That is what heaven looks like
Want to own a giant collection of vintage cameras, but don’t want to spend a lifetime acquiring them one by one? If you have deep pockets and money to burn, here’s your shot: collector Brain Cue of Alameda, California (kka20101 on eBay) is selling his massive camera collection that he has spent over 50 years building up.
The collection contains over 1,000 pieces of cameras, lenses, and various accessories. kka20101 notes that he doesn’t know the exact number of pieces in the collection — it may even be more than 2,000 separate pieces.
All the major camera brands (e.g. Canon, Nikon, Rollei, Yashica, Ricoh, Polaroids, Kodak, Fuji, Pentax, Petri, Pax, Mamiya) are represented in the lot, as well as all kinds of camera bodies (e.g. SLR, RF, TLR, medium format, point and shoot).
Most of the are in both working order and great cosmetic condition — this isn’t a mountain of broken cameras.
Here are some more jaw-dropping photos showing how expansive the collection is:
Shipping the collection would likely cost an astronomical amount of money, so Cue recommends that you visit him locally to pick up the lot (you’d probably want to bring a U-Haul, a boatload of cardboard boxes, and tons of protective padding).
So… regarding price: the starting bid is $34,999, but you can buy the collection outright if you’re willing to drop $49,999 on it. If there’s indeed 2,000 pieces, this would average out to about $25 for each item. There’s currently one day left in the auction, so get a move on it if you’re interested!
Funny Vintage Tobacco Ads
A collection of funny tobacco ads in the past
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The History of Muscle Cars
Although the muscle car era was short-lived, it still defined a generation in America, and has given us possibly some of the most collectible cars in all of automotive history today. With the sharp lines, wide profiles, muscular looks, and chrome, these cars looked mean.
What is Muscle car?
The definition of a muscle car is a mid-size model car, with V8 engines, generally produced between 1965 and 1973. Most muscle cars were current mid-size models being produced by car manufacturers, and they added a large V8 engine, special trim, and usually better handling and performance options like suspension, braking, etc. A good example of this is the 1970 Chevrolet Chevelle. This model was designed as a mid-size family vehicle and the base model was powered by a lonely ‘ol 4 cylinder engine, or you could team it up with the biggest muscle car engine of it’s time, the 454.
How did it all begin?
Opinions on the origin of the muscle car vary, but the 1949 Oldsmobile Rocket 88, created in response to public interest in speed and power, is often cited as the first muscle car. It featured America’s first high-compression overhead valve V8 in the smaller, lighter Oldsmobile 76/Chevy body for six-cylinder engines (as opposed to bigger Olds 98 luxury body).
Musclecars magazine wrote: “the idea of putting a full-size V8 under the hood of an intermediate body and making it run like Jesse Owens in Berlin belongs to none other than Oldsmobile… The all-new ohv V8…Rocket engine quickly found its way into the lighter 76 series body, and in February 1949, the new 88 series was born.”
The short-lived Plymouth Road Runner Superbird was a highly modified version of the Plymouth Road Runner with well known graphics and horn. It was the factory’s follow up stock car racing design for the 1970 season to the Dodge Charger Daytona of 1969, and incorporated many engineering changes and modifications (both minor and major) garnered from the Daytona’s season in competition on the track. The car’s primary rival was the Ford Torino Talladega, which in itself was a direct response to the Mopar aero car.
The car’s primary rival was the Ford Torino Talladega, which in itself was a direct response to the Mopar aero car. It has also been speculated one motivating factor in the production of the car was to lure Richard Petty back to Plymouth. Both of the Mopar aero cars famously featured a protruding, aerodynamic nosecone, a high-mounted rear wing and, in the case of the Superbird, a horn which mimicked the Road Runner cartoon character.
1969 Pontiac GTO JUDGE
Engine: V8 - 370 hp Maximum speed: 201 km / h Acceleration 0-100 km / h in 5.9 seconds.
The 1969 model did not have the vent windows, had a slight grille and taillight revision, moved the ignition key from the dashboard to the steering column (which locked the steering wheel when the key was removed, a Federal requirement installed one year ahead of schedule), and the gauge faces changed from steel blue to black. In addition, the rear quarter-panel mounted side marker lamps changed from a red lens shaped like the Pontiac “V” crest to one shaped like the broad GTO badge. Front outboard headrests were made standard equipment on all GTOs built after January 1, 1969.
1971 Dodge Charger R/T
Engine: V8 - 375-415 horsepower (depending on version). Maximum speed: 210 km / h Acceleration 0-100 km / h: 5,7-5,9 sec.
