vanilla in the dawn
fukuoka , 21
vanilla in the dawn
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allthingseurope:

Twente, Netherlands (by serni)
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likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
likeafieldmouse:

Hidden Mother
"Trying to get a baby or a fussy toddler to sit still for a photograph can feel like a herculean task. Luckily, it only takes a second to get the shot. In the nineteenth century, however, it was a different story—particularly when it came to tintype portraits, which required a long exposure. 
Photographer Laura Larson’s series, Hidden Mother, presents a survey of nineteenth-century tintype portraits in which the mother of the child was included in the photograph, but obscured. 
In some instances, the mother would hold her child, with a cloth or props hiding her from the lens, or she would be painted over by the photographer after the image had been taken. In other examples, the mother is entirely absent from the frame, save for an arm, holding the child in place. 
The results are both funny and slightly disturbing. The mother appears as an uncanny presence, Larson writes in a statement. Often, she is swathed in fabric, like a ghost.”  
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theleoisallinthemind:

via magical-contamination.tumblr.com
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actegratuit:

SOGA KAYOKO
actegratuit:

SOGA KAYOKO
actegratuit:

SOGA KAYOKO
actegratuit:

SOGA KAYOKO
actegratuit:

SOGA KAYOKO
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elenamorelli:

{ lying on the backyard lawn, looking up }
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earthlynation:

(via 500px / Ghost by Sue Demetriou)
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theleoisallinthemind:

Cui Fei/ Read By Touch/ 2005-2006
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tumblropenarts:

Artist Name: Laurence Patenaude
Tumblr: wishnik.tumblr.com - laurence-pat.tumblr.com
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tumblropenarts:

Artist Name: keisuke masda
Tumblr: http://keisukemasda.tumblr.com/
"music"
2014
acrylic and colored pencil on cotton
53.0×41.0cm
 http://www7b.biglobe.ne.jp/~keisukemasuda/
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likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
likeafieldmouse:

Giorgio Barrera - Through the Window (2002-9)
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likeafieldmouse:

Jonathan May - Awake (2013)
likeafieldmouse:

Jonathan May - Awake (2013)
likeafieldmouse:

Jonathan May - Awake (2013)
likeafieldmouse:

Jonathan May - Awake (2013)
likeafieldmouse:

Jonathan May - Awake (2013)
likeafieldmouse:

Jonathan May - Awake (2013)
likeafieldmouse:

Jonathan May - Awake (2013)
likeafieldmouse:

Jonathan May - Awake (2013)
likeafieldmouse:

Jonathan May - Awake (2013)
likeafieldmouse:

Jonathan May - Awake (2013)
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allthingseurope:

Retezat, Romania (by neutrino estéril)