#Giebel

[lknapp]

Bild des Tages: In München

[illazreich]

I know. I really do know that this fucker

has a pair with her

and don't get me wrong, their dynamic is great. i love both of them so much it kicks me in the gut every time they both shows up in one panel. but but the brother though

like the vision is there. we even have the balcony scene to fuel that.

i mean both siblings works on him not gonna lie chief. but i'm seeing it. and i will spread my vision.

[universallyarbiterinternet]

Altes Gebäude in Süddeutschland.

[gutachter]

Jugendstil-Villa Sanierung: Vom Rohbau bis zur Küche

„…Stuckleisten, eine prachtvolle Treppe mit handgeschnitztem Geländer und edle Jugendstil-Paneelfliesen – all diese Details gehören einfach in eine opulente Villa. Heute nehmen wir Sie mit auf zu einer aufwändigen und detailverliebten Sanierung. Unsere Reise führt uns in die charmante Hafenstadt Romanshorn am schweizerischen Bodensee. Hier, auf dem Gelände einer ehemaligen Drahtseilfabrik,…

[carolemm]

Un roman psycho-policier éprouvant, malsain et pourtant addictif.

L’histoire commence dans un commissariat. Richard et Laetitia sont flics et interrogés chacun de leur côté. Le temps d’une nuit, ils vont raconter leur version des faits.

« On se croit solide et fort, on se croit à l'abri. On suit un chemin jalonné de repères, pavé de souvenirs et de projets. On aperçoit bien le ravin sans fond qui borde notre route, mais on pourrait jurer que jamais on n'y tombera. Pourtant, il suffit d'un seul faut pas, d'une seule embardée. Ensuite, c'est la chute. L'interminable chute... »

« Ces deux êtres avaient connu ce que peu de gens effleurent. Ils avaient éprouvé un sentiment dont la puissance les transcendait.

Tenter de lui résister, de le repousser, de le vaincre.

S'y soumettre.

Traverser les ténèbres, se cogner aux étoiles avant de se consumer entièrement.

Ils avaient aimé si fort, si loin, que l'âme humaine n'avait plus aucun secret pour eux.

Ils avaient été vivants. Vraiment vivants. Libres de s'enchaîner pour l'éternité.

Ils avaient eu cette chance, avaient succombé à cette malédiction. »

[xtrablak674]

I enjoyed shooting with Tom.

[From a journal entry written back in 2008, it seemed to be the beginning thoughts of a longer thread that I didn't complete, it has been edited for clarity.]

He has an easygoing energy, his dry wit matches my own dark and twisted sense of humor which most people don’t seem to get, but I am not really bothered that they don’t. Being an iconoclast you’re used to dancing to the beat of your own drum. We can shoot exactly the same subject and interpret it totally differently. His style lends itself to monochromatic inanimate objects particularly piping or odd juxtapositions of pedestrians with their environment, while I enjoy erotic work, interesting humans, my own abstractions of objects and urban scribbles.

We are photographers.

Even after the success of my first show, I still consider myself an amateur having no formal training at all, and my primary medium still being digital. I guess I like the urgency of the medium, the instantaneousness of taking the picture and seeing it immediately. I wish I could be prouder of digital photography, but it seems everything has a camera built into it, and everyone is calling themselves photographers.

But I am different my photographs contain details of crimes that have yet to happen. Discarded items and places where beauty still survived. Erotic moments between two people that should probably be kept to ourselves. "A series of photos that are both intimate and alien..." according to my New York Times review.

I get ahead of myself, maybe I should back up a little bit because even to my cynical self this sounds a little hard to digest. But how do you tell a visual story in words and communicate the detail that only a trained eye could pick up. Well I will do my best.

I have lived in Prospect Heights Brooklyn for eleven years I guess you can say this has been one of the longest times in my adult life I have lived in once place continually, even though I consider myself a sedentary person, I admire people who seem to get up and move all of the time. I admire their freedom and courage. My spirit needs the comforts of familiarity, habits and neighbors you know by name.

Ever since I found my mother dead seven days before my eleventh birthday I have had problems with my memory, it seems the pain of that day and the following years changed the make up of my brain, I didn’t record memories the way other people did.

There was natural chemistry when I had my first camera a 110 roll-film camera that I could begin to retain the past which seemed to melt away from me like a Now and Later in your mouth. Photographs allowed me to freeze the past and remember it, but only that moment. Nothing that happen before the photo or after but the emotion I felt at the time the photo was taken I could look at the photo and remember that instant in time or at least pretend that I recalled it.

My next big camera time was my Olympus D460 Zoom with one point three megapixels, oh boy did that seem like such a big thing at the time, twenty years later not so much. But this digital point and shoot camera was my first foray into documenting my adult life. It was chosen because we had a three-sixty at work, and Olympus was a potential client, so I had been a bit immersed in their products. It made sense if I was buying a camera it would be one from the brand I was hearing about everyday.

And document I did, from my first adult relationship, my hookups in the internet 1.0 world, my own birthdays, the ending of my friendship with Adam all captured on my little silver Olympus. Oh and oh so many self-portraits which we now call selfies. This camera set the basis for how I would later shoot others as I got familiar with the best lighting settings, angles and positions in the room to shoot.

It also was a fly on the wall in some of the worst and best moments of my young life, tipping its eye on people and things that would be with me for only a short period of time. Stealthily gathering data that could be consumed at a later date and either cherished or judged for the things you saw and didn't see.

