where do the lost memories go?

The missing Enlightenment

Tim Carmody — Mon, 23 Aug 2010 19:07:31 +0000

What do you think of when you think of Germany and the German people? Let me guess:

That’s about what I thought. Well, let me tell you: from about the 1770s through the 1920s, the German-speaking world was fucking awesome. Not that you necessarily always wanted to be there, especially when Napoleon came through. But they had Kant, Mozart, and Goethe AT THE SAME TIME. That’s like John Locke, Shakespeare, and The Beatles all just hanging out around England, kicking it.

And it wasn’t like it was just a handful of philosophers, composers, poets, and scientists. It was one after another. And an industrial boom. And the formation of a new empire, when everyone else was beginning to walk back the whole empire thing. The Germans were pumping out babies like it was their job, but unlike the Brits, they had nowhere to go. So they came to America. (More Americans can claim German descent than any other ethnicity.)

Prussia beat France in a war in the 1870s when France was at the top of the world. And didn’t just beat them — they stomped on them. France was so shook up, it had to have another revolution about it. This was like England beating the Spanish Armada.

The industrial revolution? Yeah, the Brits did some nice things with textiles, and the Americans had a lot of bodies to throw at it (plenty of them German), but the rest of it? German.

The twentieth century was Germany’s to lose. And sweet Jesus, did they lose it.

But the Germans didn’t. Not all of them. Because all of that knowledge spread throughout the world. There’s a great line in The Right Stuff, where one of the Americans claims that the Soviets can’t be ahead of them in the space race: “Our Germans are better than their Germans.” World War II just never stopped for them — the so-called Allies kept fighting each other on their turf, using their brains to do the work.

This history — which the understandably overwhelming memory of the Nazis has effectively wiped out for most Americans — is the theme of Peter Watson’s new book The German Genius. He calls what happened in Germany in this period “the third Renaissance.” Here’s a glimpse:

At Göttingen and Halle in the 18th century, and at Berlin and Bonn in the 19th, Germany invented the modern university, combining teaching with research in both humanities and science — at a time when Harvard and Oxford were conservative and theology-centered. University grads staffed a new bureaucracy of experts, and their work in laboratories and archives made research “a rival form of authority in the world.” The universities also enshrined a new ideal of individual cultivation (the fetishized German word is “Bildung”). Germans from Kant to Mann embraced this “secular form of Pietism,” turning inward to find truths not anchored in reason or revelation — and often, like Mann in 1915, choosing mystical wholeness over messy liberal politics.

So how did all this happen? Well…

There’s a new thesis making the rounds that has already stimulated plenty of discussion about the benefits and costs of copyright laws. It comes from the German economic historian Eckhard Höffner, his work summarized in a Der Spiegel review titled “No Copyright Law: The Real Reason for Germany’s Industrial Expansion.”

Höffner contends (according to the review) that the near absence of copyright law in eighteenth and nineteenth century Germany laid the groundwork for the “Gründerzeit”—the enormous wave of economic growth that Deutschland experienced in the middle and later nineteenth century.

An “incomparable mass of reading material was being produced in Germany” by the 1830s, Höffner notes. Some 14,000 publications appeared in the region in 1836, widely distributed thanks to the presence of “plagiarizers”—competing publishing houses unafraid of infringement suits. The result was a cheap mass book market catering to a huge reading public…

And this “lively scholarly discourse” didn’t just focus on poetry and philosophy. It included endless tomes about physics, chemistry, biology, and steel production—crucial subjects a nation would need to master to launch a top flight industrial revolution.

That’s right. They BitTorrented it.

Scott’s Guest Post: Play-By-Play Post Production on This Popular Photo

Chase — Thu, 19 Aug 2010 16:05:29 +0000

[We have received hundreds of questions asking how this shot was post produced, so we thought it would be fun--and a good use of this blog as a central conversation point--to do a post about it. A play by play. So let's join our retouch guru Scott as he walks us through this popular shot of mine from the desert in Dubai....take it away, Scotty...]

It’s fair to say that a number of Chase’s images have earned the title of iconic. The images that fall into this designation generate a fair bit of discussion within our community. How was it done, where is the location, what were the camera settings, etc. A few of these iconic images have seen just enough time at my desk to make the post production a topic of conversation.

As I am able, I enjoy sharing the techniques that were used to create a certain effect and do so in response to questions that come my way via comments, posts, and emails. In the last couple of years I have found myself time and again sharing the steps that went into creating the unique look in the highly visible “sand jumper” image. Since there is so much interest in this image, and since the techniques applied are so universally useful, I thought it would be fun to pen a quick blog post giving the breakdown of the post production.

