#Josh2

[devo-photos]

DEVO & The Locust - Perris, California - October 12th 2019

Photo by Becky DiGiglio

[oldestwounds]

@satanskxds liked for a smut starter

At this point in her life Ana didn't know if she even really believed in the "definition" of mates anymore. That definition being that you just "knew it was your true one and only forever and ever mate as soon as you saw them". And the reason for that was because at this point she was 26 and she didn't feel like she necessarily knew anything yet. But that was because so far into this specific night at the bar, she hadn't laid eyes on Joshua Constantine yet. So Ana thought for the most part that a mate really could be anyone. That maybe you found that out in retrospect, five wolves down the line, and it hit you all of a sudden when you knew the wrong wolf was inside you or something and that was because the face of who you knew was your soul-mate would pop into your head. Ana didn't know how entirely wrong she was. At least not until she turned her head.

The petite redhead felt like she was going to pass out with the way she could all of a sudden feel her pulse in her ears, over and over, back to back; bump, bump, bump, bump, bump, bump. It took her a moment to be able to focus her vision again, but when she could all she could focus on was a tall, drink of water at the bar and her legs were carrying her over toward him before she could think and the only thing she wanted to do was make sure that he felt it too....But what if he didn't? What if he felt about her the way she'd felt about all those other wolves? Her legs were stillmoving and before she knew it she was standing in front of him. "Hi.. "

[nesshead68]

Josh Hager of DEVO art. This is a pic of my iPad Pro screen. Original has more detail and color. #nesshead #devo #devolution #energydome #boojiboy #spudboy #80s #newwave #music #Joshhager #art #artistic_unity #artoftheday #drawingoftheday #drawordie #digitalart #procreate #instaart #instaartist #celebrity #photooftheday #picoftheday #josh2 #illustration #illustrationoftheday #sketchoftheday #sketch

[jaedanielle]

I heard you liked bananas1" “Well I heard that you were a little bitch2

Tyler1 Josh2

[legit9ja]

MUSIC: Sound Sultan ft Josh2 Funny – Jenifer

Sound Sultan returns with a new socially conscious tune by prolific Nigerian music sensation, titled “Jenifer” featuring Instagram comedian, Josh2 Funny.

DOWNLOAD(Sound Sultan ft Josh2 Funny – Jenifer) Click to Post

[sammygurus1-blog]

Sound Sultan – Jenifer ft. Josh2 Funny

Sound Sultan – Jenifer ft. Josh2 Funny

Sound Sultan – Jenifer ft. Josh2 Funny Mp3 Download Here’s a new socially conscious tune by prolific Nigerian music sensation, Sound Sultan titled “Jenifer” featuring Instagram comedian, Josh2 Funny. Check on it, share and enjoy! http://www.042Hype.Com.Ng/wp-content/uploads/2017/06/Sound_Sultan_ft_Josh2_Funny_-_Jenifer-042Hype.Com.Ng_.mp3 DOWNLOAD: Sound Sultan – Jenifer ft. Josh2 Funny

[superbmusicearthquake]

via GistXclusiveTV.com

[historicalsp17-blog]

Compare/Contrast: Joni Sternbach and Laura Partain by Melanie Miller

Melanie Miller Historical Processes Research Paper Nicole Frocheur

Compare/Contrast: Joni Sternbach and Laura Partain

As a general rule when researching artists, I always investigate women first - they are typically given less publicity than their male counterparts, so I like to supplement my traditional knowledge with some self-education to expand my horizon by learning about artists that I can identify with more easily. As such, the two artists that I have chosen to discuss are Joni Sternbach and Laura Partain. Both work with a variety of mediums, but this paper will compare and contrast their work with the wet plate collodion processes.

Joni Sternbach is originally from New York City, and earned her BA in photography from the School of Visual Arts, while earning her MA from NYU/International Center for Photography in 1987. She has been featured in 17 one person exhibitions since 1986, but has had her most consistent success since 2000, and is featured in over 20 various public collections, but this ranges the breadth of her work, not just her work with the collodion process. She primarily works with large format photography and historic processes to “create contemporary landscapes and environmental portraits” and her works often focus on society’s relationship with water. As far as can be ascertained, all of her wet-plate processes are done on location with a portable darkroom.

Sternbach’s most recent series, Surfland, is what the artist describes on her website as “an on-going series of direct positive, tintype portraits of surfers”. Sternbach uses her subjects to explore several different concepts within one centralized project. Her collodion tintypes echo that of anthropological photography from the 1800s, and she explores the juncture between the sea and land as a way to examine the constant state of transition that humans and the world they inhabit are subjected to. The series of images mostly consists of portraits, varying from lone individuals to groups of people, but most images typically feature two to three people, predominately posing with their surfboards. A smaller number are of the surfers are interacting directly with the water instead. All have an ethereal quality, their bronze tone bringing a warmth and familiarity to the images. Though they are her most contemporary work, and of contemporary subjects, the images have a timeless, nostalgic aura to them.

