Cool Make A Picture images

A few nice make a picture images I found:

motor assembly

Image by Mr Shiv
The whole rig, set up for testing. The motor is hanging in a metal junction box with the center knockout, er, knocked out for the shaft to pass through. The wires run to a 6/12v battery charger, not shown in this picture. In the finished version, I'll probably enclose the motor and a transformer in a short section of PVC pipe with an end cap w/ a hole for the motor shaft. Also, I'll replace the nail that supports the pole with a bolt. Nuts threaded onto the bolt, inside the tube, will allow for fine adjustment of the balance.

Marines make friends with Afghan children

Image by United States Marine Corps Official Page
Staff Sgt. Cary Anderson, a team leader with Lima Company, 3rd Battalion, 25th Marine Regiment, greets an Afghan child in Habibabad during a joint patrol, Dec. 13. Marines and Danish soldiers, alongside their Afghan National Army counterparts met with locals during a joint patrol to establish relationships in the area.

Cool Digital Picture Frames images

A few nice digital picture frames images I found:

9/25: Coleman Miller: Uso Justo & other shorts

Image by uniondocs
Best known for his innovative, award-winning 2005 short Uso Justo, Coleman Miller has been making films and videos for over 25 years utilizing a variety of techniques including found footage, collage, and various mash-up experimentation based on whatever tools he’s had at his disposal. We are happy to present this long-overdue overview of Miller’s work.
“It always starts with Play. Especially working with found footage – it’s like being a five year old in a brand new sandbox. Or playing with blocks. You start mixing and matching things… just to see. Then maybe a leaf blows into the sandbox and you incorporate that. Soon you have a foundation and it all flows from there. The hardest part is getting up from the sandbox and saying ‘Done’. But really, any sandbox will do.” – Coleman Miller

“Coleman Miller is destined for admiration and great poverty.” - Isabella Rossellini

Program runtime is approximately 68 minutes – Surprise unannounced works possible

Step Off A Ten-Foot Platform With Your Clothes On, by Coleman Miller
USA, 1990, 7 minutes, 16 mm

While working as a printer in a film lab in San Francisco Miller, was able to use equipment most filmmakers didn’t even know existed. Obtaining special use of a continuous contact printer, which he used every day, was particularly inspiring. By manipulating found footage he was able to create a body of work that turned the medium of film back around on itself. Miller was able to invent many new printing techniques, which he continues to incorporate today. During these years, the film lab became a ten-year festival of experimentation and from it came the most consistent additions to his body of work.
In Step Off A Ten Foot Platform With Your Clothes On, Miller expounds his foray into found and experimental film by compiling which had been, until Uso Justo, his most successful and critically acclaimed work. Produced while Miller was still working for a San Francisco based film printer, once again we see Miller playing with materials directly available to him. During this time time, he was turning film around on itself in a purely visual way – showing the sprocketholes, edge numbers, dirt and frame lines, etc. Again we’ll see the use of contrapuntal sound in order to punctuate dramatic and often playful images. Miller also takes the time to examine what lies in between or, more appropriately, just hidden aspects of film. Long stretches of dirty black or white leader touched with color, usually an annoyance to the traditional viewer, display an entertaining dance of schmutz that is allowed to take the focus. Platform briefly introduces it’s visual styles and slowly allows them to progress into a spirited visual mash-up of his techniques. Ordinary images sifted thru Miller’s mental machine, like the little dog in the film, yanked to unreasonable visual extremes.Platform would go on to win numerous festival awards, be screened at the 1991 Sundance Film Festival, and become culled material for commercial exhibitions such as the 1992 MTV Music Video Awards and the opening title sequences for MTV’s 1991 television show The Big Picture.
Fixated Whereabouts by Coleman Miller
USA, 1983, 5 minutes, 16 mm
Deeply inspired by Bruce Conner’s Take The 5:10 To Dreamland, Miller’s initial dabbling into filmmaking shows natural mastery of his available tools. Shot simply with a super 8 camera, Miller’s exercises began to define the directions of his current work. What, upon first glance, appears to be the tired student project that pervade the novice class of experimental film, a deeper inspection reveals Miller’s creation of a bizarre and surreal world just around the corner from your house. Contrapuntal sound reverses commonly seen images, and simple experimental devices distract the viewer into provocative thought. San Francisco’s skyline watched out a window appeals to a strange unfulfilled longing, so it shouldn’t surprise the reader that the scene is shot from a postcard found in Miller’s hotel, years before he ever took up residence there. Please note the first display of existential angst. Every ordinary event, every car-ride or ballgame take on an otherworldly effect. An escalator, found sound, a mirror… all objects often overlooked, suddenly presented turned on their own ear. Fixated Whereabouts means what it suggests as Miller’s universe stops at a place, records what it sees, interprets the material with a clash of the surreal, and then punctuates with moments of fright and wonder.