Here are the RAW files straight out of the camera. Two things worth paying attention to. First, the images are very low contrast, especially for a backlit shot. This is the result of a 5AM start, a soft haze that diffused the sunlight, and the reflective properties of sand which did a good job of bouncing some light back up on to the subject. The net result is that there is a great deal of information to work with in these files. Second, the finished file contains elements from both of these images. This brings us to the next step. We selected both a primary image based on the position of the model, and a sister image that was framed a bit wider to the right and included a sand explosion that Chase and I agreed gave some additional reference and sense of movement to the image.

The image as you’re seeing it now represents the combined files with their initial RAW adjustments from Aperture: white balance, darkening of the shadow and midtone values, increased saturation, increased definition, and a broad vignette. The two files were combined using the Edit>Auto Align Layers command in Photoshop resulting in this image which would be further tweaked to become the final file.

Now we get into the part of the process that gives the finished image a unique, eye catching look. I often find it very productive to break down an image into distinct sections that can be evaluated and treated individually. Our aesthetic generally calls for very rich colors and accentuated textures. That is the end goal for this image, however if you were to try to apply the same level of treatment to the sand, the sky and the model, you would find that one or more of these elements would suffer for the benefit of the others. To solve this problem, we make a selection of each of these three elements so that they can each receive a separate custom treatment.

First, the sand is adjusted with a curves layer that masks out the rest of the image. The curve is a standard contrast enhancing s-curve where the darks are made darker, and the lights are made lighter.

Next the sky gets the same treatment, a masked curves layer. This one however is a darkening curve, where the values are all brought down to bring out the rich tones in the sky.

And last but certainly not least, the model gets his own masked curve adjustment, which is almost an exact opposite of the adjustment given to the sky. The result is that the midtones and highlights on the model are brightened and accentuated.

A quick note on making the masks. There are about ten thousand ways to make selections in Photoshop. There’s the magic wand, the quick selection tool, the pen tool, quick mask mode, masking with a black brush, isolating a selection with individual channels, using one of the myriad of third party plug ins, the list goes on and on. Play with all of these tools, but be very critical of the results because a poor selection can instantly ruin the illusion you’re trying to create. And, don’t be afraid of doing it by hand, the old fashioned way. Almost fell right over the nerd edge there.

OK, so we have the three elements of the image balanced and enhanced. Looks pretty good. Now a little signature spice and we’re there. My very favorite way to add punch is to use a Channel Mixer layer set to overlay mode. Let me break this down a little bit.

The overlay mode makes the darks darker and the lights lighter. Any layer you create can be put in overlay mode and it will serve to enhance the contrast. The beauty of using the Channel Mixer as your overlay layer is that you can decide what channels you want to apply the overlay to, which in simple terms gives you a great deal of control of how and where you’re adding contrast.

To illustrate, here is the image with two different Channel Mixer settings being used as an overlay, both at 100% opacity. The image on the left has the Channel Mixer set to “black and white with blue filter”. The image on the right has the Channel Mixer set to “black and white with red filter”. You can see that the image on the right with the red filter adds nice contrast but does a better job of preserving the values in the sand and the model’s skin.

Both treatments are a bit heavy, so I’ve toned the opacity down to 30% in the final file, which is the second important part of this overlay trick. By playing with the different color channels and the opacity of they Channel Mixer layer, you can get some very cool, super fine tuned results.

There are now just a couple of finishing touches. If you’ve been paying close attention you might have noticed that the image has not been exactly rectangular ever since the two images were combined in the early part of the process. There were two possible solutions to this, one would be to crop and the other is to stretch the image. We opted for the stretch in the lower left corner in order to keep as open a feel as possible. This was done with Filter>Distort>Lens Correction. This was followed with a very small increase in saturation and a gentle darkening of the midtones in curves.

That’s the whole story. You may have taken note of the fact that I haven’t shared the exact values of the adjustments. This is not because I don’t want you to have the secret recipe. It’s because they’re actually irrelevant. Each image is an individual and should be treated as such. What’s important is that conceptually you understand the idea of isolating elements in your images to do custom treatment, and that you get excited about some different sorts of polish you can add to your images. Photoshop is an incredible program and more than anything it gives you infinite options to create art. Keep an open mind and have fun!

If you have thoughts or would like some clarification, drop a comment at the bottom of this post and I’ll do my best to keep the conversation going. Thanks for taking the time.