Not all of Sternbach’s works utilize the collodion process, but some notable series that do are The Salt Effect and Abandoned. The Salt Effect examines the effect that salt and the desert has on its environment, and the objects and people in it. Sternbach works with more than one medium within the series - the more contemporary processes are saved for the images that are cleaner and less ravaged, while the collodion tintypes she employes portray the ravages of time and a harsh environment on the landscapes and civilization that the northern part of Utah is so known for. Abandoned, a series of photographs comprised of tintypes and ambrotypes, examines the imprints humans leave throughout their lives. In this series, Sternbach photographs abandoned structures and locations humans have attempted to inhabit. The artist describes the wet plate processes as profoundly relevant to the body of work, and uses the processes to draw a visual thread between each image. While she uses period lenses, she also attempts to use them in ways that were not historically accurate, to create a look different from that of the historical norm. In this series, she photographs “landscapes with portrait lenses”, and uses lenses that don’t quite fit the glass she has chosen to photograph on. This creates vignetting, and Sternbach says that all of her choices are deliberately intended to allow the viewer to see more facets of the craft and construction of the image. (Sternbach)

Sternbach describes her 9 year project as one that takes a “the most boring photo you’ve ever seen in your life” and transforms it into an “incredible-looking image”. Sternbach’s self awareness about her own work is commendable. If one were to visualize her collodion tintypes as if taken by a digital camera, the image becomes much less impressive. Her compositions, while good, are certainly not breathtaking alone - in color, even, these subjects would probably feel more average. This is best exemplified in her shots, like Shaun, a unique 8x10” tintype (attached below), if in a different format, and shot with a phone, could easily also be an image intended for social media. Where this series truly succeeds is how Sternbach makes the contemporary feel like a historical present. These photographs do not feel antiquated in the slightest - the collodion tintypes instead root the images in a sense of genuineness that most likely would not have been communicated in contemporary photographic processes. Her subjects are part of this genuine expression, and Sternbach sums it up herself:  “I feel that surfers are closer to their primordial past. There’s a spirit of freedom involved with the act of surfing and it’s incredibly appealing. They are the people who just get out there and do it every time.” The collodion finds its match in this connection to the past, bringing an aspect to surf (and collodion) photography previously untapped. (Cardwell)

  Laura Partain is also a photographer working with several different mediums and focuses on several different types of subjects. Her bread and butter appears to be rooted in music photography, but shows personal interested in rural subjects and a love of portraiture. She has a BA in Cinema and Photography from Southern Illinois University Carbondale and currently resides in Nashville, Tennessee.

Partain’s work with the collodion wet plate process is not as nearly extensive as Sternbach’s. Most of Partain’s collodion work appears to have been shot in some sort of stable environment, rather than all being outdoors, like Sternbach, and nearly all are portraits. She shows a preference for shooting her subjects with a framing from the bust up, and most of her subjects engage directly with the camera, looking into the lens for the exposure. While the subjects appear to be contemporary, they also have been photographed in garb that is suggestive, to a degree, of the time period that collodion was traditionally used in. This is no doubt an effect and intersection of Partain’s work and interest in subjects from a rural environment. Those who live in poor, rural areas lend themselves to photographing with this type of historical look.

Only a small selection of Partain’s collodion works are outdoors, and these images are distinct from the rest of her collodion work - the collodion surface seems to be less stable, as if she was rushed to apply it. While all of her work is noticeably collodion in this way, the exterior images she has made suffer from it to a far greater extent. None of Partain’s collodion plates have had a ‘perfect’ coating of collodion applied - some have missing bubbles in the center of the image, and hardly any images have perfect edges. This lack of perfection - the missing collodion, and subsequent image - creates a similar sensation that vignetting does. Here the imperfections are not a drawback, and instead support the rural and period look that Partain certainly was aiming for. (Partain)

Partain’s portraits read with an incredible intimacy, and while her framing has little variety, it is surprising the depth by which each individual photograph changes and varies in the type of emotion conveyed. Partain is clearly quite good at capturing honest expressions from her subjects. Her most inventive shot is that of a double exposure, using the collodion process to make an ambrotype. This double exposure is untitled (but the image file reads ‘josh2.jpg’ and is attached below) and was staged in two ways: one, like a traditional portrait, with Josh looking into the camera directly, with a solemn expression on his face. The second exposure, posed, consists of Josh’s face off kilter, with a fist protruding into the frame, resting on his face. While both exposures are posed, the conflicting shapes the two exposures make together communicate a sense of movement, despite the posed nature of both. The collodion process is clearly a passion project for Partain (The Museum of Americana), and while she has not reached the level of critical success for her work with this medium that Sternbach has, she still shows an intense dedication to it. A photography subject of hers who posed for a collodion photograph, Jamie Clayton, described her portable darkroom setup to render photographs in this historical process. Partain shoots on a large format camera, and develops her glass plates by way of a tent that she has housed and expands from a trunk; the collapsible nature of this darkroom allows Partain to take her work out into the field, accounting for the few shots that are not portraits. (Brier & Moss)

