this blog is a visual notebook of inspirations for a group of bandit bloggers. we post things we see and like. our lives don’t revolve around singular topics and neither does our blog. sorry! nothing is in-or-out of context here. enjoy xx
my latest find is odiseo – a biannual publication that offers both visual and intellectual stimuli circulating around erotic photography and contemporary essays. the most interesting aspect of odiseo is that it balances philosophical stories and essays with images that lie in between art and erotica. odiseo is a project initiated by barcelona based design agency folch.
‘we do define ourselves as erotic, but not as a magazine. as opposed to most magazines we do not seek to publish current content, but rather speculative essays dealing with topics that may or may not be of relevance in the near future.’
– pol pérez
odiseo vol.7 is dedicated to the notion of truth. the issue is launched as a triptych, which was shot by photographer juan hernández. in this publication you’ll find a sensitive approach with photographic essays by one of my favorite photographers, paul jung, as well as some great written opinion pieces including eugenia lapteva and hans frederik jacobsen. by lb
nice styling from the modern japanese bellami-HD1 camera with a modern chinon lens – but a total throw-away as a digital camera disguised in “super model” 8mm camera… lame!
real-real… kodak’s latest backtrack on corp stupid decision making – super 8 film and a modernized super 8 camera are back, a pleasant surprise.
camera designed by our friend yves behar at fuse project for kodak
nice stealth detailing on the side
sporting a real super-8 cartridge
and now for some of the old giants… above the dieter rams designed braun super-8 camera for vitsœ
the french beaulieu 4008 super-8, standard issue for all you nouvelle vague enthusiasts
my personal camera which i have owned and cherished for many years, the notorious canon XL-1014 super 8
and my best friends camera which i often use as a b-roll the nikon R-10 with nikkor lens sister to the R-8 (below)
and finally below one of the many renditions of the infamous pistol-grip from the berrics skate mafia
ok so we owe this yet-to-be-issued kodak camera a blind review. note that we have not tested the camera as its still in production and we will post another once we get our hands on one. but top-line we are uber excited to see this amazing tool make a come back, and more importantly to see kodak supporting, and hopefully supplying, the super-8 cartridge films on a regularly available basis.
the good: its a super 8. it takes real film, and hopefully the film will not cost you your entire weekly allowance. its new and using the latest technology. keeping what worked and adding what wasn’t available. like a proper rechargeable battery that will last you the entire shoot. the design is simple and clean. we especially love the kodak revised minimal logo on the side. kodak can now process, scan, and deliver your film in one shot. love the yellow and off-white colors reminiscent of dieter rams iconic choice with braun, bringing back some of that 70’s nostalgia. usb plugs in the back. simple usability making it easy for newbie millennials… don’t forget, like em or hate em, we need those ding dongs if we are to bring some cost efficiency to the film cartridges.
the bad: it looks like a toy. the camera in its design is a reference to more of the 70’s or late 60’s units rather than the early 60’s which we personally prefer. 70’s was the era of plastics but also the era of textures which this camera has chosen to dodge at least. but the casing does not appear to be metal (again this is not factual)… if plastic, knowing mister behar, it is the finest plastic available.
the ugly: wholly shit, where is my pistol grip? how can we shoot super 8 without the pistol grip, so beloved by film fans. we even rigged one on our old hi 8 camera at some point. that said, unlike the old narrow cameras of the 60’s, this little cute baby can be held like a basket-ball for those long smooth hand-held shots, like the ones in “i am cuba” directed by mikhail kalatozov and his genius DP sergey urusevskiy.
in the end we cant wait to get our hands on one and put it to the test. thank you kodak for bringing this art back and mister behar for making it famous. by dd
placing these higly reflective sculptures into low-earth orbit would create a visible “sculpture” in the night sky
“The Other Night Sky” – 2007
project to track and photograph classified American satellites
“code names of the surveillance state” – 2001 to present
ongoing list of classified military and intelligence programs
Untitled (Reaper Drone) 2010
photographs of surveillance drones
paglen talking about some of his work
following up on our snowden post, here is one on trevor paglen, a new york based artist documenting the surveillance society. his work was featured in the must see documentary “citizenfour” and he has previously been showing at sfmoma, tate modern and walker art center among others. paglen is now showing at metro pictures in new york until october 24th. by kt
“john severson’s surf” is a book that presents the languid-meets-extreme-thrills lifestyle of surfing through paintings and vivid photography. while his were among the first surf movies, it was the posters associated with them, hugely popular when issued in the 1950s and 1960s, that remain collector favorites today. showcased in these early posters, his graphic skills translated easily to surfer magazine which he founded in 1960. the magazine was the first to celebrate and revolutionize the art and sport of surfing, establishing it as a powerful pop culture phenomenon.
severson expanded his career to include photography, with photographs appearing in life, sports illustrated, paris match and other print venues. the first issue was a 36-page collection of black-and-white photos, cartoon sketches and short articles—almost every aspect of which was created by severson himself. as the magazine grew in popularity, so did his graphic work and paintings. by lb
as if time has stood still since the last occupant. eerie does not even begin to describe what urban explorer thomas windisch has captured of the present state, vacated and forgotten hotels of austria. marvel at these snapshots from the link above. by lb
the show at proud is an intimated documentation of serge gainsbourg and jane birkin’s early years seen through the eyes of janes brother andrew, a photographer who was working with stanley kubrick in paris at the time when jane met serge. the show is up from 11th september to 26th october if in london be sure to see it.