Motion Pictures by Coleman Miller
USA, 1996, 4 minutes, 16 mm
In Miller’s most abrupt work- Motion Pictures – he begins pursuit of new layering techniques with found and manipulated materials. Produced at Monaco Lab.
Minneapolis/St. Paul International Film Festival Trailer 1997
The Bony Orbit by Coleman Miller
digital projection, USA 2010, 2 minutes, digital projection
The dry narration of an educational film brings forth surprising results as a couple surrenders to love.
What Gives by Coleman Miller
USA, 1994, 2 minutes, digital projection
The larf of What Gives introduces Miller’s playfulness, foreshadowing a common theme throughout the future of Miller’s work. Surreal, experimental slapstick executed to perfection. Again produced at Monaco Lab, with materials and tools at his disposal.
Kirk, we hardly knew ya by Coleman Miller
USA, 1999, 12 minutes, 16 mm
Produced as an installation piece, ‘Kirk’ is the most basic of Miller’s work, never intended to be screened beyond that environment. But as we watch it today, the subject matter retains relevance. The pressures of business and technology barked out by the enigmatic Shatner, transposed with the inane pursuits of a culture that can’t understand why it should be bombed. Miller’s statement, though simple and cheaply produced, retains its’ humor in the light of such damning circumstance.
Take The L by Coleman Miller
USA, 2006, 3 minutes, digital projection
Using his 8 year-old, consumer level 1-chip digital video camera, Miller dials in the controls to capture a frighteningly sharp commuter train trip. Using a technique available to almost any beginner level FCP user, he transcends the viewer into a widely familiar but deeply disorienting and hypnotic landscape. In watching the center, the viewer can only imagine the thrilling moment when, as a child, they first held a kaleidoscope up to the light. But looking out toward the edges, Take The L will subtly reveal it’s common subject matter and remind the viewer of its’ reality. Once again Miller takes the most mundane of activities and develops it into an explosion of kaleidoscopic visual beauty and playfulness. Miller once again delivers stimulating execution of the most basic technique driven to its’ edges.
Heaven by Coleman Miller
USA, 2007, 3 minutes, digital video
Jon Nelson asked me to add some visuals to one of his audio mix cuts for a show in Minneapolis. I chose the one with Steve Martin talking about heaven. Of the two of those i really believe in Steve Martin.
Uso Justo by Coleman Miller
USA, 2005, 22 minutes, digital projection
Miller’s first narrative creation is like nothing you have seen before. Or since. Uso Justo (roughly translated: “Fair Use”) is restructured completely from an obscure 1959 Mexican film. Miller reaches deep into this black and white melodrama with both hands and turns it inside out. When an experimental filmmaker arrives to shoot his next film in the fictional town of Uso Justo, things start getting strange. The townsfolk are both thrilled and confused by the sudden arrival of this mysterious artist. As the invisible filmmaker pulls the strings, the unfolding story proves to be existential and hilarious, intelligent and stupid.
View Excerpt
”A laff a minute” -Bruce Conner
“Uso Justo is the most hilarious and mesmerizing film I have seen in years.” – Jonathan Caouette (Tarnation)
”Uso Justo is BRILLIANT!!! Fantastic! genius! Wonderful! marvelous! Fuckin’ Brilliant!!!” – Craig Baldwin (Sonic Outlaws, Tribulation 99)
Frank and Paula by Coleman Miller
USA, 2009, 4 minutes, digital projection
The 1950 film noir classic D.O.A. is apparently in the public domain. Somebody hand me my e-scissors.
Hands Motherloade by Coleman Miller
USA, 2002, 4 minutes, digital projection
I put this together when my computer was acting like shit and crashing frequently. Coincidentally this was right after i had gone to my grandfather’s house and picked up a bunch of old metal sections of heating pipes, elbow joints, washer’s, nut’s, bolts, handtools, etc. So when the computer would crash i would go out on the back porch to my buckets of metal and try twisting up some sculpture. And i began to realize how much I liked working with my hands again. It was such a breath of fresh air – much better i thought than staring at a monitor. At the same time i would be watching and rewatching old 16mm educational films and noticing how almost every one of these had a close shot of hands.
The human hand. What a great tool. And taken for granted.
Coleman Miller (Creator/Writer/Director/Producer/Editor) has been making films for over 20 years. His films have won numerous awards on the festival circuit and his film Step Off a Ten Foot Platform With Your Clothes On screened at Sundance in 1991. He received his bachelor’s degree in film production from Southern Illinois University in 1983. He was recently awarded the 2005 IFP-MSP/McKnight Artist Fellowship for Filmmakers, received a Jerome Media Grant in 2001 and a Film Arts Foundation Grant in 1990.

