178 Garfield

from the bb8 annals of lurking....I was clicking through my bookmarks tonight when I came across the site of, Levenson McDavid Architects
their website has a great show of the firms' beautiful work, via their portfolio. I must have looked at it a hundred times before but for some reason,

'178 Garfield' jumped out at me tonight.

When I sat down to write this post, and began mentally, blathering on about old bones, and the juxtaposition of modern and antique, organic and industrial, blah, blah, blah, I had a total sense of deja vu.

Love, love the moulding, the fireplace the soft gray walls. the little row of polaroids {?} lined up on the mantel.
{those chandies. not a fan. just a personal thing}

the Morraccan rug, the Bertoias with the wood dining table.

And then I got to the gray bedroom. That insanely devine gray bedroom.

I stopped.

Wait, a second. Is it? Go back to the yellow sofa shot.

oh yes. This is that home featured on the cover of one of domino's last issues.

Of course, with domino's website 'expired' I had no way of confirming {although could you forget those parquet floors in the bathroom? }. So with a bit of stellar sleuthing {i.e. looking through a couple of back issues I have stacked on my shelf next to me}

I confirmed, it is indeed the home of J. Crew, Creative Director, Jenna Lyons Mazeau. So my apologie if you've seen this a thousand times over. But it's still a completely divine little mixture of all things fabulous with a helping of 'old house lovin'' thrown in for good measure.

"A townhouse gut renovation retained the historic 19th Century detail, yet introduced modern conveniences such as high-efficiency central heating/air-conditioning while giving expression to the sensibilities of this fashion designer/sculptor couple and their young son."

Levenson McDavid Architects

to see domino's photos go here

senseless act of beauty: painting sidewalks

The art of Australian artist, Poppy Van Oord-Grainger, who spends her time painting,

teeny, tiny, beautiful works of art on sidewalks.

The older woman whose home this is, came out to find Van Oord-Grainger's work and was so touched she exclaimed, 'you are so clever. like Michael de Vinci'. 3 days later, she had her son dig up the slab of concrete to keep. She thanked the artist by giving her a gift of fresh eggs and 'cough lollies'

read about it here

an extinct art....

why don't children have to practice this anymore?

beautiful. circa 1800

more here

april food day

On April first, bloggers across the country are asking readers to consider making a donation of one dollar {or more} to Feeding America.


Every dollar you donate to Feeding America helps provide 10 pounds of food and grocery products to men, women and children facing hunger in our country. If every reader that reads this post donates a dollar, we could easily raise many tons of groceries. Something to consider.

If you'd like to help please, go *here*

God has a PLAN for you!

Jeremiah 29:11 (New International Version)

11 For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future.

Reflection:

God knows you personally and he had already crafted a plan even before you were born. A plan especially made just for you!

Trust in him!

Believe that whatever you’re going through right now and whatever road you're travelling, it’s all part of His SOVEREIGN Plan for you.

You maybe going through sad and trying times but the LORD is telling you today, “Take Heart and Hold on! A Bright prosperous Future awaits you!”

God Bless!

Welcome to Your Daily Word

Thank you for visiting Your Daily Word! I encourage you to join me in this journey of Studying God's Word and Learning from Him. You may subscribe through Email, RSS feed, Follow or Join my communities below. I encourage you to leave comments and feedback in any of the posts.


God Bless You and see you in your next Daily Word!


If you have Prayer Requests, please send an email to yourdailyword@gmail.com with Subject Line: Prayer Request

If you want to submit an ARTICLE, please send an email to yourdailyword@gmail.com with Subject Line: Article

Karina Garrick

Growing up, I used to love to arrange little vignettes in my bedroom recording them with my Polaroid one-step and then cataloging {can't believe I'm admitting to this publicly} them in my "Little Twin Star" photo album.

{another large horse. why am I so drawn to the giant equine-look lately? Any psycho-analysts or Jungians in the crowd, wanna take a shot at that? Remember, I get to moderate all comments }

Future control freak? or Future stylist?