My first exhibition at Zion Gallery in Bedford-Stuyvesant included work shot on that very camera, I think I had fifteen pieces in that show. This was the time when I wasn't as sure about how to select work for showing, I would get better as I submitted more proposals and figured out which works resonated with folks. But they say you always remember your first, and that was one of two Olympus cameras I had before moving on to my big-boy camera, my first DSLR.

Canon EOS Digital Rebel XTi a real game changer for me I begin to capture a level of detail and depth that eluded me on my point and shoot, it felt like there was more weight added to the work as if someone had dialed up the gravity. My struggle with any and all cameras is, you have to learn how to use them. And struggle I did as I first shot on automatic settings, not learning how to shoot manually until I encountered and interacted with Tom who had several DSLRs and who I actually bought my first lens from. I didn't know that cameras were sold without the lenses. It just seemed odd to me, but I understand now that lenses are interchangeable and can follow a photographer around for most of her life.

With this camera I was able to present bigger work and more varied subjects. My intimate work was off-the-chain making the viewer feel like they were actually there during the creation, right after that shutter click. Curiously I still have this camera, never upgrading to a newer model like Tom was always so apt to do. It was a moment for me that lasted easily fifteen to twenty years, but I would get back to basics with my next camera, also a Canon but a point and shoot that I could literally fit into my shirt pocket or later the little Coach leather bag that I bought just for it.

Nowadays I shoot with whatever's at my fingertips, that is usually my iPad Pro, and if I feel like dealing with file transfers than my point and shoot. I am no longer actively exhibiting so the need for grand strokes is no longer there. My use of Lightroom waned as my artistic career did. No more need to res up a photo for printing, other than a handful of Google Photos prints most of the images nowadays just stay digital.

Most of my subjects have evaporated with the fact that most of my intimate work was with people I partnered with for sexual relations. I have been abstinent since the early tens, and not dated since the aughts. Curiously my friendships seemed to map the journey of my romantic partners and backed off too, falling to the wayside like so much debris. I am not sure if this is a part of aging or if I have been the culprit all along.

I did enjoy shooting with Tom, and never again really captured the sort of work I shot when shooting with him. We were so dedicated then, going out usually every weekend to some new location in Brooklyn, Queens or Manhattan and walking around and capturing what caught our interest. My subjects nowadays are much closer to home, and is why the post on the Tumblr dedicated to my photography has slowed down to all but a halt. I wanted to only post stuff that wasn't shot in my house or on my roof. I wanted to keep that space for the sacred work that I would shoot with Tom.

Tom and mines friendship took a fade, nothing was ever discussed, we just stopped meeting for brunch and picking a location and hopping on the train. We didn't share and talk about which of the images we really liked from the day. We no longer had that comfortable sometimes wordless time together anymore. There was no discussion, I think he was envious of all the exhibiting I was doing and the meager accolades my work was receiving, but I will never know because he ghosted our friendship and any connection faded away like a photograph will tend to do if left in the sun too long.

[Photo by Brown Estate]

[angelitam]

Et chaque fois mourir un peu, Livre 2, Trauma(s) de Karine Giebel

Et chaque fois mourir un peu, Livre 2, Trauma(s) de Karine Giebel – Editions Récamier Et chaque fois mourir un peu, Livre 2, Trauma(s) de Karine Giebel, présentation 2010, Afghanistan, les 4 hommes ont été enlev��s par les Talibans. 1ère exécution, décapitation est filmée. Ils sont en pleine montagne. Tenir encore et encore. Une première tentative d‘évasion a avorté. Greg et Paul seront ensuite…

[willywaldo]

The best-selling French author of psychological suspense makes her U.S. debut with an intense and heartbreaking homage to an American literary classic, John Steinbeck’s Of Mice and Men.

[ronnydeschepper]

Theo’s Buitelingen (64): broodje aap verhaal over een zoekgeraakte teen

In de Volkskrant van afgelopen zaterdag, aan de vooravond van L-B-L, schreef Robert Giebels : “De wielerromantiek vereist dat een renner altijd weer opstapt”. Continue reading Theo’s Buitelingen (64): broodje aap verhaal over een zoekgeraakte teen

[bookinette]

[lknapp]

Bild des Tages: In Offenbach

[illazreich]

i know they only have the total of 3 minute screentime with each other with one being a church pastor and the other canonically being in love with a woman but something tells me they lost focus mid way and accidentally had a consensual workplace relationship at some point

also damn church boy, them hips in MY christian anime??? OUTRAGEOUS. (i love him sm)

[universallyarbiterinternet]

Gadenstedt Haus in Wernigerode im Harz: eines der ältesten dortigen Häuser.

[gutachter]

So schützen Sie Ihr Haus vor schweren Unwettern

„…Wenn schwere Stürme drohen, sollten Hausbesitzer vorher ihr Haus und den Garten fotografieren. Das rät das Bundesamt für Bevölkerungsschutz und Katastrophenhilfe (BBK) in Bonn. So ist es hinterher leichter, der Versicherung Schäden zu beweisen. Hausbesitzer sollten bei einer Unwetter-Warnung: Fenster, Roll- und Fensterläden schließen. Alle beweglichen Teile im Garten, auf dem Balkon und auf…

[polkadotmotmot]

Thomas Geyer - Giebel, 2023