The French website Collection Appareils is an impressive online archive of over 10,000 vintage cameras, each with pictures and information!
A titanic work managed and curated by Sylvain Halgand, who classified models by brand, from Ace to Zion, including of course some famous brands such as Canon, Leica, Nikon or Fuji, but also forgotten brands like Lachaize, Cornu, Lumière or Sem.
‘This is the setting for the community-run Sörbyn Lodge.
In the bar we chatted to locals about winters here in Lapland: four hours of twilight, 20 hours of darkness, and temperatures regularly down to -30C.
Photographs by Michael Grolys
Aurora activity at Sorbyn
Wrapping up against the cold, and grabbing head torches and cameras, we spent a couple of hours on the frozen lake and managed to capture shots of the swirling columns of turquoise, purples, and yellow lights that danced across the sky.
View of the Arch of Constantine from the Colosseum by Gioacchino Altobelli (c1865)
Photographs of the act of photography were common in the 20th century but less so in the 19th, when every negative was a challenge to make.
One had to contend with tricky chemistry, cumbersome glass plates and large cameras, so each picture was carefully premeditated – and no photographer would allow a camera to interrupt his or her picture so noticeably unless he or she wanted it there.
Perhaps, then, this image was produced as part of an advertisement for Gioacchino Altobelli’s own enterprise
Selection of details from a 15th-century manuscript titled Vaticinia de Pontificibus depicting gloriously surreal portraits of various Popes in the midst of the prophecies relating to them.
According to Wikipedia:
The mystical series of prophecies, known from their incipit as the Genus nequam prophecies (“the origin of evil”), are derived from the Byzantine Leo Oracles, a series of twelfth-century Byzantine prophecies that foretell a saviour-emperor destined to restore unity to the empire. Their poems and tempera illuminations mix fantasy, the occult, and chronicle in a chronology of the popes. Each prophecy consists of four elements, an enigmatic allegorical text, an emblematic picture, a motto, and an attribution to a pope.
The series was augmented in the fourteenth century with further prophecies, with the incipit Ascende calve (“arise, bald one”), written in imitative continuation of the earlier set, but with more overtly propagandist aims.
By the time of the Council of Constance (1414–1418), both series were united as the Vaticinia de summis pontificibus and misattributed to the Calabrian mystic Joachim of Flora, thus credited to a pseudo-Joachim.
There are some fifty manuscripts of this fuller collection.
This particular version of the manuscript (catalogued in the British Library as Harley 1340) consists of 30 three-quarter page miniatures attributed by the art historian Bernard Berenson to the Master of San Miniato.
Tucked away into a nondescript street away from the touristy hustle and bustle that usually pervades Prague, the Lennon Wall takes your breath away. Every inch of the wall has been filled with Lennon-inspired graffiti and Beatles song lyrics.
It is a quiet, almost respectful space as visitors walk down the length of the beautifully painted wall.
An image of John Lennon was first painted on the wall (opposite the French Embassy) after his murder in December 1980. Soon, it became a prime site for political and Beatles-inspired graffiti and a sounding board for disgruntled youth.
Several attempts were made by the police to whitewash the wall, but in vain. Artists continued to paint on the wall, refusing to be pinned down.
The wall is the property of the Knights of Malta, and after repeated attempts to keep the wall clean, they finally gave in and the wall now stands in all its graffiti-ed glory.
The wall was white-washed in 2014 with the accumulated art being replaced by the single sentence, “Wall is Over.” However, tags and graffiti have already started to reappear in the blank space.