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August 3, 1986 | BEVIS HILLIER
It was a rare day of gray skies at Venice Beach. Beside the Boardwalk, a man was giving a virtuoso performance of "Jesu, Joy of Man's Desiring" on wine glasses filled with varying amounts of water. As his moistened hands slid over the rims, he cast an anxious glance upward; even a light drizzle would destroy his fine-tuning. Skateboarders whizzed up a ramp toward the lowering clouds. Roller skaters serpented down a slalom course.
March 8, 1987 | Marilyn Sanders
Photography attracts two kinds of people: some who are addicted to collecting equipment and others who care deeply about the process of making images. Those in the second category will love this book. It is a text that goes beyond basic shop talk about cameras, lenses and film to discuss ways to create imaginative pictures. But what distinguishes this fat volume (abridged from the Kodak Library of Creative Photography) from other how-to books is the way the contents are organized.
July 5, 2013 | By Stephen Ceasar
A Glendale man faces up to seven years in prison after pleading guilty in a “sextortion” case in which he targeted 350 women and coerced them into showing him pictures of them nude. Karen “Gary” Kazaryan, 27, pleaded guilty this week to one count of identity theft and one count of unauthorized access to a protected computer. Prosecutors said Kazaryan hacked into the Facebook, Skype and email accounts of victims and changed their passwords, locking them out of their own online accounts.
June 9, 2001
Oops! I almost missed it. I am referring to Patt Morrison's May 30 column. I do like many of the things you are doing with redesigning the paper, but don't overdo it by eliminating pictures of the columnists. We longtime readers have become accustomed to responding to pictures of our favorite columnists and I, for one, miss them. Keep it interesting for the people who live here. Put the pictures back. Please! Bob Brach Desert Hot Springs
January 17, 2014 | By Leah Ollman
In one of Andrew Moore's inexhaustible photographs of Cuba, at Couturier, we face a courtyard lined with rows of silver chairs, their filigreed backs like a slightly chaotic jewelry display, a shiny jumble of upended pendants. At the far side of the courtyard is a building that proposes architecture as an act of whimsical montage, a dynamic piecing together of old and new, function, decoration and metaphor. The outdoor space operates as a theater, which is also how most of Moore's photographs feel, like naturalist stages where life is played out with heightened color and concentrated emotion.
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