of dislocation & graceful unravelling

05.21.13 | selenographie

above: My old bicycle that smashed head-on into a truck back in December. I can’t seem to get a good angle to show the damage but, like, when the front wheel is pointing straight ahead, the handlebars are turned nearly 90 degrees to the left.

below: New bicycle! I also got super bright head- and tail-lights and a helmet with lights. Though I still biked on the sidewalk and rode the brakes like a panic-stricken jerk. My first night ride was the same route where I had the accident. Bring it on, Athensss.

queennubian:

wahaladey:

photobooth.

YES DAMMIT!

(via golddays)

Dave Parker, Pittsburgh Pirates, 1976.

(Source: rbw, via blake500)

paigepixel:

New Orleans Fruit Vendor- 1950s

In a box of largely uninteresting slides was this gem. 

The pacakge was marked “1950s, French Quarter, LA,” and although the rest of the photos were of the river and whatnot, this appears to be a side street in the Central Business District.

The slide was in rough shape, washed out and badly scratched. I cleaned it up as much as I could, but I would have loved to have been able to bring out the expressions. Cropped closer all the people seem ghostlike, with no facial features visible at all.

(via danholepond)

Twilight Criterium (Men’s Race), Athens GA, 04.27.13 | selenographie

Roberto Clemente

Bill Mazeroski’s winning home run, 1960 World Series.

romantickissing:

Candice Sortino, age 17, ran out on the field during the 7th inning of the Arizona vs. South Carolina game at CWS on June 25th.  She smacked two players butts; the one shown here is center fielder Joey Rickard.

(via scumblebee)

Tabitha Soren: Robert Lee Boulevard, Lakeview, 2007 (from the Uprooted series) (via DailyServing)

Ansel Adams: Moonrise, Hernandez

“[It is] probably Ansel’s most famous picture. And I was very fortunate to be there when it was taken. I was seven years old. We were coming back to Santa Fe from north, and Ansel saw this image. He pulled the car off the road very rapidly, got out — got us — there were two of us also with him, and we were trying to get the tripod, and he got the camera on it, and he had made the — looked at the picture and then he wanted his exposure meter, but he couldn’t find it. So, he knew that the luminance of the moon was 250 foot-candles, and from that, he derived the exposure. He took that picture, put the slide back in the film holder, turned the film holder around. Before he could pull the slide to take a second one, all the light in the foreground was gone! … If you look at the plain image, just the straight image of this, and then you look at this final print, there’s a huge difference, and this was part of Ansel’s magic is what he could do in the darkroom.”

— Michael Adams (Ansel’s son) (via Iconic Photos)