An Amazing Split View of the Milky Way as If Photographed from Beneath a Frigid German River

Johannes Holzer / Caters News Agency

Last October, photographer Johannes Holzer braved the winter cold to setup a series of long-exposure shots along the the Isar, a river in Southern Germany. To accomplish the eye-popping view of the Milky Way, a mountainous landscape, and the murky depths of the river he relied on two cameras to shoot three photos from roughly the same perspective, stitched together here in a final image. Holzer says the photo “was done with two cameras, [the] sky with a Sony A7r and Vixen Polarie Startracker, one additional shot for the landscape without [a] Startracker, [and] underwater was done with a Canon 5Dm2 with an EWA Underwater case.”

Holzer specializes in Milky Way photography and landscapes, you can see much more of his work on Karwendelbilder. (via Reddit)

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wintery whites.

black and white living room decor and furnishings. / sfgirlbybay

clouds 9000.

we’re in the last couple of months of the season’s chilly weather, but i can’t help but love these looks of winter whites. despite being wintery, i find them anything but cold, and instead rather comforting and for the most part, cozy. i like the idea of layering lots of shades of white and pale gray bedding for instance — creating the ideal spot to crawl into on a frosty night with a good book, a few lit candles, and the scent of palo santo burning. adding a bit of greenery from the outside in is a lovely contrast to all that white, too adding warmth and a splendid touch of living nature and the coming spring.

inspiring black and white bedroom. / sfgirlbybay

seventeen doors.

inspiring white wall hanging. / sfgirlbybay

one kings lane.

floral paintings on shiplap bedroom wall. / sfgirlbybay

the white house daylesford.

houseplants on white mantle over black fireplace. / sfgirlbybay

coffee with me.

scandinavian inspired winter white home furnishings. / sfgirlbybay

gravity home.

inspiring winter white decor. / sfgirlbybay

clockwise l to r:  room decor ideas; shop anïse; recoveted; a piece apart; soulouposeto; stil inspiration; annaleenas hem; femke pastijn; the style files; clé tile; sonja velda photography.

winter white bedroom decor. / sfgirlbybay

idealista.

inspiring black and white bedroom decor and furnishings. / sfgirlbybay

leanne ford interiors (above + below).

inspiring winter whites. / sfgirlbybay

winter white bedroom decor and furnishings. / sfgirlbybay

my paradissi.

white scandinavian inspired home furnishings. / sfgirlbybay

interior junkie.

black and white living room decor. / sfgirlbybay

Tokyo bleep.

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Dispatches: Eric Labastida

1998 Eric in his element. Tijuana, Mexico.Original on Kodachrome

I met Eric Labastida in 1996 while covering the Republican convention in downtown San Diego. We were both TRI-X shooting, Leica wielding documentary “kids” who were Hell bent on anything Magnum. Around us during those days were the likes of Abbas, Phillip Jones Griffiths and Alex Webb, all Magnum luminaries and in our eyes, heroes, legends. The people we wanted to be.

Over the next few years Eric and I shot in San Diego, and more importantly, Tijuana. Eric took it far beyond anything I ever did, and ended up shooting in TJ for twelve years. He’s had some interesting moments over the years, even had a brush with Magnum, for real, but ultimately remains to this day a guy who walks the street looking for stand alone moments. Shoot, edit, print.(His darkroom was in a cave.)

On a side note, I once convinced him to paint a racing number on his 1995 Mazda 323 which we nicknamed “Numero Siete.” I was sure it added at least 5mph to the top end. It became the border horse of choice.

This interview is long and rambling, just like our history. Oh, he just reminded me. He was in the hospital once, something muy serio, and I never visited him. For that I am not surprised but truly sorry.


1998, Tijuana. Zona Norte

You could say he’s a Leica guy.

http://shifter.media

The Instagram account showcasing great Swiss posters

Design by Studio Feixen (left) and posters by Büro 146 and zhdk students (right). Images © Dennis Moya
Design by Studio Feixen (left) and posters by Büro 146 and zhdk students (right). Images © Dennis Moya

Walk through the streets of any Swiss city – Lausanne, Geneva, Zurich or St Gallen – and you’ll undoubtedly stumble across some great posters. The ‘Swiss Style’ of graphic design is world famous but the striking posters found in Switzerland’s public spaces reveal a rich and varied design scene. Posters often feature a vivid use of colour, striking photography or bold patterns but they also showcase a diverse range of styles.