Cheers!

Scott Rinckenberger

Informal Incidents @ Stedelijk Museum Bureau

ahmet Ã¶gÃ¼t — Thu, 12 Aug 2010 08:07:00 +0000

Ahmet Ögüt
Informal Incidents
Stedelijk Museum Bureau Amsterdam (SMBA)
22 August - 3 October 2010

Opening & Auction:
Saturday August 21
5 - 7 p.m.

During the opening, at about 6 p.m., the auction of Ahmet Ögüt’s self-portrait in oils takes place. For more information, please read the 'Punch This Painting Leaflet': http://www.smba.nl/

Ahmet Ögüt’s solo exhibition taking place in the Stedelijk Museum Bureau Amsterdam. The exhibition, entitled ‘Informal Incidents’, comprises photographs, videos, an installation and an auction; the common denominator in all the works on display is the desire for a departure from the norm. By scheduling an auction at SMBA, which normally is a non-commercial institution, Ögüt aims at pushing our minds open to new possibilities.

The auction is an example of the artist’s celebration of actions performed in order to question social assumptions and the status quo. Ögüt praises acts like challenging the ordinary and exploring the gaps. His actions find expression in generally unspectacular but frequently disconcerting events, often recorded and transmitted to the public by use of documentary materials such as photography or video. However, by faking the action documented, Ögüt simultaneously questions the epistemological status of the documentary material: Can documentary material provide true accounts of fake actions?

The exhibition in SMBA is accompanied by the SMBA Newsletter No. 117 (NL/EN) featuring an essay written by Moosje Goosen.

With thanks to:
Christie’s Amsterdam

http://www.smba.nl/

Vineyards on depleted ash dams

yuvakuran — Thu, 05 Aug 2010 14:34:00 +0000

Dear Colleagues

Today I will try to review an untold evaluation of post operation utilization of already depleted ash dam fields near old existing thermal power plants. Ash dams are necessary for thermal power plants. Whether you fire either hard coal or low quality lignite, you generate lots of fly ash and bottom ash in the end. You have to dispose that ash by any means. If it is fly ash, you capture them through big capacity electrostatic precipitators (ESP) prior to entering high stacks, collect and then transfer to nearby cement plants to be added into cement production. Local price is around 18- 20 US Dollars per ton CIF delivery at cement plant.

If it is bottom ash, then you mix it with available nearby water, and pump them all to nearby ash dam. Ash dam is a man made water dam. You circulate the water and transfer the bottom ash from thermal power plant to the dam. These ash dams are built by the contractor during thermal power plant construction and they are used during life cycle of the thermal power plant operation.

In the end, the thermal power plant ages, gets old, needs rehabilitation. At the same time your ash dam gets filled with incoming bottom ash. At first you insert some cement into the ash dam so that you cover the bottom of dam, to insulate the dam from infusion of unnecessary material to underwater resources. Then the upcoming bottom ash fills the ash dam, where ash goes down, water remains at top for water recirculation.

Finally your ash dam gets full, having no more bottom ash keeping capacity. If our thermal power plant is still in operation, at that time you have to build a new ash dam to keep the new bottom ash.

What happens after you fill the ash dam?? What can you do on depleted ash dam fields??

You put 1-2 meters of agricultural soil on top of depleted ash dam fields, and plant suitable trees. Ash lands especially volcanic ash lands are suitable for vineyards to grow good quality grapes for wine production. Ash dam is a men-made ash field for vineyards. That is the case everywhere. Some of the world famous vineyards of California are not only on volcanic ash fields but also on depleted ash dams, or on similar municipality refuse dump areas.

In Elbistan, administration raises pine trees. In Soma first ash dam, administration plants olive trees and produces excellent virgin olive oil. Yatagan ash dam capacity is almost complete. There are new depleted ash dam fields waiting for agricultural utilization.

Sugozu thermal power plant administration is planning to grow Cabernet Sauvignon grapes for nearby wine factory in future. Grapes are already planted around ash disposal land, however I do not feel that neither land and nor environment suitable for Cabernet Sauvignon production.

I would expect them to plant local grapes. Elbistan and Tufanbeyli are suitable for OkuzGozu grapes, Kangal for Bogazkere, Cayirhan is suitable for KalecikKarasi, Can Canakkale is suitable for local KaraLahna/ Çavu?/ Kuntra grapes. Soma is allocated for olive trees for sure and their virgin olive oil is extraordinary. Yatagan can follow Soma experience and Yatagan administration should plant olive trees on their almost depleted ash dam fields.