9/25: Coleman Miller: Uso Justo & other shorts

Image by uniondocs
Best known for his innovative, award-winning 2005 short Uso Justo, Coleman Miller has been making films and videos for over 25 years utilizing a variety of techniques including found footage, collage, and various mash-up experimentation based on whatever tools he’s had at his disposal. We are happy to present this long-overdue overview of Miller’s work.
“It always starts with Play. Especially working with found footage – it’s like being a five year old in a brand new sandbox. Or playing with blocks. You start mixing and matching things… just to see. Then maybe a leaf blows into the sandbox and you incorporate that. Soon you have a foundation and it all flows from there. The hardest part is getting up from the sandbox and saying ‘Done’. But really, any sandbox will do.” – Coleman Miller

“Coleman Miller is destined for admiration and great poverty.” - Isabella Rossellini

Program runtime is approximately 68 minutes – Surprise unannounced works possible

Step Off A Ten-Foot Platform With Your Clothes On, by Coleman Miller
USA, 1990, 7 minutes, 16 mm

While working as a printer in a film lab in San Francisco Miller, was able to use equipment most filmmakers didn’t even know existed. Obtaining special use of a continuous contact printer, which he used every day, was particularly inspiring. By manipulating found footage he was able to create a body of work that turned the medium of film back around on itself. Miller was able to invent many new printing techniques, which he continues to incorporate today. During these years, the film lab became a ten-year festival of experimentation and from it came the most consistent additions to his body of work.
In Step Off A Ten Foot Platform With Your Clothes On, Miller expounds his foray into found and experimental film by compiling which had been, until Uso Justo, his most successful and critically acclaimed work. Produced while Miller was still working for a San Francisco based film printer, once again we see Miller playing with materials directly available to him. During this time time, he was turning film around on itself in a purely visual way – showing the sprocketholes, edge numbers, dirt and frame lines, etc. Again we’ll see the use of contrapuntal sound in order to punctuate dramatic and often playful images. Miller also takes the time to examine what lies in between or, more appropriately, just hidden aspects of film. Long stretches of dirty black or white leader touched with color, usually an annoyance to the traditional viewer, display an entertaining dance of schmutz that is allowed to take the focus. Platform briefly introduces it’s visual styles and slowly allows them to progress into a spirited visual mash-up of his techniques. Ordinary images sifted thru Miller’s mental machine, like the little dog in the film, yanked to unreasonable visual extremes.Platform would go on to win numerous festival awards, be screened at the 1991 Sundance Film Festival, and become culled material for commercial exhibitions such as the 1992 MTV Music Video Awards and the opening title sequences for MTV’s 1991 television show The Big Picture.
Fixated Whereabouts by Coleman Miller
USA, 1983, 5 minutes, 16 mm
Deeply inspired by Bruce Conner’s Take The 5:10 To Dreamland, Miller’s initial dabbling into filmmaking shows natural mastery of his available tools. Shot simply with a super 8 camera, Miller’s exercises began to define the directions of his current work. What, upon first glance, appears to be the tired student project that pervade the novice class of experimental film, a deeper inspection reveals Miller’s creation of a bizarre and surreal world just around the corner from your house. Contrapuntal sound reverses commonly seen images, and simple experimental devices distract the viewer into provocative thought. San Francisco’s skyline watched out a window appeals to a strange unfulfilled longing, so it shouldn’t surprise the reader that the scene is shot from a postcard found in Miller’s hotel, years before he ever took up residence there. Please note the first display of existential angst. Every ordinary event, every car-ride or ballgame take on an otherworldly effect. An escalator, found sound, a mirror… all objects often overlooked, suddenly presented turned on their own ear. Fixated Whereabouts means what it suggests as Miller’s universe stops at a place, records what it sees, interprets the material with a clash of the surreal, and then punctuates with moments of fright and wonder.
Motion Pictures by Coleman Miller
USA, 1996, 4 minutes, 16 mm
In Miller’s most abrupt work- Motion Pictures – he begins pursuit of new layering techniques with found and manipulated materials. Produced at Monaco Lab.
Minneapolis/St. Paul International Film Festival Trailer 1997
The Bony Orbit by Coleman Miller
digital projection, USA 2010, 2 minutes, digital projection
The dry narration of an educational film brings forth surprising results as a couple surrenders to love.
What Gives by Coleman Miller
USA, 1994, 2 minutes, digital projection
The larf of What Gives introduces Miller’s playfulness, foreshadowing a common theme throughout the future of Miller’s work. Surreal, experimental slapstick executed to perfection. Again produced at Monaco Lab, with materials and tools at his disposal.
Kirk, we hardly knew ya by Coleman Miller
USA, 1999, 12 minutes, 16 mm
Produced as an installation piece, ‘Kirk’ is the most basic of Miller’s work, never intended to be screened beyond that environment. But as we watch it today, the subject matter retains relevance. The pressures of business and technology barked out by the enigmatic Shatner, transposed with the inane pursuits of a culture that can’t understand why it should be bombed. Miller’s statement, though simple and cheaply produced, retains its’ humor in the light of such damning circumstance.
Take The L by Coleman Miller
USA, 2006, 3 minutes, digital projection
Using his 8 year-old, consumer level 1-chip digital video camera, Miller dials in the controls to capture a frighteningly sharp commuter train trip. Using a technique available to almost any beginner level FCP user, he transcends the viewer into a widely familiar but deeply disorienting and hypnotic landscape. In watching the center, the viewer can only imagine the thrilling moment when, as a child, they first held a kaleidoscope up to the light. But looking out toward the edges, Take The L will subtly reveal it’s common subject matter and remind the viewer of its’ reality. Once again Miller takes the most mundane of activities and develops it into an explosion of kaleidoscopic visual beauty and playfulness. Miller once again delivers stimulating execution of the most basic technique driven to its’ edges.
Heaven by Coleman Miller
USA, 2007, 3 minutes, digital video
Jon Nelson asked me to add some visuals to one of his audio mix cuts for a show in Minneapolis. I chose the one with Steve Martin talking about heaven. Of the two of those i really believe in Steve Martin.
Uso Justo by Coleman Miller
USA, 2005, 22 minutes, digital projection
Miller’s first narrative creation is like nothing you have seen before. Or since. Uso Justo (roughly translated: “Fair Use”) is restructured completely from an obscure 1959 Mexican film. Miller reaches deep into this black and white melodrama with both hands and turns it inside out. When an experimental filmmaker arrives to shoot his next film in the fictional town of Uso Justo, things start getting strange. The townsfolk are both thrilled and confused by the sudden arrival of this mysterious artist. As the invisible filmmaker pulls the strings, the unfolding story proves to be existential and hilarious, intelligent and stupid.
View Excerpt
”A laff a minute” -Bruce Conner
“Uso Justo is the most hilarious and mesmerizing film I have seen in years.” – Jonathan Caouette (Tarnation)
”Uso Justo is BRILLIANT!!! Fantastic! genius! Wonderful! marvelous! Fuckin’ Brilliant!!!” – Craig Baldwin (Sonic Outlaws, Tribulation 99)
Frank and Paula by Coleman Miller
USA, 2009, 4 minutes, digital projection
The 1950 film noir classic D.O.A. is apparently in the public domain. Somebody hand me my e-scissors.
Hands Motherloade by Coleman Miller
USA, 2002, 4 minutes, digital projection
I put this together when my computer was acting like shit and crashing frequently. Coincidentally this was right after i had gone to my grandfather’s house and picked up a bunch of old metal sections of heating pipes, elbow joints, washer’s, nut’s, bolts, handtools, etc. So when the computer would crash i would go out on the back porch to my buckets of metal and try twisting up some sculpture. And i began to realize how much I liked working with my hands again. It was such a breath of fresh air – much better i thought than staring at a monitor. At the same time i would be watching and rewatching old 16mm educational films and noticing how almost every one of these had a close shot of hands.
The human hand. What a great tool. And taken for granted.
Coleman Miller (Creator/Writer/Director/Producer/Editor) has been making films for over 20 years. His films have won numerous awards on the festival circuit and his film Step Off a Ten Foot Platform With Your Clothes On screened at Sundance in 1991. He received his bachelor’s degree in film production from Southern Illinois University in 1983. He was recently awarded the 2005 IFP-MSP/McKnight Artist Fellowship for Filmmakers, received a Jerome Media Grant in 2001 and a Film Arts Foundation Grant in 1990.

