Kari caught snoozing on Saturday morning.
Sami reindeer hunter
This is pretty damn awesome.
“It’s not that I like ice
Or freezin’ winds and snowy ground.
It’s just sometimes it’s kind of nice
To be the only bird in town.”
― Shel Silverstein
“There is something in the unselfish and self-sacrificing love of a brute, which goes directly to the heart of him who has had frequent occasion to test the paltry friendship and gossamer fidelity of mere Man.” - Edgar Allan Poe
“No one’s ever supposed to leave Springfield”
Joe and Mattia shredding…Back when we were young and Milton was still playing shows.
I recently started scanning some old negatives from about 7 years ago or so, you’ll be seeing some of the results in the very near future, such as right now.
Here is my boy Chad, he has dreadlocks.
Taken at a show a while ago, featuring the Cancer Bats, Stray From the Path and The Chariot…The Chariot’s singer was not there because his wife just had a baby so everyone in the crowd had to help out. All three bands are awesome so check them out if you’re not a fool!
In honor of launching our new site (yeah, we’ve got a new website, in case you didn’t notice), Nowhere Fast hooked us up with some copies of Wesley Robert’s great zine, Tomorrow Won’t Be Any Better to give away to you, our incredibly devoted audience. If you’ve been following us for a while you won’t be a stranger to his work.
All you need to do to get one is follow us or reblog this post. On Friday Nov. 25th we’ll randomly pick a handful of you from the post notes and mail them out. Good luck!
Avedon’s instructions to his printer for an image taken of coal miner Lyal Burr at The Church of Jesus Christ of Latter-Day Saints, Koosharem, Utah, May 7, 1981.
From Evidence 1944-1994: Richard Avedon
**Here are some notes from Laura Wilson’s book Avedon at Work. In The American West. Wilson assisted Avedon for six years, and if you can spare the change, definitely pick it up:
-“The difficult and time-consuming process ok making these prints began in the basement darkroom of the Avedon studio in New York. Ruedi and David [Liittscwager] started with a set of 16-by-20 inch prints. Dick rejected them all. He felt that the tone was heavy; they were too black and had too much contrast. In reprinting, Dick’s directions were rarely technical. He would say simply, “Make the person more gentle,” or “Give the face more tension” This unconventional advice forced Ruedi and David to try to Understand the emotional content that Dick sought in each portrait. […] On test prints, Ruedi recorded the necessary manipulations with a red grease pencil. The exposure times, plus or minus, were in seconds to indicate where to darken or lighten an eyelid, or a nose, ot the wrinkle on a forehead.”