Thermal power plants are long term operations, you learn while you operate. All long term future strategies are to be considered. The plants are to be operated with long term programs. Privatization procedures are to enforce sufficient capacity ESPs, FGDs in full operation at all times, as well as post agricultural utilization of depleted ash dams near old thermal power plants. With deepest regards

Haluk Direskeneli, Ankara based Energy Analyst

Subscribed to khanacademy

(author unknown) — Fri, 30 Jul 2010 14:57:21 +0000

I subscribed to khanacademy’s channel on YouTube.

Subscribed to o0minimalist0o

(author unknown) — Mon, 28 Jun 2010 18:24:27 +0000

I subscribed to o0minimalist0o’s channel on YouTube.

Khan — Candy Girl (dOP Remix)

(author unknown) — Mon, 28 Jun 2010 18:24:27 +0000

I liked a YouTube video:

Using ND Filters to Kill Depth of Field

noreply@blogger.com (David) — Mon, 28 Jun 2010 04:01:00 +0000

UPDATE: Just answered many Q's in the comments. -DH
__________

It's simple math. If you are shooting outside in the sun and limited to 1/250th of a second sync (or worse) you are are going to be shooting through a tiny hole as your aperture. Even if you crank your ISO down as low as it will go, you'd better like that background. Because you are going to see it in pretty sharp focus.

Or maybe not. In addition to high-speed sync, there are a few ways to bleed some aperture from your exposure settings in full sun.

Three blurry choices, inside.
__________

Dedicated speedlights and high-speed sync is one way to get rid of your aperture problems. But because of the inefficiency of focal-plane flash (lots of energy falling on mostly closed shutter curtains) your flash power is greatly reduced.

You can add extra flashes (cue McNally's Tree of Woe) or you can do everything at f/16 or so and then bleed some aperture with a neutral density filter.

Couple of things: First, you put the filter on the lens, and not the flash. And second, there are a few routes to take, with some being better than others.

The upside about ND filters is that you can use them with any dumb flash. Anything you flash can do balancing with the sun at f/16 it can also do at f/2.8, or even f/1.4 with ND filters. Big flashes, small flashes - doesn't matter. You are simply taking aperture limitations out of play.

Example:

You could wrap three speedlights around an athlete for a very cool mid-day portrait. All hard lights -- high front key, and two back/side rims. At a 250th of a sec, you'll need to light your subject to ~f/16 or so (depending on the ISO) to balance the sun. More if you want to overpower it.

That takes a lot of light. But close-in, bare speedlights can absolutely do it. And any decent monobloc or pack-and-head could do it without breaking a sweat.

The problem is your backdrop -- maybe you want to blow it out. Maybe it looks like crap at f/16. Maybe your sensor dust is starting to look like a scene from Jurassic Park.

The important thing to know is that the flash/ambient relationship is not going to change. You need the power to compete with the sun. But now we want to bleed some aperture out and lose the background focus.

To take your exposure from 1/250th at f/16 to 1/250th at f/2.8, you will need to place five stops worth of neutral density filter over your lens. This will maintain the flash-to-ambient balance, while knocking the light down.

(If you put it on your flash, you would be giving yourself big problems -- unless maybe your flash has a thermonuclear setting or something. And you still would not be able to get your aperture down.)

So, what kind of ND filters to consider?

As always, there are choices. And some of those choices depend on your wallet. Here are three.

The Budget Option

You can get a typical-brand ND filter for about $50 or less, which is very tempting. This is the route you will probably try first -- I did. Unfortunately, it was a learning experience. Here's why.

I bought a Tiffen 77mm ND filter that cut three stops of light. Cheap, fit my lenses and solved the problem, right?

Wrong.

The sharpness was not what I had hoped it would be. But there was also a color shift -- it was a kind of weird warm that sucked the color out of the sky, which was exactly what I would typically be using as a backdrop with the NDs.

Granted, it is very difficult to make an optically pure ND filter of that strength, and maybe $50 was a pipe dream. They got the "density" part down. The "neutral," not so much.

But on top of that, it was like my first microwave oven. It had two settings -- off, and nuclear. What I found is that I needed variability to solve different problems. Sometimes 3 stops was okay. Often I needed more -- or less.

In the end, it went into a drawer. $50 lesson learned.

The Pay-As-You-Go Plan

Being younger and wiser, my friend JoeyL skipped the dime store version and went for a set of Lee 4" polyester ND filters. The good news -- they are both sharp and cheap -- on an absolute basis.