In my case, a little of both I think {erring more on the former, if you ask my children}

In the case of Karina Garrick, no doubt about it, 100% stylist {and interior designer, and art director, and stylist, and creative image consultant....basically, my job-idol}

to view more of Garrick's vast body of work *go*here*

::ralph goings::

Pam oil on canvas approx. 48 x 34 1967

Two Objects oil on canvas 9 x 12 2006

Half & Half Creamer oil on canvas 18 x 18 inches 2000

Boxed Donuts oil on canvas 16 x 20 inches 2002

The Super-Realism movement of the late 60s early 70s, makes me really happy.
Artist Ralph Goings' work is no exception.

More on Goings and his work here

A Walk Around the Monobloc, Pt. 1

Speedlights are great, and I use them about 90% of the time. But that does not mean they are always the most appropriate tool for the job. Nor does it mean they might be the best choice for your style of lighting.

If you have learned to use your speedlights in manual, you should not at all be intimidated by the idea of using "studio strobes." In fact, you'll probably find the typical monobloc to be very familiar territory by now.
__________


Lose the Dogma

First of all, any time I shoot something with a monobloc, someone comments about it "not being Strobist," as if we had some kind of kosher standard going on around here. For Pete's sake, Strobist is the name of a website. I know, because I made it up in 2006. And there was no burning bush or stone tablets involved at all.

I used speedlights most of the time as a PJ, because they are the flashes I always had with me. And I created L101 and L102 around speedlights. But that is because speedlights are small, portable and the most accessible way for people to learn about lighting.

Most people learn to shoot with a little .22-calibre rifle, and save the .50 cal until a little later when they need to pierce an engine block at 700 yards.

IMO, to extend the speedlight ethic into a frame of mind where monoblocs (or pack and head systems) are somehow not to be considered is just silly. I am an available light photographer. Meaning, if a light is available I will consider using it.

Speedlight, monobloc, car headlight, iPhone -- I have used them all. If I think an ignited fart will improve a photo, then please pass the beans and matches. Speedlights are wonderful little lighting machines. But they are not the end-all, and they are not always necessarily the best tool for any given job.

There. Just wanted to be clear on that.

And I am kidding about the beans. Don't try that for a light source. At least, we don't to that in my family anymore. Not since that emergency room visit for my uncle Morris. (And I am not kidding about that, either.)


Been There, Done That

For lighting large objects (or overpowering sun at a reasonable working distance) bigger flashes simply make more sense than speedlights. My "big" flashes are two old White Lightning Ultra 600's. They are very similar to the current WL models and to today's AlienBees, except my 600's have had the crap beaten out of them.

I am currently re-evaluating my monoblocs and deciding which direction I want to go with them in the future. But I wanted to use the opportunity to take a moment and do a walk-thru for those of you who are unfamiliar with bigger flashes.

Today, we will walk through a typical control panel, much of which will be familiar to manual speedlight users.
__________



(Click the pic for bigger in a new window.)

Here is the control end of a WL Ultra 600, which is a 300 watt-second (WS) monobloc. It is typical in layout to most other mono's, and this one is about five times more powerful than your average speedlight.

Up top, you'll see the power level adjustment. This is exactly like dialing down your manual power level in a speedlight, except in this case you are not limited to full- (or half-, or third-) stop increments. This is a continuously variable, minus 5-stop power control, and one of the reasons I love the White Lightnings and AlienBees.

Actually, power level is an area where many speedlights and monoblocs intersect, too. For example, this a 300WS monoblock. If I dial it down a stop, it is now at 150WS. Down two stops is 75WS, which is getting into the neighborhood of an 60WS SB-800. So, they cross over in power output for the range of -3, -4 and -5 stops on the monobloc.

The efficiency of the reflector in the WL gives a little more light output per watt-second. But you will still find an area of crossover between the two. This is convenient, as it means you can use both types of flashes in conjunction if you only have one monobloc and a few SB's.

On the left is the modeling light switch, which will be of less importance to you if you have grown up using speedlights. They are nice to have, but also introduce some significant limitations when you try to power the mono's with batteries. More on that later.

Across the middle you'll see buttons, jacks and lights. The red "test" button is exactly the same thing as the test button on your speedlight. You push it and the flash pops.