Lausanne-based designer Dennis Moya has been curating images of outstanding Swiss posters on Instagram since 2015. His @swissposters account now has 67,000 followers and showcases designs from across the country.

Moya is a graphic designer and communication manager at Swiss Typefaces. He also runs design platform Ligature with jewellery designer Tiffany Bähler. He set up @swissposters in response to a comment on his @ligature.ch account, from someone who wanted to see pictures of posters in situ.

“He wanted to see more pictures of posters displayed in the streets, in their environment … so I created it,” says Moya. “I take the train four days a week for work, I see interesting, boring, new, cultural, advertorial and political posters everyday, so I knew I could do it long term.”

@swissposters on Instagram
@swissposters on Instagram

Many of the photographs featured on @swissposters were taken by Moya. He also publishes submissions and photographs by other designers and enthusiasts. “There are maybe more posters from the French-speaking Western Switzerland, because it is where we live and work (Lausanne, Geneva, Vevey) but I’m trying to publish posters from all over Switzerland,” he says.

Most were created for cultural organisations such as theatres, museums and festivals, and Moya says he looks for designs that are innovative and unusual. “Personally, I like posters where typography is the main element. But the main thing is if it’s eye-catching and interesting because of its design and approach,” he says.

The designs showcased on @swissposters are more experimental and exciting than the kind we are used to seeing in the UK but this isn’t surprising given Switzerland’s formidable design heritage. The Swiss Federal Office for Culture recently applied to have graphic design added to the list of Swiss traditions on UNESCO’s Intangible Cultural Heritage List, and the country was home to some of the 20th century’s best known and most influential designers.

Posters designed by Hubertus design / Jonas Voegeli. Image ©Dennis Moya
Posters designed by Norm. Image ©Dennis Moya
Poster designed by Raffinerie (top) and DIY (below). Image ©Dennis Moya

“The legacy of post-war graphic design in Switzerland is one of the strongest heritages in our design landscape…. This heritage is present in our everyday life,” says Moya. 

When people think of Swiss graphic design, they often think of the Swiss Style from the 1950s and 60s: the grid systems, sans serif type and striking compositions favoured by the likes of Josef Müller-Brockmann, Emil Ruder and Armin Hofmann. Yet Switzerland’s contemporary graphic design scene is more nuanced – something Moya hopes to highlight through both Ligature and @swissposters.

“You can see the many styles and varieties in recent months and years. The ‘Swiss Style’ from the fifties is in our minds but it was 70 years ago,” he says. “Today, there isn’t a main style but there is the importance of typography that unifies them. When I talk about typography I talk about the care of the typeface choices and the care of composition and layout design.”

Poster by Ralph Schraivogel (left) and Daniel Hattenschwiller and Thomas Petit (right). Image ©Dennis Moya
Poster by Bänziger Hüg (left) and Gavillet & Rust (right). Image ©Dennis Moya
Poster by Raphael Verona (left) and Emmanuel Rey (right). Image ©Dennis Moya

Alongside running @swissposters, Moya showcases contemporary Swiss and international design through Ligature. He and Bähler recently launched a printed publication, Ligature Paper, and a talks series, Ligature Connections.

“Ligature is an independent media which focuses on design and creation by showing people’s projects from several fields,” he explains. “[It] has different forms of sharing content, such as the website, the printed publications and the talks.”

You can follow @swissposters on Instagram here or find out more about Ligature at ligature.ch

The post The Instagram account showcasing great Swiss posters appeared first on Creative Review.

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One Photographer’s Astonishing Depiction of Inequality

Papwa Sewgolum Golf Course, Durban, South Africa

Santa Fe, Mexico City

In 380 B.C.E. the Greek philosopher Plato wrote in Book IV of The Republic, “Any city, however small, is in fact divided into two, one the city of the poor, the other of the rich.” More than two millennia later came the invention of the drone and a photographer named Johnny Miller, who set forth a similar proposal in pictures.

Unequal Scenes began in Cape Town, South Africa, where the scars of apartheid still stretch across the urban sprawl. Flying a drone across the landscape, Miller discovered to his astonishment the stark contrast between the gated communities, golf courses, and rows of small, densely populated dwellings with tin roofs lined by dirt roads.