some snippets: in february 1969, a french singer-songwriter released a duet with his british girlfriend. featuring sexual allusions including groaning and heavy breathing, the song was banned in several countries and denounced by the vatican. je t’aime… moi non plus was recorded by serge gainsbourg and jane birkin in 1968, months after they met on the set of the film slogan; they would be together for the next 12 years. birkin’s older brother andrew – a director and screenwriter – took pictures of the couple throughout their relationship. as a new exhibition of photographs opens at proud gallery in london.
“my sister and i were staying in the same little hotel in paris, under the shadow of notre dame, when she met serge – that summer, i was working for stanley kubrick taking location shots for his film napoleon, which never got made, and jane was making slogan with serge. she was on the rebound from her break-up with john barry and told me about someone she called ‘that dreadful man serge bourgignon’; she railed against him, saying ‘he’s so arrogant and snobbish and he despises me.’ i hadn’t met him at this point and i thought: ‘the lady doth protest too much’.”
“when i met serge, it was love at first sight for me – i absolutely adored him, he was this wonderful mad, extrovert russian jew who’d spent half of world war ii up a tree, according to him. i think he actually spent a couple of nights up a tree, although he’d worn the yellow star for years in occupied france. for a project, i met hitler’s architect albert speer at his heidelberg eyrie in 1971, and he asked if jane and serge would sign a copy of je t’aime… for him. serge did so, probably relishing the irony, and when he made his rock around the bunker album a few years later [featuring lyrics about nazi germany], he gave me a copy to send to speer. his parents had arrived in paris after fleeing the 1917 russian revolution, and his father – who was a brilliant pianist – had to perform in casinos.”
“after slogan finished, jane landed a part in a film called la piscine with alain delon, and was summoned to st tropez. because delon was in the movie, and was not unattractive in those days, serge – who perhaps under normal circumstances might have played hard-to-get and let her go – quickly hoofed it down to st tropez, in her shadow as it were.”
“i’d always photographed jane. my family were quite bohemian: although at the time it suited the press to portray jane as being the daughter of an arch-conservative naval officer, in fact he wore a ring in his ear and was more of an artist. yes, he had been in the navy during the war, but more as a spy than anything else – and my mother was an actress, noël coward’s leading lady during the second world war. it was a very liberal upbringing – and serge fit right in.”
“serge had his first christmas with our family in 1968: jane brought a demo lp they had recorded together and played a few songs for us. later, away from our parents, she said ‘there’s another song on here – what do you think of it?’ i heard je t’aime… moi non plus and i was bowled over – i thought it was fabulous, i loved it. it was very erotic but also very romantic. i remember being in a restaurant in paris before the record had come out and serge had the demo. they had a turntable with loudspeakers, and serge went over and asked them to put it on. neither of them were household faces in the summer of ‘69. we were eating our meals, and the song came on – it was rather wonderful looking around when the heavy breathing started, looking around the restaurant and pretending not to notice, seeing people’s jaws dropping.”
the couple had a daughter in 1971. in a book of the jane and serge photographs published by taschen, andrew describes the day jane gave birth to charlotte: “a telephone call came to say that jane was due to give birth at any moment, so i hoofed it to london, where i found serge pacing up and down the hospital corridor, knee-deep in gitanes butts. we went to the pub across the road, and by the time we got back to the hospital, charlotte had arrived … serge was ecstatic.”
“serge adored jane, and she adored him – for the golden years, which lasted for about seven years, and then it was the alcohol that kicked in with serge. he drank too much, and became difficult to live with. i didn’t mind that he was drunk, as it usually meant i would win at chess. he liked playing for money, and was the better player: when sober he would win usually, but if he was drunk then i would win. he seemed such a gregarious extrovert, but alone with him i saw his melancholic side.”
“in a sense, they never really did break up. the catalyst was a film director called jacques doillon… he was much closer to her age, and flattering – good-looking, and charming, and very bright. serge did the classic thing of saying ‘i think he’s wonderful’, and inviting him out to dinner – wining and dining the opposition, as it were. he’d written a few songs for jane, but now he started writing them full-time – and some of his best songs for jane were written after they’d broken up, when she was with jacques.”
“jane and jacques were together for about 10 years, and what broke it up with them was that after serge died in 1991, jacques began having affairs with the reason that he couldn’t compete with a ghost. they had always really had a ménage a trois – not sexually, but in terms of company. whenever i went to paris, even after she and serge had broken up, jane would say ‘oh do call in and see him’ or ‘he’s coming to dinner tomorrow’. then when he died, jane berated herself, thinking if she’d stuck around she could have saved him from the alcohol, which undoubtedly was a contributing factor to his early demise – he was only 62 when he died. undoubtedly, now looking back, he was – and remains – the love of her life.”