 |
| Scenes From The Latest Motobunny Photoshoot |
Showing posts with label Photography. Show all posts
Showing posts with label Photography. Show all posts
Tuesday, December 30, 2014
Scenes From The Latest Motobunny Photoshoot
Saturday, December 13, 2014
The Photography of Vanessa Moselle
 |
| The Photography of Vanessa Moselle |
Shooting a picture is as easy as breathing. Not too far long ago, when an individual would expose a transparent sheet of plastic film covered with silver halide crystals to a light source, a physical reaction would occur. This process involving apertures, film speed and an artistic eye was once a highly regarded art form and still is, yet a bit of the mojo is lost due to the proliferation of camera technology readily available on our smart phones. What strikes a chord though is when an image is created, that is timeless. It could have been taken from a digital camera, cell phone or even a vintage camera and it makes the camera as a tool emerge entirely full circle. Each picture evokes a story and whatever type of camera used is inconsequential. Seeing the photography of Vanessa Moselle on flickr is a window into her artistic eye and we thank her for it.
Tuesday, June 24, 2014
1,000,000 Views Is A Milestone, Thank You To Everyone That Views Our Flickr Page
 |
| We hit a milestone on Flickr, we reached 1,000,000 views |
We reached a milestone on the Rusty Knuckles Flickr page by receiving 1,000,000+ views. Maybe that number doesn't mean a lot to some of you, but to us, it's validation for all the hard work that has been involved in creating a music label and custom merch company from the ground up. Thanks to everyone over the last few years for all the comments, feedback and support on the Flickr page. Those simple elements help to keep the fires lit and to keep it honest and true to the craft.
Friday, February 14, 2014
Want To See Cool Motorsports Imagery From The UK?
 |
| Dennis Goodwin is always capturing a great view |
Flickr is always a great repository of photos and ideas. Every day when I log into my account and see the cool imagery being posted by others it makes me a proud contributor to such a diverse and wide open pool of talented folks. These photos all belong to Dennis Goodwin of England and do yourself a favor, start following all of his racing and motorsports related imagery.
While you are over at Flickr, check out our page as well
Thursday, January 23, 2014
Sono Assetata - Photography Short With Marian San Miguel
 |
| Sono Assetata - photography short with Marian San Miguel |
sono assetata from Héctor Barrero on Vimeo.
balboa from Héctor Barrero on Vimeo.
Wednesday, October 16, 2013
A Slice Of American Life With Carey Haider's Photography
 |
| Sexy lady and a Panhead |
 |
| Any questions? |
 |
| Family photo with llama's |
 |
| Mini Danzig and his chauffeur |
 |
| Walk of Shames |
 |
| New Orleans finest |
 |
| DIY wheelchair / ATV |
 |
| Dream Catcher RV Mobile Home Park |
 |
| A man and his tshirt collection |
 |
| The three amigos |
 |
| A man and his pet are a true bond |
 |
| Washington State beauty pageants make their grand entrance |
Tuesday, September 10, 2013
Rock / Fight Photography Exhibition
 |
| The ROCK/FIGHT music and sports exhibition will feature iconic and historic photos |
"LOS ANGELES, CA.- The renowned Morrison Hotel Gallery partnered with L.A.'s cultural destination Project Gallery and Peligroso Tequila in Hollywood, CA on Thursday, September 12th as they present ROCK/FIGHT, a photography exhibition that pairs iconic rock 'n roll images, with legendary figures in boxing and wrestling. A private press hour will take place from 6 to 7 PM on Thursday, September 12th, followed by a private reception from 7 to 9 PM, hosted by author, rock star and radio host Henry Rollins.
Project Gallery hours are Wednesday thru Friday from 12 PM to 6 PM, Saturday and Sunday 10 AM to 5 PM. Closed Monday and Tuesday. Also available by appointment. They are located at 1553 North Cahuenga Boulevard in Hollywood. The exhibition will be open to the general public September 13th thru October 6th.
