to administer the aforementioned akin of accuracy to a agent congenital for the beef car’s accustomed environment: The annoyance strip. The Demon will run the division mile in 9.65 abnormal at 140 mph. On the way, it will do 0 to 60 mph in 2.3 abnormal — and cull a wheelie.

That batty achievement is due in allotment to an 808-hp (840-hp on 100 octane antagonism fuel) 6.2-liter supercharged Hemi V8, but additionally to some ambush accouterments ahead apparent alone on hunt cars. The Demon runs on racing-style annoyance radials, uses a accessory alleged a “trans brake” to lock the chiral while the car is on the starting band for quicker getaways, and comes accepted with alone one seat. The akin of adherence to quarter-mile times is about frightening, and it’s absurd that we’ll anytime see annihilation like the Demon again.

Jeep Grand Cherokee SRT Trackhawk (2017)

Who said a beef car needs to accept two doors? Certainly not Jeep engineers. They adopted the boss 6.2-liter Hellcat V8 agent from sister aggregation Dodge and blimp it amid the Grand Cherokee’s fenders to actualize the world’s best able SUV. Meet the Grand Cherokee Trackhawk.

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The about-face places 707 application and 645 pound-feet of torque beneath the driver’s appropriate foot. All that ability campaign to the four auto via an eight-speed automated transmission. Anchor and anatomy upgrades accumulate the army in check. The result? It’s aggregate you adulation about the Grand Cherokee, including the amplitude for bodies and gear, in a souped-up amalgamation that blasts through the division mile in 11.7 abnormal at 116 mph.

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iSoul Premium Quality 3 in 1 Pack Stylus Expendable Retractable Capacitive Touch Pen With Anti Dust Plug Cap For Mobile Phone Laptop Pc NoteBook Tablet, iPhone 6, 6 Plus, 5, 5C, 5S, 4, 4S, IPAD, IPOD, SAMSUNG GALAXY S2, S3, S4, NOTE 1, 2, 3, HTC ONE, MAX,

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Item Description:
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Posted by paulbulmer on 2015-11-30 02:00:14

Tagged: , ANTI , Capacitive , Color , Computer , Dust , EXPENDABLE , Galaxy , iPad , iPhone , iPod , ISOUL , Laptop , Mobile , Note , Notebook , Pack , Phone , Phones , Player , Plug , Plus , Premium , Quality , Retractable , samsung , STYLUS , Tablet , Touch

Bogy Kong

Bogy Kong

Taken with a Polaroid 600 SE with the 127mm. I forget the aperture but it was a cloudy day and I remember they shutter being something like 1/4 sec. I think the piece of tape on his snout is from this scanner that I got months ago and hadn’t used a single time until last night to scan this photo.

Scanned using an Epson v-500 at 1200 dpi and compression at 16 on Professional mode. Full Auto mode scans a bit faster (around 57 seconds for each of the 3¼ x 4¼ instant prints) but it added some weird .jpeg artifacts. Actual size when masked in Professional mode turned into something like 3.6 x 4.2 for some reason. I’ll write things down next time. Final scan came out to be 5094 x 4144. Oh. I guess that gives me the dimensions too. Shut up. 3.453 x 4.245

Colour pack film has these really, really tiny pits on the surface, maybe a few per square millimeter, that are pretty neat when you look at them up close. (Well, Fuji pack film does anyway, I haven’t checked Polaroid pack or sheet and never noticed it on Polaroid 600) Apparently, the angle of incidence of the scanner light is perfect for filling those pits with light and presenting them to you as a bojillion little faint specks which you will think is dust and will cause you to spend 10 minutes squeezing a rocket blower over the scan bed and photo and 20 minutes moving and scanning the photo.

Adobe Elements 6.0 dust and scratch remover at 2 pixel radius and threshold of 2 to remove the thousands and thousands of little specks and applied warming filter (LB1 or 81, I don’t remember exactly now) to correct slight blue tint from scanner. (Turned the border faintly yellow; you can see the difference in the next photo of Harrah)

Colour rendering after the warming filter is closer but still not exact, specifically the reds, and overall it seems slightly muddier than when I was looking at it on another computer. Now I have first hand experience on why one would want one of those colour calibration things to stick on their monitor. I don’t know how much of it is the whole, "No way man, a digital image can’t capture the saturation and depth of a print". I’m hoping that the difference is at least consistant and I can just adjust the curves and slap on the same filters for each scan.

(I just noticed the slow fade to white of the border as you go up and how distracting it is)

Posted by yarr2d2 on 2009-06-18 17:01:00

Tagged: , Polaroid 600 SE , Mamiya 127mm , Fuji , color , instant , film , FP-100c , Polaroid , Fujiroid , scan , Epson , v-500 , 1200dpi , 1200ppi , Red , Kong , chew , toy , dog , Bogy , golden , retriever , pack , scanned , medium , format , 3.25x4x25