In 1971, the all-new third generation Charger debuted. It was completely restyled with a new split grille and more rounded “fuselage” bodystyle. The interiors now looked more like those of the E-body and were now shared by the Plymouth B-body. No longer standard, the hidden headlights were now optional. A rear spoiler and a “Ramcharger” hood made the option lists for the first time. A special scoop was mounted in the hood, directly above the air cleaner. If the driver wanted to draw clean air directly into the carburetor, he flipped the vacuum switch under the dash and the scoop popped up. The Plymouth Road Runner used this device and called it the “Air Grabber” hood. While this device had been used on the Coronet R/T and Super Bees, it had never appeared on the Charger.
1968 Shelby Mustang GT500
Engine: V8 - 355 hp (declared). Maximum speed: 220 km / h Acceleration 0-100 km / h in 6.5 seconds.
For 1967, the GT 350 carried over the K-Code high performance 289 with a ‘COBRA’ aluminum hi-rise. The GT 500 was added to the lineup, equipped with the 428 Police Interceptor. These later cars carried over few of the performance modifications of the 1965–66 GT350s, although they did feature more cosmetic changes. In September 1967, production was moved to the A.O. Smith Company of Ionia, Michigan, under Ford control. Shelby American had substantially less involvement after this time.
1968 Chevrolet Corvette Stingray (C3)
Engine: V8 - 426 hp Maximum speed: 225 km / h Acceleration 0-100 km / h in 6.3 seconds.
For 1968, both the Corvette body and interior were completely redesigned. As before, the car was available in either coupe or convertible models, but coupes had new removable roof panels (T-tops) and a removable rear window. A soft folding top was included with convertibles, while an auxiliary hardtop with a glass rear window was offered at additional cost. Included with coupes were hold down straps and a pair of vinyl bags to store the roof panels, and above the luggage area was a rear window stowage tray. The enduring new body’s concealed headlights moved into position via a vacuum operated system rather than electrically as on the previous generation, and the new hide-away windshield wipers utilized a problematic vacuum door. The door handles were flush with the top of the doors with a separate release button. “Sting Ray” nameplates were absent on the new 1968 body, but Chevrolet still advertised the car as a Sting Ray. Front fenders had functional engine cooling vents.
1971 Plymouth Cuda HEMI
Engine: V8 - 425 hp (declared). Maximum speed: 210 km / h Acceleration 0-100 km / h in 6.2 seconds.
The redesign for the 1970 Barracuda removed all its previous commonality with the Valiant. The original fastback design was deleted from the line and the Barracuda now consisted of coupe and convertible models. The all-new model, styled by John E. Herlitz, was built on a shorter, wider version of Chrysler’s existing B platform, called the E-body. Sharing this platform was also the newly launched Dodge Challenger; however, no sheet metal interchanged between the two cars and the Challenger, at 110 inches, had a 2 in (51 mm) longer wheelbase than the Barracuda, at 108 inches.
From the island of Sardinia, Italian illustrator Toni Demuro created a great Face/Radio illustrator portrait series that displays vintage radios with human-like facial features replacing the heads of actual human beings.
All artwork created by Toni Demuro
Marilyn Monroe by Photographer Lawrence Schiller
Photographer Lawrence Schiller worked with Marilyn Monroe on several of her films, and recalls the legendary star in his book “Marilyn & Me”. Here are some of the rare images he captured.
Marilyn’s first dip in the swimming pool while shooting “Something’s Got to Give” in May 1962. (Photo by Lawrence Schiller/“Marilyn & Me”)
Saying that she wanted to “push Liz Taylor off the magazine covers”, Marilyn gave permission for partially nude photos of her to be taken during shooting of “Something’s Got to Give”, her final, uncompleted film. (Photo by Lawrence Schiller/“Marilyn & Me”)
Marilyn’s pool scene in “Something’s Got to Give” called on her to try to playfully entice her costar, Dean Martin, into the water with her. (Photo by Lawrence Schiller/“Marilyn & Me”)
Marilyn Monroe’s final, never-completed film, “Something’s Got to Give”, included a swimming scene in which she was supposedly nude. Here Schiller captures her by the pool. (Photo by Lawrence Schiller/“Marilyn & Me”)
The 1962 shooting of “Something’s Got to Give” was troubled by Marilyn’s health problems; she showed up only 12 times out of 35 days of production. By early August she would be dead from an overdose of barbituates. (Photo by Lawrence Schiller/“Marilyn & Me”)
Over two years, photographer Lawrence Schiller developed a friendship with Marilyn Monroe, earning so much of her trust that he was able to capture candid, behind-the-scenes images like this one. (Photo by Lawrence Schiller/“Marilyn & Me”)
I am not anti-Instgram, nor am I anti-cellphone photography. But there is a tendency to believe that the art filters that are readily available with many cellphone photo apps somehow “improve” reality. Many of the frequently used filters either significantly boost color saturation, or try to give the appearance of an antiqued, polaroid-esque photo.