The ROCK/FIGHT music and sports exhibition will feature iconic and historic photos, including many of the enormous personalities of the most important era at L.A.'s Grand Olympic Auditorium, from renowned photographer Theo Ehret. Ehret began taking pictures of boxers and wrestlers in and around downtown L.A.’s Olympic Auditorium in the mid 1960’s. Hired to shoot publicity “mug shots” and document the action in the ring, his haunting black and white images dramatically display the larger-than-life characters and the scene at one of the great fight venues in America. By 1980, the Olympic's reputation was that of a notorious Punk Rock venue where concerts were held with the likes of Suicidal Tendencies, Black Flag, Circle Jerks, Dead Kennedys and Bad Religion.
The pairings featured in this exhibition will include works from photographers Janette Beckman, Danny Clinch, Edward Colver, Henry Diltz, Lynn Goldsmith, Bob Gruen, Rene Huemer, Catherine McGann, Paul Natkin, Ebet Roberts, Mick Rock, Ethan Russell, Stephanie Pfriender Stylander and Barrie Wentzell. Featured subjects will include Muhammad Ali, Mando Ramos, Mil Mascaras, Sid Vicious, Stiv Bators, Circle Jerks and Minor Threat.
Says gallery co-owner and iconic photographer Timothy White of the exhibit, “This is a really exciting opportunity to take imagery that is so special and pair it with the best rock photography ever created. There is a law in motion that exists in the photography of fighting and violence that also exists in rock photography. This pairing is like a graceful ballet between the two. It’s fun and exciting to see these images paired and Morrison Hotel Gallery is excited to be working together with Project Gallery on this exhibit.”"
 |
| The ROCK/FIGHT music and sports exhibition will feature iconic and historic photos. Photo: Theo Ehret |
Saturday, February 23, 2013
Flipping The Bird And Walking Out Of Jail A Hero, Only Johnny Cash Can Do This
What makes a photo iconic? I have had this talk with a few friends over the years and every time I come back to a similar resolution. It all boils down to being at the right place at the right time. If you hang out with any photographers, each will have a style in which they shoot their subjects or have a methodology to their work.
Digital cameras have for the most part destroyed the high art of the photograph. Hand a person over a camera and chances are they can learn to take a decent photo in a short amount of time. What will never change though is having the right subject matter to shoot and pulling off an iconic photo at the same time. Thank you Jim Marshall for chronicling some amazing times in music history.
Link to original post on Collector's Weekly
"Photographer Jim Marshall, who grew up in San Francisco’s Fillmore district in the 1940s and ’50s, and passed away in March of 2010, was one of the pre-eminent chroniclers of the rock, blues, and jazz musicians of 20th century America. Marshall had amazing access, capturing the Beatles during their last performance at Candlestick Park, as well as Janis Joplin backstage at Winterland, a bottle of Southern Comfort in her hand. He attended the best of the 1960s music festivals, from Newport Folk (Joan Baez) to Monterey Pop (Jimi Hendrix) to Woodstock (The Who). And his images were turned into album covers for Jefferson Airplane, the Allman Brothers, and hundreds of others.
One of Marshall’s favorite subjects was Johnny Cash—Marshall’s last book, “Pocket Cash,” devoted entirely to images of the great country singer-songwriter, was published by Chronicle Books shortly after Marshall’s death. To mark the one-year anniversary of that sad event, three galleries are hosting “Pocket Cash” exhibitions during March and April of 2011. They are SNAP Galleries in London, Morrison Hotel Gallery in New York, and San Francisco Art Exchange (SFAE).
On the SFAE website, Jim Marshall recalls the day, January 13, 1968, when Cash and his band, the Tennessee Three, with the great Carl Perkins on guitar, entered the prison (see the pensive portrait of Cash, above). “The granite walls in Folsom are about eight feet thick, and we had just gotten off the bus and gone through one giant gate into a holding area. Then we went through a second gate, and, when it clanked shut, John said, ‘Jim, there’s a feeling of permanence in that sound.’ After that, I started wondering when we were going to get out of there.”