Before the end of apartheid in 1994, segregation was legally enforced and architecturally reinforced. Decades later, Miller could still make out where the former “buffer zones” between communities had been.

Miller’s Unequal Scenes went viral around the world, sparking much-needed if sometimes uncomfortable conversations about economics, race, and prejudice. Though in Cape Town the problem is easy to map, South Africa certainly doesn’t bear the weight alone. Unequal Scenes exist all over, as much today as they did in Plato’s time.

The photographer has taken the project to Johannesburg, Nairobi, and Mexico City. The work has been criticized for expressing complex ideas in a way that seems simple, clear-cut, but Miller has a response to this line of questioning: he’s not showing anything that isn’t there. These are the places we call home.

Nelson Mandela famously said, “As long as poverty, injustice and gross inequality persist in our world, none of us can truly rest.” South Africa, it seems, along with cities across the entire planet, have never fully come to rest.

Explore the Unequal Scenes website here.

Masiphumelele and Lake Michelle, Cape Town

Hout Bay and Imizamo Yethu, Cape Town

Kya Sands, Johannesburg

Vusimuzi and Mooifontein Cemetery, Johannesburg

Loresho, Nairobi

Loresho, Nairobi

Ixtapalapa neighborhood, Mexico City

All images © Johnny Miller

The post One Photographer’s Astonishing Depiction of Inequality appeared first on Feature Shoot.

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7 Ways To Make A Truly Compelling Annual Report

Our parent company, Column Five, have talked at length about why annual reports are such an important piece of content for brands. Annual reports aren’t just satisfy a legal requirement; they are a bold statement about who you are, what you do, and how you are succeeding. And when well-executed, they can elevate your brand in ways you might not imagine.

Take Warby Parker. When the eyewear company debuted their 2012 annual report, an entertaining interactive infographic, they were almost overwhelmed by the results.

“We thought some people would find it interesting, but it was retweeted 2,000 times and led to our three highest consecutive day of sales—even more so than when we were in CBS Sunday Morning or The New York Times,” Warby Parker Cofounder Neil Blumenthal told Fast Company.

(The company has since taken the report offline, but you can check out our review of their 2013 annual report to see how great their reports are.)

For some brands, crafting an annual report feels intimidating or taxing. But we know that no matter how dull your industry or dry your data, you can create an annual report that is interesting, engaging, and authentic.

To help you do that, C5 is sharing some of their own tips to help you create a compelling report from cover to cover.

1) STREAMLINE YOUR STORY

It’s a shame when brands just compile their numbers, add a letter from the president, and call it a day. There is a lot of valuable content to be shared in an annual report, but if it isn’t presented appropriately, much of it goes to waste. As a cornerstone piece of content, your annual report should effectively communicate your brand story.

To do this, construct a core narrative. This may be a particular theme, an initiative, or an extension of your mission. Regardless, use every element of your annual report to anchor that story, from the cover design to the copy.

Example: C5 collaborated with Goodwill of Orange County to create an annual report that told the story of “The Good Effect,” how the organization and its contributors helped the community over the year.

2) DEMONSTRATE IMPACT

An annual report is an opportunity to highlight your accomplishments to build trust in your organization and show your stakeholders your success.

But to really make an impression, to help your audience emotionally invest in your brand, you need to highlight the impact of these accomplishments. How does your work affect individuals, businesses, communities, or even the world?

As you frame these successes, you might include data, as well as testimonials, quotes, individual stories, or other information that shows the real impact of your efforts.

Remember: Translate information into impact.

Example: C5 helped create the 2014 Robin Hood Annual Report, an interactive report that includes video and stories. The video below follows the story of the Robin Hood Veterans Initiative, allowing the people who worked on the initiative—and the direct recipients—to talk about the impact.

3) HUMANIZE YOUR WORK

Your audience appreciates transparency. This applies to your financials, of course, but it also means they want to know who you are and who (not just what) you’re helping. Strong brand relationships are built through human-to-human connection, so removing the curtain is crucial.

Think about how to make your brand voice come through in your content. And in addition to human stories, include photos, whether it’s your CEO, employees, or the people most affected by your work.

Example: C5 created the Krochet Kids intl. 2013 Annual Report, which included photos and stories of the women they work with around the world.