But this doesn’t mean it’s better than a more true-to-life image. To prove my point, here are a few iconic photos “re-taken” with art filters a la Instagram. Do you agree?
Neil Leifer‘s amazing photo of Ali vs Liston II from 1965 (seen above). This is arguably the most effective of the “retaken” photos for a few reasons. First, the original format was a square, so there’s no cropping. And because it was shot in 1965, there’s an antiqued look to the photos already. If you didn’t have the original to compare against, you might think that this was the original.
I puked a little in my mouth upon seeing Steve McCurry‘s Afghan Girl reimagined. The original was shot on Kodachrome with a perfect exposure and buttery color. The square crop and false color completely destroys so much of essence of the photo.
Many art filters compress the tonal range, and then you have the fake tilt/shift. One ofTodd Heisler‘s most moving photos from his Pulitzer Prize winning series on soliders returning from Iraq is completely ruined by creating a false focus. The original image has amazing detail in the plane passengers who are looking out of the windows of the plane as the coffin is unloaded.
Peter Yang‘s portraits have an amazing clarity to them. This reprocessed image of Amy Poehler has a fake center focus, which really kills the detail and superior lighting that is emblematic of his photographic style.
Rich Lam‘s photo from the Stanley Cup riots was one of my favorite images of 2011. The square crop isn’t horrible — I would argue that there is still enough foreground and background information to give you a sense of scene. But the desaturation of this version kills the crazy color spectrum of the original in my humble opinion, and I’m still missing the cropped section.
Take an iconic moment from the recent past. Apply an antiquing filter to try to make it look historic. Flagellate yourself 12 times. Apologies to Toby Melville.
Perhaps the most amazing thing about applying the square crop and art filters to these images is realizing that they still are pretty fantastic images. Martin Schoeller‘s image fromTIME magazine is still a great portrait – expression, pose, lighting – it’s all still there even if the crop and the texture of the art filter try its best to ruin it.
So what’s my point? In 2009, Chase Jarvis trademarked “The Best Camera Is The One That’s With You,” and he’s right. For that reason, I love the spontaneity of images that are taken with smart phones, and the incredible distribution capabilities of Instagram. BUT, a high quality, well-composed, properly exposed, accurate color image is still pretty awesome too.
I don’t always shoot with a camera phone, but when I do, I like to apply art filters.
Keep snapping, my friends.
About the author: Allen Murabayashi is the CEO and Co-founder of PhotoShelter. Allen authors PhotoShelter’s free business guides for photographers and marketing professionals, including topics like email marketing, search engine optimization, and starting a photography business. Allen is a graduate of Yale University, and flosses daily. This article originally appeared here.
Apple Clothing Line
What mostalgia for wonderful years eighty , when everything was superfluous in clothing, when the lightness of the shoulder straps and sweaters fashion dictated… »
What beautiful years eighty when Apple Computer (newly born), they threw a dead weight on the fashion market with a wonderful and beautiful clothing line. There are no words to describe this sensational attempt at collection , it was 1986 and the fashion of the time it was made of hats, shorts, polo shirts and tracksuits sgarcianti. Applause.
HERE the complete gallery line
Kevin Cyr was born in 1976 in Edmundston, New Brunswick, Canada. He grew up in Madawaska, Maine and received a BFA from Massachusetts College of Art in Boston. Cyr is currently based in Brooklyn, New York. He commemorates commercial vehicles inundated with graffiti and rust, working vehicles, and well-traveled recreational vehicles.
At a fist glance I thought these were just illustrations created with Adobe Illustrator, but boy was I wrong. The most mind-blowing part about Kevin’s drawings, is that they’re all oil paintings. His attention to detail fooled me and made me appreciate his beautiful work even more.
Kevin has been featured in numerous publications such as Juxtapoz, The New York Times, Classic Driver, Walls & Frames, Dandyhorse Magazine, and much more. Currently he is on the move showcasing his work at art exhibitions. The latest one is called; In Praise of Rust. It is running May 19—June 16, 2012 at the Jonathan LeVine Gallery. So if you are in NYC be sure to check it out!
“In a culture in which people are easily lured by the appeal of status-enhancing symbols, I find beauty in derelict cars and unkempt landscapes. I have always been interested in painting vehicles and scenes that have defined the evolution of the American landscape.” – Kevin Cyr
Note: All Rights Reserved by Kevin Cyr.
Paintings by Edmund Wyss.
See more at Faith is Torment
A Prototype for Retro Camera CANON: EOS100
Two designers with head full of ideas Aleksandr Mezentsev and Maxim Suhih decided to ride the wave of “vintage / retro” by proposing a concept of retro camera.
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