9/25: Coleman Miller: Uso Justo & other shorts

Image by uniondocs
Best known for his innovative, award-winning 2005 short Uso Justo, Coleman Miller has been making films and videos for over 25 years utilizing a variety of techniques including found footage, collage, and various mash-up experimentation based on whatever tools he’s had at his disposal. We are happy to present this long-overdue overview of Miller’s work.
“It always starts with Play. Especially working with found footage – it’s like being a five year old in a brand new sandbox. Or playing with blocks. You start mixing and matching things… just to see. Then maybe a leaf blows into the sandbox and you incorporate that. Soon you have a foundation and it all flows from there. The hardest part is getting up from the sandbox and saying ‘Done’. But really, any sandbox will do.” – Coleman Miller

“Coleman Miller is destined for admiration and great poverty.” - Isabella Rossellini

Program runtime is approximately 68 minutes – Surprise unannounced works possible

Step Off A Ten-Foot Platform With Your Clothes On, by Coleman Miller
USA, 1990, 7 minutes, 16 mm

While working as a printer in a film lab in San Francisco Miller, was able to use equipment most filmmakers didn’t even know existed. Obtaining special use of a continuous contact printer, which he used every day, was particularly inspiring. By manipulating found footage he was able to create a body of work that turned the medium of film back around on itself. Miller was able to invent many new printing techniques, which he continues to incorporate today. During these years, the film lab became a ten-year festival of experimentation and from it came the most consistent additions to his body of work.
In Step Off A Ten Foot Platform With Your Clothes On, Miller expounds his foray into found and experimental film by compiling which had been, until Uso Justo, his most successful and critically acclaimed work. Produced while Miller was still working for a San Francisco based film printer, once again we see Miller playing with materials directly available to him. During this time time, he was turning film around on itself in a purely visual way – showing the sprocketholes, edge numbers, dirt and frame lines, etc. Again we’ll see the use of contrapuntal sound in order to punctuate dramatic and often playful images. Miller also takes the time to examine what lies in between or, more appropriately, just hidden aspects of film. Long stretches of dirty black or white leader touched with color, usually an annoyance to the traditional viewer, display an entertaining dance of schmutz that is allowed to take the focus. Platform briefly introduces it’s visual styles and slowly allows them to progress into a spirited visual mash-up of his techniques. Ordinary images sifted thru Miller’s mental machine, like the little dog in the film, yanked to unreasonable visual extremes.Platform would go on to win numerous festival awards, be screened at the 1991 Sundance Film Festival, and become culled material for commercial exhibitions such as the 1992 MTV Music Video Awards and the opening title sequences for MTV’s 1991 television show The Big Picture.
Fixated Whereabouts by Coleman Miller
USA, 1983, 5 minutes, 16 mm
Deeply inspired by Bruce Conner’s Take The 5:10 To Dreamland, Miller’s initial dabbling into filmmaking shows natural mastery of his available tools. Shot simply with a super 8 camera, Miller’s exercises began to define the directions of his current work. What, upon first glance, appears to be the tired student project that pervade the novice class of experimental film, a deeper inspection reveals Miller’s creation of a bizarre and surreal world just around the corner from your house. Contrapuntal sound reverses commonly seen images, and simple experimental devices distract the viewer into provocative thought. San Francisco’s skyline watched out a window appeals to a strange unfulfilled longing, so it shouldn’t surprise the reader that the scene is shot from a postcard found in Miller’s hotel, years before he ever took up residence there. Please note the first display of existential angst. Every ordinary event, every car-ride or ballgame take on an otherworldly effect. An escalator, found sound, a mirror… all objects often overlooked, suddenly presented turned on their own ear. Fixated Whereabouts means what it suggests as Miller’s universe stops at a place, records what it sees, interprets the material with a clash of the surreal, and then punctuates with moments of fright and wonder.
Motion Pictures by Coleman Miller
USA, 1996, 4 minutes, 16 mm
In Miller’s most abrupt work- Motion Pictures – he begins pursuit of new layering techniques with found and manipulated materials. Produced at Monaco Lab.
Minneapolis/St. Paul International Film Festival Trailer 1997
The Bony Orbit by Coleman Miller
digital projection, USA 2010, 2 minutes, digital projection
The dry narration of an educational film brings forth surprising results as a couple surrenders to love.
What Gives by Coleman Miller
USA, 1994, 2 minutes, digital projection
The larf of What Gives introduces Miller’s playfulness, foreshadowing a common theme throughout the future of Miller’s work. Surreal, experimental slapstick executed to perfection. Again produced at Monaco Lab, with materials and tools at his disposal.
Kirk, we hardly knew ya by Coleman Miller
USA, 1999, 12 minutes, 16 mm
Produced as an installation piece, ‘Kirk’ is the most basic of Miller’s work, never intended to be screened beyond that environment. But as we watch it today, the subject matter retains relevance. The pressures of business and technology barked out by the enigmatic Shatner, transposed with the inane pursuits of a culture that can’t understand why it should be bombed. Miller’s statement, though simple and cheaply produced, retains its’ humor in the light of such damning circumstance.
Take The L by Coleman Miller
USA, 2006, 3 minutes, digital projection
Using his 8 year-old, consumer level 1-chip digital video camera, Miller dials in the controls to capture a frighteningly sharp commuter train trip. Using a technique available to almost any beginner level FCP user, he transcends the viewer into a widely familiar but deeply disorienting and hypnotic landscape. In watching the center, the viewer can only imagine the thrilling moment when, as a child, they first held a kaleidoscope up to the light. But looking out toward the edges, Take The L will subtly reveal it’s common subject matter and remind the viewer of its’ reality. Once again Miller takes the most mundane of activities and develops it into an explosion of kaleidoscopic visual beauty and playfulness. Miller once again delivers stimulating execution of the most basic technique driven to its’ edges.
Heaven by Coleman Miller
USA, 2007, 3 minutes, digital video
Jon Nelson asked me to add some visuals to one of his audio mix cuts for a show in Minneapolis. I chose the one with Steve Martin talking about heaven. Of the two of those i really believe in Steve Martin.
Uso Justo by Coleman Miller
USA, 2005, 22 minutes, digital projection
Miller’s first narrative creation is like nothing you have seen before. Or since. Uso Justo (roughly translated: “Fair Use”) is restructured completely from an obscure 1959 Mexican film. Miller reaches deep into this black and white melodrama with both hands and turns it inside out. When an experimental filmmaker arrives to shoot his next film in the fictional town of Uso Justo, things start getting strange. The townsfolk are both thrilled and confused by the sudden arrival of this mysterious artist. As the invisible filmmaker pulls the strings, the unfolding story proves to be existential and hilarious, intelligent and stupid.
View Excerpt
”A laff a minute” -Bruce Conner
“Uso Justo is the most hilarious and mesmerizing film I have seen in years.” – Jonathan Caouette (Tarnation)
”Uso Justo is BRILLIANT!!! Fantastic! genius! Wonderful! marvelous! Fuckin’ Brilliant!!!” – Craig Baldwin (Sonic Outlaws, Tribulation 99)
Frank and Paula by Coleman Miller
USA, 2009, 4 minutes, digital projection
The 1950 film noir classic D.O.A. is apparently in the public domain. Somebody hand me my e-scissors.
Hands Motherloade by Coleman Miller
USA, 2002, 4 minutes, digital projection
I put this together when my computer was acting like shit and crashing frequently. Coincidentally this was right after i had gone to my grandfather’s house and picked up a bunch of old metal sections of heating pipes, elbow joints, washer’s, nut’s, bolts, handtools, etc. So when the computer would crash i would go out on the back porch to my buckets of metal and try twisting up some sculpture. And i began to realize how much I liked working with my hands again. It was such a breath of fresh air – much better i thought than staring at a monitor. At the same time i would be watching and rewatching old 16mm educational films and noticing how almost every one of these had a close shot of hands.
The human hand. What a great tool. And taken for granted.
Coleman Miller (Creator/Writer/Director/Producer/Editor) has been making films for over 20 years. His films have won numerous awards on the festival circuit and his film Step Off a Ten Foot Platform With Your Clothes On screened at Sundance in 1991. He received his bachelor’s degree in film production from Southern Illinois University in 1983. He was recently awarded the 2005 IFP-MSP/McKnight Artist Fellowship for Filmmakers, received a Jerome Media Grant in 2001 and a Film Arts Foundation Grant in 1990.