4) VISUALIZE YOUR NUMBERS

We’re huge proponents of data visualization because it is both aesthetically pleasing and an effective form of visual communication. Our brains are pre-wired for visual communication, so visualizing data makes the information presented easier to comprehend and recall.

Data is particularly useful to enhance your messaging; it also creates visual variety. Note: If there is particularly pertinent information that supports your story, include callouts or additional context to ensure your reader understands the significance of the data.

As you look for opportunities to visualize, make sure you follow best practices. (See our data visualization 101 series for more info on how to design common charts and graphs.)

Example: The data visualizations in the National Association of Realtors 2013 Annual Report show the organization’s social media growth in an easy-to-understand way.

5) USE A VISUAL LANGUAGE

The visuals you include tell your story as much as the words on the page. Your choice of illustrations, photos, colors, and fonts make your visual language an extension of your brand identity.

As you move forward with design, you may want to choose an overarching visual theme or metaphor that relates to your story. It may also be influenced by the format you choose.

This is an opportunity to get as creative as you like. However, if you have an established brand visual language, it should be consistent with the other pieces you create.

Example: C5 designed the Pacific Life 2015 Annual Report around an aquatic theme. It helped present the brand as a living, breathing, energetic entity to remind the audience that Pacific Life is more than a life insurance company.


6) INTRODUCE INTERACTIVITY

Annual reports have evolved in recent years. Whereas a print piece was the standard 25 years ago, they can now take many forms: print, digital, interactive—even video. (And we’ll surely see a VR version someday.) Depending on the story you’re trying to tell, consider which format will help you deliver it most effectively.

No matter what you choose, look for opportunities to engage readers. Interactivity is a great way to do this. The more time they get to spend “in” and with your content, the more invested they are.

You might consider an interactive infographic that lets them jump in and play around with the content. (This is particularly useful for data sets.) You can even create interactivity with a print piece. The Sonae 2012 Annual Report by Ivity Brand Corp. featured gears to turn and acetate overlays to bring the content to life.

Example: The Krochet Kids intl. interactive report allowed users to explore company data.

7) SURPRISE YOUR READERS

If you challenge yourself, you can really break the mold with your annual report. This extra layer upgrades your readers’ experience, making your annual report truly memorable. There are many ways to surprise or excite readers.

No matter your budget, you can always come up with something creative. Your annual report is a huge opportunity to make a bold statement—don’t waste it.

For more impressive annual reports, take a look at these 40 examples of truly inspiring annual report design. And if you need a little help with your own, C5 would love to chat

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Joya: AiR (artist in residence)

Joya: AiR (artist in residence)
Deadline: 25 February 2017

Joya

Joya: AiR (artist in residence), is located in a place of extreme natural beauty in the parque natural Sierra María – Los Vélez in the province of Almería, Andalucía, Spain. The Joya: residency is ‘off-grid’ making all of it’s own power from the sun and the wind, established as it is in the sunniest and driest place in Europe. Positioned in the mountains, surrounded by Mediterranean conifer forests, the environment that encircles us is of dramatically elevated sedimentary limestone and aromatic garrigue or matorral. (definition)

We are a not-for-profit arts organisation and international multidisciplinary residency. We are inviting artists and writers to apply for residency opportunities typically of the duration from one week to a month. We will consider longer periods if required.

As a cultural destination in rural Spain we have a broad but rigorous selection criteria. Typically, we are looking for young and mid-career artists and writers who express professional standards in their practice. We are looking for artists and writers who can bring a depth of knowledge and learning to the residency experience. Our acceptance policy is non-discriminatory but we do ask for a minimum requirement of an undergraduate degree from all applicants. In return we offer a residency that is often transformative. Residents have the opportunity for reclusive silence or a more shared involvement with other resident artists.

Resident artists and writers have access to studio space as well as 20 hectares of our own land and an additional 22,000 hectares of natural park. In addition, they have their own bedrooms each with an attached bathroom. All meals are included, breakfast and lunch can be taken to suit your timetable, evening meals are communal and always lively.

As part of the residency experience we ask artists if they would like to make a presentation of their work to other artists during the course of their stay. It is not obligatory but it is a good opportunity to showcase an artist or writers practice and receive constructive criticism.

The weekly fee for the residency is €300 plus tax at 10%. If selected, we ask for a minimum deposit to secure the opportunity of one week’s fee. This is payable via PayPal and is subject to a 2.9% additional fee for the cost of the transfer.