Each artist uses collodion for nearly opposite reasons, subjects, and concepts. Both artists, however, use the process to the respective strengths of their subjects and use the medium to add a visual component and factor to the stories they are trying to tell. Their utilization of the medium isn’t for the medium’s sake itself, but is rather about what it is about the medium that can enhance their conceptual work as a whole. The large difference between the two are their ages - Partain is at the beginning of her career, while Sternbach has seen some degree of success already. Partain’s work, while not polished like Sternbach’s because of this, shows promise, and that she shows the first signs of experimentation with her subjects and locations is both promising and exciting.

Sources

Sternbach, Joni. Joni Sternbach. N.p., n.d. Web. 13 Apr. 2017.

Cardwell, Diane. "Capturing the Stillness of Surfers in Portraits." The New York Times. The New York Times, 20 July 2015. Web. 15 Apr. 2017.

Partain, Laura. Laura E. Partain. N.p., n.d. Web. 13 Apr. 2017.

"Ambrotype Portraits — Photography by Laura Partain." The museum of americana. The Museum of Americana, 09 Feb. 2013. Web. 15 Apr. 2017.

Brier & Moss. "Photographer Collaborations: The Beeson v2." Brier & Moss | Bow Ties | Mens Bow Ties | Luxury Bow Ties | Alumni Bow Ties. Brier & Moss, n.d. Web. 15 Apr. 2017.

[mr1way]

My boyz grinding #josh2.0 #Deon #hitman #BlueChip

[yessir-im1ofakind]

The entire school had a BBQ today!! #Eddie #Jeremy #Josh2

[sandy-haynes-blog]

Josh and Sandy | Night Out

Sandy walked into the movie theater with her friends, having a nice Friday night with them after a long week of school. She got in line to buy popcorn. She hadn’t seen much of Josh around school as she would like since they were in different classes. She was so excited he asked her out to prom and she planned to search for the perfect dress soon.  

[oldestwounds]

She could smell he was an alpha before he said anything, but the fact that he added it had a small smirk finding her lips, though when he took her hand and kissed it a shiver went through her spine and her face softened as well. He was handsome, and a gentleman, and at the rest of his words a small giggle left her lips. Ana could barely believe it...she didn't giggle, yet standing in front of this man...Josh...had her heart racing like a school girl with a crush.

"Hmm." She hummed, taking her hand back and running it through her short red locks, serving to strengthen the whiff of her scent he would get with the movement. "I don't think I'm going to be able to claim those bragging rights." She admitted, her lips curling upward as she took a smaller step toward him. "I'm Ana." She introduced, barely able to keep herself from reaching out and touching him. He was hers, he had to be hers. Without thinking her hand reached up to rest on his chest, dark eyes moving from her hand up to his own dark hues. "You feel it too?" She murmured softly, her voice barely above a whisper. For someone who hated not being in control, she found she was giving more control to this wolf than she had anyone else. Giving him the power to reject her in that instant terrified her, yet she couldn't take her eyes off of him.

@satanskxds liked for a smut starter

At this point in her life Ana didn't know if she even really believed in the "definition" of mates anymore. That definition being that you just "knew it was your true one and only forever and ever mate as soon as you saw them". And the reason for that was because at this point she was 26 and she didn't feel like she necessarily knew anything yet. But that was because so far into this specific night at the bar, she hadn't laid eyes on Joshua Constantine yet. So Ana thought for the most part that a mate really could be anyone. That maybe you found that out in retrospect, five wolves down the line, and it hit you all of a sudden when you knew the wrong wolf was inside you or something and that was because the face of who you knew was your soul-mate would pop into your head. Ana didn't know how entirely wrong she was. At least not until she turned her head.

The petite redhead felt like she was going to pass out with the way she could all of a sudden feel her pulse in her ears, over and over, back to back; bump, bump, bump, bump, bump, bump. It took her a moment to be able to focus her vision again, but when she could all she could focus on was a tall, drink of water at the bar and her legs were carrying her over toward him before she could think and the only thing she wanted to do was make sure that he felt it too....But what if he didn't? What if he felt about her the way she'd felt about all those other wolves? Her legs were stillmoving and before she knew it she was standing in front of him. "Hi.. "

[nicolediorgalitzine]

[katetownfit]

Some eye-candy for our #SundayFunday 🍻🍻🍻 #SunsOutGunsOut @jourdanevans89 @bradjone5 @jjcraig31 #Josh2