Just above the test button is a "dump" light. This is an indication that the flash is storing too much power because you charged it up and then lowered the power level without popping the flash to bleed the unneeded juice. Most new mono's dump this power automatically. (They call it "auto dump.") But if yours does not this, is a good thing to know. If that light glows, pop the flash, Simple as that.

That round hole is the sync jack. What is a coveted but much-missing feature on many speedlights is standard equipment on a monobloc. Which is good, as you cannot very well mount a mono on your hot shoe. Pay attention to the type of connection for this jack, when shopping for a big flash. It can either lock you into proprietary connectors or free you to use standard, cheaper cords. My preference is 1/8" or 1/4" audio-jack-type connectors.

The white "model" button at center right actually helps you to know your flash is ready by turning off the modeling lamp until the flash is fully recycled. Some flashes can be set to emit beeps when recharged. A model-off-when-charging setting just gives you a visual confirmation.

The white dome further right is the optical slave receptor. Slaves on mono's are typically pretty sensitive, but you cannot aim them well because they are always gonna point away from the direction that particular mono is firing.

Speedlight slaves typically can be rotated to different directions from the flash head, which helps a lot. This is partially offset be the fact that the mono's will typically be firing more powerful light, so slaves can usually see the pulse better.

At far right you have the power switch -- simple enough. Just below that is a proportional model switch, which can get you an apples-to-apples modeling light comparison with WL monoblocs of different power settings.

Round that out with a circuit breaker (bottom left) and a remote control jack (far left). The latter allows the power and sync of a flash to be controlled by a wired remote.

If it looks complicated, it is not. At it's heart, it is a big, manual flash with a slider power control, a sync jack and a built-in slave. You already understand all of the important stuff.

And that's really all you need to know to handle most monoblocs just fine. They mount to your stands and light mods just like speedlights, as they have built-in umbrella swivels. And all of the theory and practice is the same -- you just have more power to play with.

You'd think the fancy control panels would be where the most important differences lie. But really, it is the lighting flexibility (and power) at the business end that mostly separates these guys from the little flashes.

More on that, in part two.

earth hour

photo: martha stewart july/august 1997

8:30 - 9:30 tonight.

turn out the lights and turn on the love.

baby.

peace out

DeadConNecTioN, originally uploaded by i.anton.

The influence of the design blogger

Today I had the honor of being invited to partake in the Decorati and Schumacher panel: The Influence of the Design Blogger.

Moderated by ceo and Decorati founder, Shane Reilly, the event took place at the Schumacher showroom in the PDC as a part of Westweek. My fellow panelists and bloggers as seen here, Mark Cutler {Mark Cutler design}, myself, Shane Reilly, Timothy Corrigan {Decorati guest blogger} and Andrew Puschel {Schumacher}. The discussion was lively with great dialogue between the audience and panelists.

Topics from the audience included:

whether it's worthwhile for publicist to send bloggers press releases on their clients newest product? I said, great, but if it's a form letter, I'll probably pass right by it. Sending a personal email makes all the difference and has even created a few friendships along the way.

There seemed to be a slight bit of angst as to how one actually creates a blog. Not necessarily the hosting part but, the art direction and the building part of the blog? That's the beauty of blogging! It's all you. A personal reflection of you and your thoughts. No rules. I always tell people, forget about your header, forget about that back ground color, grab a template that appeals to you and start writing. The writing is the most important part. Or posting if you're image heavy. The look of your blog evolves.

need photo of the group chatting afterward *here*

The hour sped by quickly and afterward I chatted with a few people whom I had only "known" as readers or from their own blogs. It's always fun to meet everyone in person.

I was especially excited to see fellow bloggers Vanessa de Vargas of Turquoise, Rebecca Orlov of Apartment Therapy and Christian Mays of Maison21 {whom I knew only from our facebook banter and now for 'real'} and thank you to my dear friend Coleen of Coleen & Company for dropping by too.

If you are unfamiliar with decorati, take a minute to jump over there now. This is the preeminent global resource for interior designers and design enthusiasts. Consumers are able to browse and purchase trade-only products via the web. What's not to love about that? Brilliant.