We are very happy to provide artists/writers letters of invitation for visa or funding applications.

APPLICATION DEADLINE February the 25th 2017 for the periods April, May June 2017

To apply look here…. http://ift.tt/2kO60yP

For an overview of previous resident artists look here

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IKEA METOD cabinets into AV unit

8-ikea metod TV unit

9-ikea metod TV unit

I have recently completed an AV unit hack based on METOD kitchen cabinets and ideas I saw on this site for similar types of units. Like many others who have done something similar, my main challenge was to find a unit that could accommodate an AV amp that was too deep for normal TV units due to its depth and the various cables attached at the back. I opted for 4 60cm wide METOD units and a 40cm wide unit in the centre. The outer units are for general storage and equipment and the central unit is for my centre speakers and subwoofer. The doors are RINGHULT high gloss white – the centre door has been routed out and covered with white acoustic cloth to allow the sound to pass through.

1-ikea metod TV unit 2-ikea metod TV unit

The doors have UTRUSTA hinges with soft closing attachments and push openers. The feet under the cabinets are CAPITA legs.

The total unit width is 2.8 metres so I was unable to use an IKEA worktop as these were 2.4m in length. Instead I used a 3m length of oak worktop from a company that could pre cut and drill the holes I needed before delivery. I had two 100mm ventilation holes for the AV equipment plus one central hole for the cables to go in to the TV. I covered the ventilation holes with metal grilles and the cable outlet with a cable guide cover to keep things looking neat.

3-ikea metod TV unit 4-ikea metod TV unit

It was a fairly simple build – the only modifications I had to make at assembly time was to cut out the base and side pieces of each unit to fit over the skirting trunking I have behind the units housing the plugs, telephone sock, TV socket etc. I also made some holes between the units on the insides for various cables to pass through. I also drilled some holes in the shelves and side panels where the hottest equipment sits to help with ventilation. Inside the unit to cool the devices I have used fans and controllers from AC Infinity which are temperature controlled so only come on when required. The fans extract the air upwards to the ventilation holes in the worktop.

5-ikea metod TV unit 6-ikea metod TV unit 7-ikea metod TV unit

I started with the central METOD unit and worked outwards. I needed to get the TV and equipment cabled up as quick as possible to placate my family, so I installed all of the equipment once the three central units were assembled. I didn’t have the worktop at the beginning so this helped with getting all the equipment in place and neatly cabled as I had access from the top down. I also installed a Philips Hue Lightstrip underneath for more ambient lighting effects (as I already have some Hue lights in the house).

I am very happy with the finished product and would like to thank IKEAhackers for inspiring me to try this project and save myself a lot of money!

~ by Mike

IKEA METOD AV unit

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Kayashima: The Japanese Train Station Built Around a 700-Year-Old Tree

Photo by Kosaku Mimura/Nikkei

In the Northeast suburbs of central Osaka stands a curious train station unlike any other. Kayashima Station features a rectangular hole cut into the roof of the elevated platform and, from inside, a giant tree pokes its head out like a stalk of broccoli. It’s almost like a railway version of Laputa.

The large camphor tree is older than most records but officials believe it to be around 700 years old. The story of how this tree and station became, quite literally, intertwined, varies depending on who you ask. It certainly has to do with a great reverence for nature, but also a fair amount of superstition.

Kayashima Station first opened in 1910 and, at the time, the camphor tree stood right next to the station. For the next 60 years the station remained largely unchanged. But an increase in population and overcrowding began to put pressure on the station and plans for an expansion where approved in 1972, which called for the tree to be cut down.

But the camphor tree had long been associated with a local shrine and deity. And when locals found out that station officials planned to remove the tree there was a large uproar. Tales began to emerge about the tree being angry, and unfortunate events befalling anyone who attempted to cut it down. Someone who cut a branch off later in the day developed a high fever. A white snake was spotted, wrapped around the tree. Some even saw smoke arise from the tree (it was probably just a swarm of bugs).

And so, the station officials eventually agreed to keep the tree and incorporate it into the new elevated platform’s design. In 1973 construction began and the new station was completed in 1980. The station even surrounded the base of the tree with a small shrine. To this day, the tree still stands thanks to a strong, local community and a little bit of superstition. (syndicated from Spoon & Tamago)

Photo by Studio Ohana.

Photo by Studio Ohana.

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