My brother’s idea of  humour… we just finished up work at a meat factory (soz 4 crapy snapchat quality) My brother’s idea of  humour… we just finished up work at a meat factory (soz 4 crapy snapchat quality)

My brother’s idea of humour… we just finished up work at a meat factory (soz 4 crapy snapchat quality)

finally finished.. v. sloppy, but done! A weight has been lifted :o)

  1. Camera: Canon EOS 20D
  2. Aperture: f/3.5
  3. Exposure: 1/30th
  4. Focal Length: 21mm
Siobhan’s house and the wall we marked our heights on. I haven’t grown. Siobhan’s house and the wall we marked our heights on. I haven’t grown. Siobhan’s house and the wall we marked our heights on. I haven’t grown.

Siobhan’s house and the wall we marked our heights on. I haven’t grown.

basic tone.. my tone game is weak. :c basic tone.. my tone game is weak. :c

basic tone.. my tone game is weak. :c

ivyjanes:

euo:

Apartment of murderer Luka Rocco

he was so fucking mental

folkinz:

The first season finale of Utopia was so good. I’m so glad I can jump right into season 2. folkinz:

The first season finale of Utopia was so good. I’m so glad I can jump right into season 2. folkinz:

The first season finale of Utopia was so good. I’m so glad I can jump right into season 2.

folkinz:

The first season finale of Utopia was so good. I’m so glad I can jump right into season 2.

What if I were to tell you that I’d been on the run… chased by a shadowy organisation that wanted to kill me, my friends… and control governments and whose objective was to sterilise the world? And I stopped them. Me.

cielombre:

She’s just… not moved in five hours. Just stares at c l o u d s.

stannisbaratheon:

@WorstMuse is a relic of the human race
stannisbaratheon:

@WorstMuse is a relic of the human race
stannisbaratheon:

@WorstMuse is a relic of the human race
stannisbaratheon:

@WorstMuse is a relic of the human race
stannisbaratheon:

@WorstMuse is a relic of the human race
stannisbaratheon:

@WorstMuse is a relic of the human race
stannisbaratheon:

@WorstMuse is a relic of the human race
stannisbaratheon:

@WorstMuse is a relic of the human race
stannisbaratheon:

@WorstMuse is a relic of the human race
stannisbaratheon:

@WorstMuse is a relic of the human race

stannisbaratheon:

@WorstMuse is a relic of the human race

catmota:

El Grito II  (1983)

Oswaldo Guayasamin


Foam Magazine | Miyako Ishiuchi 

Issue #25 / Traces / Miyako Ishiuchi
Miyako Ishiuchi (b. 1947, Gunma) lives and works in Japan. In Foam Magazine #25 / Traces, a selection of her series Hiroshima, written in Japanese signs, is published. Mika Kobayashi (b. 1973) wrote the accompanying article titled The Traces of Absent Bodies about Miyako’s work. Mika Kobayashi is a photo critic and curator from Japan.



Foam Magazine | Miyako Ishiuchi 

Issue #25 / Traces / Miyako Ishiuchi
Miyako Ishiuchi (b. 1947, Gunma) lives and works in Japan. In Foam Magazine #25 / Traces, a selection of her series Hiroshima, written in Japanese signs, is published. Mika Kobayashi (b. 1973) wrote the accompanying article titled The Traces of Absent Bodies about Miyako’s work. Mika Kobayashi is a photo critic and curator from Japan.



Foam Magazine | Miyako Ishiuchi 

Issue #25 / Traces / Miyako Ishiuchi
Miyako Ishiuchi (b. 1947, Gunma) lives and works in Japan. In Foam Magazine #25 / Traces, a selection of her series Hiroshima, written in Japanese signs, is published. Mika Kobayashi (b. 1973) wrote the accompanying article titled The Traces of Absent Bodies about Miyako’s work. Mika Kobayashi is a photo critic and curator from Japan.



Foam Magazine | Miyako Ishiuchi 

Issue #25 / Traces / Miyako Ishiuchi
Miyako Ishiuchi (b. 1947, Gunma) lives and works in Japan. In Foam Magazine #25 / Traces, a selection of her series Hiroshima, written in Japanese signs, is published. Mika Kobayashi (b. 1973) wrote the accompanying article titled The Traces of Absent Bodies about Miyako’s work. Mika Kobayashi is a photo critic and curator from Japan.



Foam Magazine | Miyako Ishiuchi 

Issue #25 / Traces / Miyako Ishiuchi
Miyako Ishiuchi (b. 1947, Gunma) lives and works in Japan. In Foam Magazine #25 / Traces, a selection of her series Hiroshima, written in Japanese signs, is published. Mika Kobayashi (b. 1973) wrote the accompanying article titled The Traces of Absent Bodies about Miyako’s work. Mika Kobayashi is a photo critic and curator from Japan.



Foam Magazine | Miyako Ishiuchi 

Issue #25 / Traces / Miyako Ishiuchi
Miyako Ishiuchi (b. 1947, Gunma) lives and works in Japan. In Foam Magazine #25 / Traces, a selection of her series Hiroshima, written in Japanese signs, is published. Mika Kobayashi (b. 1973) wrote the accompanying article titled The Traces of Absent Bodies about Miyako’s work. Mika Kobayashi is a photo critic and curator from Japan.



Foam Magazine | Miyako Ishiuchi 

Issue #25 / Traces / Miyako Ishiuchi
Miyako Ishiuchi (b. 1947, Gunma) lives and works in Japan. In Foam Magazine #25 / Traces, a selection of her series Hiroshima, written in Japanese signs, is published. Mika Kobayashi (b. 1973) wrote the accompanying article titled The Traces of Absent Bodies about Miyako’s work. Mika Kobayashi is a photo critic and curator from Japan.



Foam Magazine | Miyako Ishiuchi 

Issue #25 / Traces / Miyako Ishiuchi
Miyako Ishiuchi (b. 1947, Gunma) lives and works in Japan. In Foam Magazine #25 / Traces, a selection of her series Hiroshima, written in Japanese signs, is published. Mika Kobayashi (b. 1973) wrote the accompanying article titled The Traces of Absent Bodies about Miyako’s work. Mika Kobayashi is a photo critic and curator from Japan.

Foam Magazine | Miyako Ishiuchi

Issue #25 / Traces / Miyako Ishiuchi

Miyako Ishiuchi (b. 1947, Gunma) lives and works in Japan. In Foam Magazine #25 / Traces, a selection of her series Hiroshima, written in Japanese signs, is published. Mika Kobayashi (b. 1973) wrote the accompanying article titled The Traces of Absent Bodies about Miyako’s work. Mika Kobayashi is a photo critic and curator from Japan.

Caitlin relayed to me that when she was small the older girls scared her by telling her, “the highest point of the ruin was a little girl who, after cursing death on her mother, was forced to pray for forgiveness at the top of the castle. She was never forgiven and as a result, turned to stone.” Caitlin relayed to me that when she was small the older girls scared her by telling her, “the highest point of the ruin was a little girl who, after cursing death on her mother, was forced to pray for forgiveness at the top of the castle. She was never forgiven and as a result, turned to stone.”

Caitlin relayed to me that when she was small the older girls scared her by telling her, “the highest point of the ruin was a little girl who, after cursing death on her mother, was forced to pray for forgiveness at the top of the castle. She was never forgiven and as a result, turned to stone.”

Caitlin befriending a donkey.