Cool Make A Picture images

Some cool make a picture images:

1952 - 1955 Austin-Healey BN1 (12)

Image by Georg Schwalbach (GS1311)
Austin-Healey was a British sports car make. The marque was established through a joint-venture arrangement, set up in 1952 between Leonard Lord of the Austin division of the British Motor Corporation (BMC) and the Donald Healey Motor Company, a renowned automotive engineering and design firm.

Austin-Healey cars were produced until 1972 when the 20-year agreement between Healey and Austin came to an end. Donald Healey left the company in 1968 when British Motor Holdings (BMC had merged with Jaguar Cars in 1966 to form BMH) was merged into British Leyland. Healey joined Jensen Motors who had been making bodies for the "big Healeys" since their inception in 1952, and became their chairman in 1972.

(Wikipedia)

- - -

Nach dem 2. Weltkrieg, 1945, gründet Healey die Donald Healey Motor Company. Nach verschiedenen Entwicklungsarbeiten (Nash Healey etc.) und Siegen bei kleineren Rennen ist der Healey 100 der Star einer britischen Automobilmesse im Londoner Earls Court. Dieses Fahrzeug wird von Donald Healey sowohl leistungs- (100 Meilen pro Stunde) als auch preislich zwischen den schon älteren MG T und den moderneren Jaguar XK platziert und auf den boomenden amerikanischen Roadstermarkt ausgerichtet. BMC-Präsident Leonard Lord (1896–1967) wird auf Healeys neues Modell aufmerksam; Lord und Healey vereinbaren am Vorabend der Publikumspräsentation des Healey 100 (1952) eine Zusammenarbeit unter dem Dach von BMC. Die ersten 20 Austin-Healey werden in Warwick gebaut. 1957 wird die Produktion nach Abingdon verlegt. Die Serienproduktion wird 1967 wegen verschärfter Sicherheits- und Abgasnormen in den USA eingestellt; die Produktion wird aber bis 1972 weitergeführt.

Donald Healey hatte die Firma 1968, als BMC (British Motor Corporation) von British Leyland übernommen wurde, bereits verlassen.

(Wikipedia)

Image by jutakyo
i make boring photos looks hella more boring.

Nice Picture Collages photos

Some cool picture collages images:

Tiger Collusion

Image by jeko78
Part collage, part illusion. These pictures collude to form an image of Tiger.

Robert Longo:"Surrendering the Absolutes" @ Metro Pictures

Image by j-No

Robert Longo:"Surrendering the Absolutes" @ Metro Pictures

Image by j-No

Nice Make A Picture photos

Check out these make a picture images:

Icecream van

Image by @Doug88888
I tried to make this pic look old fashioned (like a photo from the 80's). I also wanted to see the grinning faces on the left more clearly.