The success of “Johnny Cash at Folsom Prison,” with a Marshall close-up of Cash on its cover, sweat dripping down his face from the bottom of his sideburns, sent Cash to San Quentin a year later for another live album. That recording, which made it to No. 1 on both the country and pop charts in the U.S., is famous for its black-and-blue cover, with Cash’s head silhouetted from behind by a harsh spotlight.
Digital cameras have for the most part destroyed the high art of the photograph. Hand a person over a camera and chances are they can learn to take a decent photo in a short amount of time. What will never change though is having the right subject matter to shoot and pulling off an iconic photo at the same time. Thank you Jim Marshall for chronicling some amazing times in music history.
Link to original post on Collector's Weekly
 |
| Johnny Cash about to enter Folsom Prison in 1969 |
One of Marshall’s favorite subjects was Johnny Cash—Marshall’s last book, “Pocket Cash,” devoted entirely to images of the great country singer-songwriter, was published by Chronicle Books shortly after Marshall’s death. To mark the one-year anniversary of that sad event, three galleries are hosting “Pocket Cash” exhibitions during March and April of 2011. They are SNAP Galleries in London, Morrison Hotel Gallery in New York, and San Francisco Art Exchange (SFAE).
“It’s probably the most ripped off photograph in the history of the world.”Some of Marshall’s most arresting photographs of Cash were taken at two California prisons, Folsom (1968) and San Quentin (1969). These were not Cash’s first performances for prison inmates—indeed, his song “Folsom Prison Blues” had been released more than a decade earlier, in 1955, as a 45 and 78 by Sun Records. But the trip to Folsom would be recorded for a live album, and Jim Marshall was invited along by Cash’s label, Columbia, to document the event.
On the SFAE website, Jim Marshall recalls the day, January 13, 1968, when Cash and his band, the Tennessee Three, with the great Carl Perkins on guitar, entered the prison (see the pensive portrait of Cash, above). “The granite walls in Folsom are about eight feet thick, and we had just gotten off the bus and gone through one giant gate into a holding area. Then we went through a second gate, and, when it clanked shut, John said, ‘Jim, there’s a feeling of permanence in that sound.’ After that, I started wondering when we were going to get out of there.”
 |
| Johnny Cash, Folsom Prison, January 13, 1968 |
 |
| Johnny Cash, San Quentin Prison, February 24, 1969 |
The most famous image from the day, though, is unquestionably the candid shot of Cash taken during a rehearsal before the show. Again from the SFAE website, Marshall recalls the origins of what he believed was “probably the most ripped off photograph in the history of the world. There was a TV crew behind me and John was on the side of the stage. I said ‘John, let’s do a shot for the warden.’” Apparently, that’s all the prompting Cash needed to look straight into Marshall’s lens and flip him the bird." (All photos by Jim Marshall from San Francisco Art Exchange)
Saturday, January 19, 2013
Great Motorcycle Photos From Pinterest
Not a single day goes by that we don't see some sort of update from Pinterest. It could be the new photos that are uploaded or maybe even someone following our links and posts on there. Never the less we find the site to damn fun and interesting. Do yourself a favor and if ya need a quick fix for some great motorcycle photos, hot models, listen to digital tunes from the bands on Rusty Knuckles Music or just to peruse along to any other topic, Pinterest is for you.
These are a few photos we repinned onto our board.