BIG, BIG thanks to Ronda Carman , Decorati and Schumacher for including me in this pertinent and informative seminar.

Nick Turpin: Back on the Street

London-based speed-lighter Nick Turpin has brought a videographer along on another one of his snooted SB-800 street shoots.

For the shoot (done for MensHealth magazine) he simply approached appropriately dressed strangers on the street and created an instant studio around them.

Video, links and more pix after the jump.



__________




(If you are reading on RSS or via email, click on the post title to be able to view the movie.)

I love this look, as much for the low-impact gear aspect as for the results themselves. Just underexpose the ambient, then go in and carve in some highlights with the strobes to add depth and dimension to the scene.

In terms of needing permits for commercial shoots, the fact that Nick can work without light stands or tripods usually eliminates the need for any sort of street shooting permit.

Well, any place but London, maybe. Just carrying a camera in that city can get you in trouble.


Recent laws enacted in the UK pretty much equate just having a camera with being a terrorist. Literally, if you are taking pictures on the street in London you can be searched and/or arrested if an officer "reasonably suspects" you of, well anything.

How's that for a first-world free and open society?

Actually, Nick had a few words to say about that for iN-PUBLiC, an organization that advocates for street photographers.




I suppose they could rewrite the laws to allow only people with dinky little cell phone cameras to shoot on the street. But then, Nick just finished a worldwide ad campaign using only a cell phone camera, too.

They will probably outlaw people with photographic memories next.

Related Links:

:: Nick Turpin ::
:: iN-PUBLiC ::

get out of the way I'm trying to look at your place

In case you missed this, like you: I'm a voyeur. Not a A nosy Parker, just an observer. I really don't care to know much about your personal details, I just want to see into your house. See what you have going' on in there. What colors you've chosen, what art work you have hanging, nothing too personal. Thanks to reality T.V., now I can enjoy my sport from the comforts of my sofa.

The last two weeks on bravo's RHONYC, we've been given, annoying glimpses and out of focus shots of Kelly Bensimon's NYC apartment. You'd think this denizen of fabulosity world, would have her houses splashed all over the shelter rags. If she has, I can't find much on them. I did, however, find a few scans from an old Instyle magazine with a view of those pink sofas and that life sized horse sculpture {which she acquired from the Met}

the horse is actually pretty amazing.

some are tired of pink, or merely don't do pink. Personally, I'd love a couple of big pink sofas. Could do without the zebra.

check out that palladian* window.

I swear, the chairs she has around her dining table, now, look like they're antique Louis chairs with faded, mis-matched velveteen. But these are equally cool. {yes, of course, I paused the scene}

oh and here are a few lame pictures of her house in the Hamptons. I say "lame" because I want more. This doesn't really cut it.

zzz.

can we get on with the tour now...

beautiful children in French, lawn cloth dresses.

green, painted floors. green, yellow and one blue taper. starck 'la marie' chairs:

I have a feeling this house some much better photo ops.

But, I totally understand..it's a privacy thing.

*ok, before you jump all over my ass, not technically 'palladian'
but it sounded better than 'cool window with the arch'

all images from bensimon's website.

fresh kill

yes, please.

1940s, acorn bureau by cabinet maker Johan Tapp

fresh kill for fyndes

vintage favorites

some of these...

in these......

trophies- bluebell bazaar

somethings you just don't get at the beach.

::the exotic series:: exclusively at Coleen & Company

Leave it to Coleen Rider to pull together a genius idea, involving vintage style and present talent.

Exclusively at Coleen & Company, the talent of artist, Victoria Molinelli's* paintings based on Rider's collection of vintage interior shots.

I've seen these paintings.... up close, in the flesh.

Examined them with a scrutinous eye. I've all but held a magnifying glass to them {the detail is incredible}.

Molinelli's talent is exceptional. Her technique is clearly one that has been mastered only by someone with innate talent. Bottom line, this is serious talent showcased by a delightful, translation of vintage interiors.

Limited edition prints on water color paper, hand signed numbered 1-25.

Only at Coleen & Company.

*for more on victoria molinelli jump over to style court