I want an ice-cream

Mobile Muffins

Image by Ric e Ette
Picture taken at the "Maker Faire 2008" (San Mateo, CA) - a collection of creative, weird, and sometimes useless (but always interesting) inventions, exhibits and art performances. Check out the other pictures in this set.

From http://makerfaire.com/pub/e/1220:

Acme Muffineering presents Kinetic Pastry Science Mobile Muffins. Discover the recipe for a full batch of 1:18 scale mobile muffins. Delicious scratch-built, electric-powered, highly maneuverable, and capable of 18mph+!

--

"Bolinhomóvel".

Foto tirada na "Maker Faire 2008" (em San Mateo, Califórnia) - uma feira repleta de criativas, supreendentes, e algumas vezes inúteis (mas sempre interessantes) invenções, mostras e exibições de arte. Confira as outras fotos deste álbum.

Vintage Picture of a Child Standing Outside, Along the Side of, a Baby Carriage Buggy

Check out these photo album images:

Vintage Picture of a Child Standing Outside, Along the Side of, a Baby Carriage Buggy

Image by Beverly & Pack
Woman and child with baby carriage.

LC-DIG-ppmsca-18415-00012

Portraits of the Vester and Whiting families and other members of the American Colony in Jerusalem between 1905 and 1913.

RIGHTS INFORMATION: No known restrictions on publication.

Moda / Fashion

Image by MadPole

Polish sixties: street chit-chat

Image by MadPole
Women in Summer Dresses

Nice Digital Picture Frame photos

Check out these digital picture frame images:

Island in the Ice

Image by Rusty Russ
It was very cold and I drove a long way to take this picture.

2 Headed Calf

Image by Chambo25
What more can one say beyond the title here. This was a family picture from the archives... framed, taken in the 1950s or so maybe? I took a digital picture of it this past December.

Nice Picture Collages photos

Check out these picture collages images:

picture pile- flowers

Image by M Glasgow

Nice Picture photos

Check out these picture images:

53/365 Memories laid out

Image by martinak15
I love looking at old pictures! :)
Hey! Guess what? I can't wait for Christmas! I'm finally getting my tripod!!!!!!!!! :D It's really hard taking self portraits and other things without one! Also, I asked for lenses! I've never used any before.... so wooo! :) Also, I'm thinking it's a really great time to take pictures <3 This will be the first time I will have my camera for the Holiday Season! :) I'm so excited, I want to explode! :D I must have told my friends this so many times.... hope they're not annoyed...haha:)

*** Just started a blog!!***
Please check it out and follow! <3
www.magnoliaeyes.blogspot.com

Signage Shop at Utah State Fair, '09, with Lame Owners

Image by MaxxFordham
I was taking a picture of this shop because I thought the signs looked cool, but then the jerk guy at the register thought it was his business to tell me to take my pictures elsewhere.

Uhh, problem is, "sir," I'm on a public space, so you can't stop me from taking pictures of your "ohh-so precious booth" there! So uh... you'd better take your complaints elsewhere!

I verified that fact with a cop.


Oh, and, haha, he tried flipping me a nasty finger gesture, but he wasn't quick enough on the draw to make it into the pic. that way! I shouted, "Haha, ya missed! Ya MISSED!" Geeze, what a LOSER!

Nice Picture photos

A few nice picture images I found:

People taking picture of people [Arles 2010, France]

Image by biphop
Arles, rencontres photographie 2010
Parc des ateliers, grande halle
"i am a cliché"

Nice Picture Collages photos

Some cool picture collages images:

machineZap_034

Image by ApFab
ap is short for Zapped Artificial Picture. The production of a Zap starts by feeding a series of queries into Google Image Search. A series consists of between 4 and 10 words. The first image generated in response to each word is considered the most important visual representation of that word, at that time, according to the current internet authority. The generated collection of images is subsequently assembled into a unique collage: a Zap. We cut, we tear and we rearrange until a new order is introduced into the chaos of word-image (dis-)association. The individual images are thus incorporated into a new context, creating a new tense state of meaning and random relations.

THE ZAP [ ] MACHINE

We have outsourced the production of Zaps to a web application designed specifically for the purpose of generating Zaps. The ZapMachine is now in charge of the autonomous production of a potentially unlimited sequence of collages based on a predetermined input. Our ZapMachine selects images from the internet and manipulates these, creating ever new Zap collages. Out of the resulting works we select the Zap with the highest quality. The query term serves as the title of the final product.

machineZap_205

Image by ApFab
ap is short for Zapped Artificial Picture. The production of a Zap starts by feeding a series of queries into Google Image Search. A series consists of between 4 and 10 words. The first image generated in response to each word is considered the most important visual representation of that word, at that time, according to the current internet authority. The generated collection of images is subsequently assembled into a unique collage: a Zap. We cut, we tear and we rearrange until a new order is introduced into the chaos of word-image (dis-)association. The individual images are thus incorporated into a new context, creating a new tense state of meaning and random relations.

THE ZAP [ ] MACHINE

We have outsourced the production of Zaps to a web application designed specifically for the purpose of generating Zaps. The ZapMachine is now in charge of the autonomous production of a potentially unlimited sequence of collages based on a predetermined input. Our ZapMachine selects images from the internet and manipulates these, creating ever new Zap collages. Out of the resulting works we select the Zap with the highest quality. The query term serves as the title of the final product.

machineZap_250

Image by ApFab
ap is short for Zapped Artificial Picture. The production of a Zap starts by feeding a series of queries into Google Image Search. A series consists of between 4 and 10 words. The first image generated in response to each word is considered the most important visual representation of that word, at that time, according to the current internet authority. The generated collection of images is subsequently assembled into a unique collage: a Zap. We cut, we tear and we rearrange until a new order is introduced into the chaos of word-image (dis-)association. The individual images are thus incorporated into a new context, creating a new tense state of meaning and random relations.