These are a few photos we repinned onto our board.
 |
| Custom Yamaha XS 650 |
 |
| Custom Harley Knucklehead with all sorts of great brass and gold leafing |
 |
| Custom paint job on a peanut style tank |
 |
| Metal engraving done with class and style |
 |
| Copper top of a gas tank |
 |
| Hardtailed sportster chopper with a cafe style seat section |
 |
| Well worn Harley Davidson Knucklehead |
 |
| There is just something so appealing about raw metal as a finish |
Sunday, August 12, 2012
Bonneville Speed Week 2012, First Glance
Another year and another missed opportunity to make it out to the Bonneville Salt Flats for Speed Week. As the music label continues to grow at a rapid pace it is becoming more difficult to get to some of our other projects for which we have been planning for quite some time. Have a look at some of the photos we found over on Flickr from Rudy Van Bree. Can't wait to see more and hear about some of the racing.
 |
Monday, May 21, 2012
Interview With Marc Smith, Lucha Libre Photographer, from Future Shipwreck
Great photography can make a moment be etched in time forever. That one fleeting instant of perfection in which a whole story can be written. Go onto various sites such as flickr, pinterest or instagram and see amazing work. Hell, you can spend hours there perusing categories, groups and portfolios looking at great imagery, then one in particular will strike like a dead blow hammer and floor ya.
That is kind of how we felt after checking out these Lucha Libre images by the photographer Marc Smith. His amazing lens work and attention to detail give these images an underbelly that can only be found in niche cultures.
Dig more into the article below from Future Shipwreck
Marc Smith is a Disney animator by day and Lucha Libre photographer by night. After graduating from CalArts, Smith began his animation career as an inbetweener on The Lion King and Pocahantas. Inbetweeners are responsible for drawing the tens of thousands of action images– yes, you guessed it– in between the key frames. Not a bad way to foster an understanding of the human figure’s multifarious angles and expressions.
By Smith’s own account, he was content expressing himself through drawings and sketches until “one fateful day, after enjoying a particularly garlicky plate of hummus as his girlfriend dug though her purse for a piece of gum, she handed him her camera to hold. Just then, a 400-pound man carrying a 2-pound dog rounded the corner. With no sketchbook in hand, he used the camera, and a passion was born.”
The seed of that newfound passion has borne some spectacular fruit. Smith’s images explode across the screen. They are as immediate and arresting as they are thoughtful and measured– a precise balance that can be traced back to the photographer’s keen sense of timing and fundamental understanding of the body. Smith was kind enough to send us over photos and share some thoughts on photography, the appeal of Luchadores, and the very real pain of searching for missing teeth.
How did you go from working as an animator for Disney to taking photos of Lucha Libre wrestlers, and how has your experience in animation informed your photographic technique?
I started using a camera to do studies for the cinematography on the movies I was working on. I found it to be a very powerful tool to record observations while I was out and about, but more than that and this came as quite a surprise to me, I found that photography was the perfect complement to an artist sketchbook. Because when you have an idea for a drawing you begin with absolutely no information on your paper, nothing, and your job is to put information down until your idea is realized.
Whereas with photography you begin with everything. A whole universe full of information and your job as an artist is to extract the information that doesn’t support your idea. For me the end goal of both is exactly the same. I’m just trying to push myself to see the subject in a new or a deeper way.
Do you wrestle, yourself?
No, I don’t wrestle. I would be pulverized in the ring. I’ve been shoved and kicked more than once (and it hurt)! I can tell you these guys are tough and they take the sport seriously.
What attracts you to the subject?
Passion! The passion of the performers but especially the passion of the crowds. In some parts of the world where there are not many examples of life being fair, the Luchadores are their superheroes– a means by which the people can watch the powers of good conquer the powers of evil.
Are there any sports photographers who’ve inspired you?
I wish that I was more familiar with the art of sport photography than I am but the truth is that I was focused only on shooting images that I felt would represent the series the best.
What is the social aspect of taking these photos like? Was it challenging to get these wrestlers comfortable with the camera to capture such intimate portraits?
The wrestlers are both athletes and performers so photographing them in the ring is no problem because that is what they are there for. In time I learned to read the signs if someone was about to be thrown out of the ring into the audience or about to do a dangerous stunt. That’s not to say that what these men and women are doing isn’t real. I’ve seen serious injuries and spent time after the crowds have left searching for teeth that were knocked out during the matches.