The bad news, they are basically a consumable. They will scratch, and you will have to replace them.

This is the way the Hollywood folks roll when making movies. You'll need a 4" gel holder (probably "pro shade" combo) and a filter for every ND value you use. If you always work in full sun and want to go to f/2.8, this might be a good option for you. But you will use up the filters and have to replace them.

If you need variability in your ND filters, it could get to be expensive pretty quickly and do so in an ongoing way. That said, Joey seems very happy with the 4" gels and his photos of course look amazing.

He also uses it for wide-open movies with his Canon 7D. Above, he is shooting footage from inside a seaplane over Dubai earlier this year.

Pretty intimidating looking setup, if you ask me. Very Cecil B. DeMille.

If you want to use ND sparingly (and you are very careful by nature) the 4" polyester filters can be a very reasonable option that will give you very good results. You'll probably want to buy one that will get you from your full-sun aperture to your wide-open aperture. Then maybe a second which will do the same on a cloudy day.

This will give you the option on a sunny day (with the second, less powerful ND filter) to go to only f/5.6 if you want moderate depth of field.

The Buy-It-Once Plan

If you want optical quality, durability and continuously variable densities, there is one option. And it is expensive.

The Singh-Ray Vari-ND is the ne plus ultra of ND filters. It gives you a "dial-in" setting of anywhere from two to eight stops of neutral density -- that is actually neutral. And it is sharp, too.

Singh-Ray filters have an outstanding reputation, for which one pays dearly. For example, the 77mm Vari-ND filter is $340. As far as I can tell, it is two high-quality polarizers that used together form somewhat of a "dimmer switch" for light.

But it is a thing of beauty, both in operation and performance. After paying my $50 Newb Tax above, I at least was able to experiment enough to know that I wanted to have the ability to mix flash with any level of sunlight, work at any aperture and with any piece of flash gear. That's what the Vari-ND let's me do.

I'll probably catch some crap in the comments for such a pricey filter, but I tried the cheap version and that was $50 for nothing. To me, that's more expensive.

And yeah, I have given the old Visa card a pretty good run over the last year. But I shot for 20 years with someone else's gear, and I wanted the next 20 to be with that of my choosing.

And frankly, it feels very good to finally be done with major purchases for the foreseeable future.
__________

Walk-Thru

The photo up top, of my daughter Em, was when I first started using it. Just some learning time with no pressure.

It is a straightforward shot, done mid-afternoon with a single Profoto head in a 60" Photek Softlighter II. But the neutral density adds a third variable to your normal f-stop and shutter speed duo. Here's how I keep from getting too confused by that.

First, I choose my shutter speed. If I am pushing the limits of my lights (i.e., maybe when using speedlights) I would choose 1/250th. In this case, I had plenty of power so I started at 1/125th. This was simply to give me the ability to alter the ambient background levels with my shutter speed while shooting without hitting my sync limit. And in the end, I shot this frame with a darker background at a 1/250th. Nice to have the option.

Next, I close down my aperture until I get a background that is the exposure tone that I want. It will be very much more in focus than the final shot will be.

Now adjust the power on the flash to light the subject. In this case, Em was in the shade of a building (background in full sun) so I was adding light to a nice, dark starting point.

The flash and ambient relationship now are set. Placing the Vari-ND on your lens will allow you to remove as much light as you want from the photo, and you compensate by opening up the aperture. Rather than go wide open to f/1.4, I stopped at f/1.6 because I know my 85 is sharper there.

I went pretty wide open here, but I could have shot at any aperture. And I absolutely love that I can do that now.

The idea of crisp, multi-hard light wraps mixed with squishy backgrounds at high noon gets me a little tingly. Which is much needed, after the numbing effect of buying a filter that cost as much as a car payment.
__________

So, do you use ND filters with flash? If so, what kind? What has worked for you? What has left you wanting?

Sound off in the comments.

New: Strobist Index

Who Says You’re A Great Lover?

Chase Jarvis — Fri, 19 Feb 2010 15:02:00 +0000

In any business, some people are better at getting their name out there than others. Artists are no exception.

Advertising, Marketing, Public Relations, or Branding? Don't know the difference? These cartoons should help.

Are you strong where you want to be? Are people talking about your work, your creativity, your vision? This is laced with some humor, but we artists have a good bit to be learned from this, actually. The rest of the options after the jump...where do you fit in? [click the 'continue reading' link below]
--

So which bucket are you in? If nobody is talking about you being a great lover, I suggest you think about ways to change that. Errr...you know what I mean.