THE ZAP [ ] MACHINE

We have outsourced the production of Zaps to a web application designed specifically for the purpose of generating Zaps. The ZapMachine is now in charge of the autonomous production of a potentially unlimited sequence of collages based on a predetermined input. Our ZapMachine selects images from the internet and manipulates these, creating ever new Zap collages. Out of the resulting works we select the Zap with the highest quality. The query term serves as the title of the final product.

Nice Digital Picture Frames photos

Some cool digital picture frames images:

IMG_3803

Image by Range of Light
im surprised pete and his friends didnt knock this tree over. im also glad, because it gave a good frame for this picture.

Photography Gear (#28594)

Image by mark sebastian
Collective gear between Simpson and I.
Visit Simpson on Flickr: www.flickr.com/photos/simpson_

Pictured: 17-40L, 24-70L, 35L, 50L, 85L, 135L, 50mm f/1.4, 85mm f/1.4, 580EX, 580EX II, Pocket wizards (2), Canon 5D (2), AlienBee B800

Not Pictured: Canon 40D, Pentax K100D Super, 50mm f/1.7, 24mm f/1.8, 30mm f/1.4, Sigma 150mm f/2.8 macro, 16-35mm f/2.8L, 28-75mm f/2.8, 70-200mm IS f/2.8L, 35-350L, Pocket Wizards (6), 580EXII, 580EX, 550EX, 430EX, Alien Bee ABR800, Moon Unit, Beauty Dish (2), Softboxes (2), Alien Bee B800, B400, White Lighting X800 (3), Westcott 6-in-1 52" Reflector, Westcott 6-in-1 42" Reflector, Stroboframe Flash Bracket, Off-shoe Cord, ST-E2 transmitter, Epson P2000, Compact Flash Cards (64gb total), PC Workstations (1), Mac Workstations (2), Mobile Workstations (3), Storage (8 Terabytes Total), Adobe CS3 Production Premium, Adobe LightRoom, Apple Aperture 2.1, Final Cut Studio

01/13/07

Image by Hidden Peanuts
The Rave Motion Pictures theater in Huntsville. I couldn't frame the shot to show this, but it is in the middle of nowhere and borders a bunch of cow pastures and gorgeous scenery. Plus it has equally amazing digital screens. And tickets.

Nice Picture Collages photos

A few nice picture collages images I found:

Frida Shrine - Traded

Image by Coffeelatte
Finally getting a huge lot of pictures moved from my camera to computer. Here's a shrine I made for a trade earlier this year. The box is a wooden one from a craft store. Inside I used magazine clippings (of red coral and a Frida portrait.) The doors were decorated with a butterfly from a calendar, gold metallic doily, pieces of scrapbook paper, text from vintage medical books and more of the magazine clips. The outside door includes a bramble circle that was on a greeting card. More anatomic images, calendar & magazine clips on the outside and back. I added sequins in various shapes for a bit of bling. The box was first painted with Titan buff acrylic - a light creamy color. Then I stippled it with magenta, a deep antique gold and finally with Golden fine irridescent gold. There are also some accent stripes just inside the doorway that were painted with turquoise to match the butterfly wings. The birds on the top are German scrap that I bought at one of my favorite shops in San Jose, California - Scrapbook Island. The blue Frida letters are from a sheet of commercial press-ons.

traded

El Ingenioso Hidalgo Don Quixote de la Mancha

Image by vidalia_11
Book is seed_stock_paper3 by seed_stock. Picture is by Gustave Dore from commons.wikimedia.org.

Schaakmat!

Image by wandrerstefan
Six pictures of some chess pieces on a board, taken for a photography course.

Picture This! Collage Workshop

A few nice picture collage images I found:

Picture This! Collage Workshop

Image by Topeka & Shawnee County Public Library
Kim Sain
Adult Services

Dead brown grasses are
trapped deep in the winter ice.
One blade pushes through.

Picture This! Collage Workshop

Image by Topeka & Shawnee County Public Library
Lisa Coble-Krings
Marketing & Communications

Why are you typing?
I'll just lie down and relax.
Disconnecting now.

Old picture, but good times

Some cool baby picture images:

Old picture, but good times

Image by Ninithedreamer
I was so excited when I had baby hamsters... took a photo of them around everywhere with me :-)

Baby Blues

Image by drbertdelgado
Just look into these eyes, deeper, deeper, now tell me what you see and don't say Piece of Sh** either. I took this picture in Lakepark, FL on a couch.

Sleeping Baby

Image by OhKyleL
365 Baby - 80

Whoops almost forgot to take a picture today!

Nice Baby Picture photos

Some cool baby picture images:

A Picture Share!

Image by iwantamonkey
Baby Seal Loves Peep

Picture 19

Image by johnsoax
One of our friends agreed to take pictures of Rachel. They turned out really great!!!

Picture 9

Image by johnsoax
One of our friends agreed to take pictures of Rachel. They turned out really great!!!

Nice Digital Picture Frame photos

Check out these digital picture frame images:

20100501 - camera test - Canon PowerShot SD400 Digital Elph - playing with Oranjello - 60fps video test - MVI0092 (1m)

Image by Rev. Xanatos Satanicos Bombasticos (ClintJCL)
I'd never had a camera that could take 60fps video before... So I decided playing with Oranjello would be a good high-framerate video. Unfortunately at 60fps, the video size is only 320x240, so it's not really worth the extra frames per second.

We got a Canon PowerShot SD400 Digital Elph camera for at a yard sale! It was missing the USB cable, but it worked with the one from our broken Canon PowerShot S330 Digital Elpha camera (which cost 0 in 2001). This camera has amazingly good imaging, and can take pictures in rapid succession soooo much faster than the other 2. It's also our smallest camera. Unfortunately there's only 1 battery.