That said, the shots of the performers taken backstage were more difficult. There is a long and illustrious history to the protection of the identity of a Luchador (the masks are a testament to this). An “unmasking” is considered to be a huge insult that could have repercussions lasting a lifetime. There are even examples of identities that have been passed down through the generations of a family. So the backstage work required a little finesse and a lot of respect. If I would have marched into the dressing room with my camera ready on the first night I would have learned more about wrestling than I wanted to know.
That is kind of how we felt after checking out these Lucha Libre images by the photographer Marc Smith. His amazing lens work and attention to detail give these images an underbelly that can only be found in niche cultures.
Dig more into the article below from Future Shipwreck
Marc Smith is a Disney animator by day and Lucha Libre photographer by night. After graduating from CalArts, Smith began his animation career as an inbetweener on The Lion King and Pocahantas. Inbetweeners are responsible for drawing the tens of thousands of action images– yes, you guessed it– in between the key frames. Not a bad way to foster an understanding of the human figure’s multifarious angles and expressions.
By Smith’s own account, he was content expressing himself through drawings and sketches until “one fateful day, after enjoying a particularly garlicky plate of hummus as his girlfriend dug though her purse for a piece of gum, she handed him her camera to hold. Just then, a 400-pound man carrying a 2-pound dog rounded the corner. With no sketchbook in hand, he used the camera, and a passion was born.”
The seed of that newfound passion has borne some spectacular fruit. Smith’s images explode across the screen. They are as immediate and arresting as they are thoughtful and measured– a precise balance that can be traced back to the photographer’s keen sense of timing and fundamental understanding of the body. Smith was kind enough to send us over photos and share some thoughts on photography, the appeal of Luchadores, and the very real pain of searching for missing teeth.
How did you go from working as an animator for Disney to taking photos of Lucha Libre wrestlers, and how has your experience in animation informed your photographic technique?
I started using a camera to do studies for the cinematography on the movies I was working on. I found it to be a very powerful tool to record observations while I was out and about, but more than that and this came as quite a surprise to me, I found that photography was the perfect complement to an artist sketchbook. Because when you have an idea for a drawing you begin with absolutely no information on your paper, nothing, and your job is to put information down until your idea is realized.
Whereas with photography you begin with everything. A whole universe full of information and your job as an artist is to extract the information that doesn’t support your idea. For me the end goal of both is exactly the same. I’m just trying to push myself to see the subject in a new or a deeper way.
Do you wrestle, yourself?
No, I don’t wrestle. I would be pulverized in the ring. I’ve been shoved and kicked more than once (and it hurt)! I can tell you these guys are tough and they take the sport seriously.
What attracts you to the subject?
Passion! The passion of the performers but especially the passion of the crowds. In some parts of the world where there are not many examples of life being fair, the Luchadores are their superheroes– a means by which the people can watch the powers of good conquer the powers of evil.
Are there any sports photographers who’ve inspired you?
I wish that I was more familiar with the art of sport photography than I am but the truth is that I was focused only on shooting images that I felt would represent the series the best.
What is the social aspect of taking these photos like? Was it challenging to get these wrestlers comfortable with the camera to capture such intimate portraits?
The wrestlers are both athletes and performers so photographing them in the ring is no problem because that is what they are there for. In time I learned to read the signs if someone was about to be thrown out of the ring into the audience or about to do a dangerous stunt. That’s not to say that what these men and women are doing isn’t real. I’ve seen serious injuries and spent time after the crowds have left searching for teeth that were knocked out during the matches.
That said, the shots of the performers taken backstage were more difficult. There is a long and illustrious history to the protection of the identity of a Luchador (the masks are a testament to this). An “unmasking” is considered to be a huge insult that could have repercussions lasting a lifetime. There are even examples of identities that have been passed down through the generations of a family. So the backstage work required a little finesse and a lot of respect. If I would have marched into the dressing room with my camera ready on the first night I would have learned more about wrestling than I wanted to know.