Happy Friday, everyone. Thanks to the zig blog for the cartoon.
--

Get my every move: Follow Chase Jarvis on Twitter
Get exclusive content: Become a Fan on Facebook

Shower time, 5:26am, Brooklyn

(author unknown) — Wed, 03 Feb 2010 00:34:21 +0000

Shower time, 5:26am, Brooklyn

Ahmet Ö?üt: Exploded City / MATRIX 231

ahmet Ã¶gÃ¼t — Wed, 20 Jan 2010 21:43:00 +0000

Ahmet Ö?üt: Exploded City / MATRIX 231

January 24, 2010 - April 11, 2010

Berkeley Art Museum and Pacific Film Archive BAM/PFA, California

With Exploded City, Ahmet Ö?üt envisions an imaginary metropolis comprising buildings, monuments, and vehicles that have figured in acts of violence and terrorism over the past two decades. Structures from Turkey, Ireland, India, Yugoslavia, Great Britain, and the United States, among other countries, form a unified urban scale model, reconstructing these sites in the moments before they were destroyed. The installation, originally commissioned for the Turkish Pavilion at the 2009 Venice Biennale, is accompanied by a text situating the included locations within a Calvinoesque narrative that engages the poetics and politics of space, architecture, violence, and international relations. Paraphrasing Calvino’s Invisible Cities, Ö?üt presents visible but “semi-anonymous” buildings, whose intact form may be forgotten while the aftermaths of their destruction are seared into the collective consciousness via the media and individual consciousnesses via personal experience. The collapsing of time and distance in this collection of models is echoed by the vehicles—also used in terrorism, but referencing as well Ö?üt’s ongoing interest in distance, time, and speed, measures by which our relationship to reality is shaped and through which disparate lands are connected.

From this central installation, the exhibition expands to other works. The film Things We Count pans slowly across the retired fighter planes at an airplane graveyard in Arizona’s Sonoran desert, as a voice counts them one by one in Kurdish, Turkish, and English. This counting, in the languages of faraway lands, connects the planes in their U.S. resting place to their actions in the larger world.

Ö?üt recently had solo exhibitions at Künstlerhaus Bremen; Centre d’Art Santa Mònica, Barcelona; and Kunsthalle Basel. His work was also recently included in group exhibitions at Museum of Modern Art, Warsaw; De Appel, Amsterdam; New Museum of Contemporary Art, New York; Malmö Konsthall, Sweden; Van Abbemuseum, Eindhoven, the Netherlands; and the Berlin Biennale. This is the artist’s first solo exhibition in the United States. Born in Turkey in 1981, Ö?üt lives and works in Amsterdam.

Elizabeth Thomas
Phyllis Wattis MATRIX Curator

The MATRIX Program at the UC Berkeley Art Museum is supported by a generous endowment gift from Phyllis C. Wattis; The Andy Warhol Foundation for the Visual Arts; and the continued support of the BAM/PFA Trustees. The presentation of Ahmet Ö?üt: Exploded City / MATRIX 231 was made possible in part by the Mondriaan Foundation, Amsterdam.

http://www.bampfa.berkeley.edu/exhibition/231

na — Wed, 06 Jan 2010 17:53:48 +0000

Inner – Love

Home – Spring 2002 Spring 2003

na — Tue, 05 Jan 2010 18:36:20 +0000

Home – Spring 2003 Summer 2006

na — Tue, 05 Jan 2010 18:30:00 +0000

Home – Summer 2006 – Summer 2007

na — Tue, 05 Jan 2010 18:13:45 +0000

Home – Summer 2007 2008

na — Tue, 05 Jan 2010 15:07:01 +0000

Home – Summer 2009

na — Tue, 05 Jan 2010 14:55:56 +0000

Home – Autumn Winter 2009

na — Tue, 05 Jan 2010 14:49:42 +0000

getting in a negative sense.

na — Mon, 04 Jan 2010 10:09:08 +0000

if you only get what you give why do thoughts matter?

Tanriya Feryat

na — Mon, 04 Jan 2010 09:54:14 +0000

1969

p>TanrÄ±ya Feryat

TanrÄ±ya Feryat(1969)

printing

na — Mon, 28 Dec 2009 09:48:37 +0000

printing

Andy Howard
WhatTheyThink.com
ARMON? S?GORTA
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printing-industry

na — Mon, 28 Dec 2009 09:48:17 +0000

printing-industry

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Printing Industry Blog
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