Clint.
playing.
Oranjello the cat, camera test.

upstairs, Clint and Carolyn's house, Alexandria, Virginia.

May 1, 2010.

Flyby

Image by wanderingnome
While waiting to pick up my daughter from work, I went to Surfers Point in Ventura and took some pictures of the muddy waves. An accomodating seagull decided to fly into frame just as I was taking this picture.

Where I flickr

Image by dalydose
My little computer home/office.

Cool Make A Picture images

Check out these make a picture images:

1940 Siata 500 Sport Spider

Image by Georg Schwalbach (GS1311)
Siata (Societa Italiana Auto Trasformazioni Accessori in English Italian Car Transformation Accessories Company), was an Italian tuning shop turned automaker founded in 1926 by amateur racecar driver Giorgio Ambrosini.

Siata initially sold performance parts to modify and tune cars manufactured by Fiat. After World War II, the company began making its own sports cars under the Siata brand until its eventual bankruptcy following the first Arab oil embargo in the mid 1970s.

(Wikipedia)

- - -

Die Società Italiana Applicazioni Trasformazioni Automobilistiche (kurz: Siata) war ein italienischer Automobilhersteller, der eng mit Fiat verbunden war und nach dem Zweiten Weltkrieg zahlreiche sportliche Sonderversionen von Fiat-Fahrzeugen herstellte. Das Unternehmen ist vor allem durch das exklusive Sportmodell 208 und den in den späten 1960er-Jahren entstandenen Roadster Siata Spring bekannt.

(Wikipedia)

1920 Rolls-Royce Silver Ghost London-Edinburgh Style (01)

Image by Georg Schwalbach (GS1311)
The Rolls-Royce Silver Ghost refers both to a car model and to one specific car from that series.

Originally named the "40/50 h.p." the chassis was originally produced at Royce's Manchester works, before moving to Derby in July 1908 and also, between 1921 and 1926, in Springfield, Massachusetts. Chassis no. 60551, registered AX 201, was the car that was originally given the name "Silver Ghost." Other 40/50 hp cars were also given names but the Silver Ghost title was taken up by the press and soon all 40/50s were called by the name, a fact not officially recognised by Rolls-Royce until 1925 when the Phantom range was launched.

The Silver Ghost was the origin of Rolls-Royce's claim of making the "Best car in the world" – a phrase coined not by themselves, but by the prestigious publication Autocar in 1907.

The chassis and engine were also used as the basis of a range of Rolls-Royce Armoured Cars.

(Wikipedia)

- - -

Das unter der Bezeichnung Rolls-Royce 40/50 hp entwickelte Automobil wurde von 1906 bis 1925 produziert und durch die Phantom-Reihe abgelöst. 1913/1914, nach dem Gewinn eines entsprechenden Wettbewerbes, wurde auch ein Modell mit dem Namen Rolls-Royce Alpine Eagle gefertigt, dessen Motor einen geringfügig größereren Hubraum (121 mm Hub anstatt 120 mm), aber eine geringere Leistung (55 bhp (40 kW) anstatt 65 bhp (48 kW)) hatte.

Vor dem ersten Weltkrieg war der Silver Ghost eines der technisch fortschrittlichsten Autos der Welt, was ihm den Ruf als bestes Auto der Welt einbrachte. Während des Krieges erfolgte keine Weiterentwicklung und der Rückstand auf andere zeitgenössische Konstruktionen wuchs. Schließlich erfolgte 1925 der Ersatz durch den Rolls-Royce Phantom I. 1906 wurde auch von einem britischen Automobiljournalisten erstmals die Wortschöpfung der Waftability diesem Fahrzeug zugeschrieben. Diese Wortschöpfung von damals prägt die Rolls-Royce-Fahrzeuge bis heute als Alleinstellungsmerkmal.

Modelle vom Typ Silver Ghost hatten unter anderem in folgenden Filmen Auftritte: Lichter der Großstadt (1931), Rebecca (1940), Citizen Kane (1941), Giganten (1956), Lawrence von Arabien (1962), Die tollkühnen Männer in ihren fliegenden Kisten (1965) und Frankenstein Junior (1974).

(Wikipedia)

Cool Picture Framing images

A few nice picture framing images I found:

"This'll Look Nice When It's Framed" Banksy Boy w/paint can - Mission, San Francisco SF - April 24, 2010 - Warholian.com

Image by WarholianPics
"This'll Look Nice When It's Framed" Banksy Boy w/Paint Can

853 Valencia St
(between 20th St & Cunningham Pl)
San Francisco, CA 94110
Neighborhood: Mission

www.Warholian.com

"This'll Look Nice When It's Framed" Banksy Boy w/paint can - Mission, San Francisco SF - April 24, 2010 - Warholian.com

Image by WarholianPics
"This'll Look Nice When It's Framed" Banksy Boy w/Paint Can

853 Valencia St
(between 20th St & Cunningham Pl)
San Francisco, CA 94110
Neighborhood: Mission

www.Warholian.com

"This'll Look Nice When It's Framed" Banksy Boy w/paint can - Mission, San Francisco SF - April 24, 2010 - Warholian.com

Image by WarholianPics
"This'll Look Nice When It's Framed" Banksy Boy w/Paint Can

853 Valencia St
(between 20th St & Cunningham Pl)
San Francisco, CA 94110
Neighborhood: Mission

www.Warholian.com

Nice Picture Framing photos

Some cool picture framing images:

8x8 Part 2

Image by Spikenzie
Testing the spacing of the cardboard spacers. A milky white acrylic "diffuser screen" is going to be placed on top of this.

The idea here is to put the 8x8 LED matrix into an Ikea picture frame. The cardboard cut-outs are used as spacers to hold the LED matrix off of the front panel which is a sheet of milky white acrylic. If this works, I should get nice big red round dots displayed through the acrylic sheet.