youngjusticer: Johann Schmidt was born the son of abusive German villager Hermann and his long suffering wife Martha, who died giving birth to Johann. Driven to madness by the death of the woman he both loved and hated, Hermann tried to drown the newborn, accusing him of murdering Martha. The doctor who delivered the baby saved Johann, and the next morning, Hermann committed suicide. The doctor took Johann to an orphanage, where the child led a lonely existence. Johann ran away and lived as a beggar and thief. As a teen, Schmidt was a bellhop who served the rooms of Hitler himself. By chance, he was present when Hitler was berating an officer and swore he could train Schmidt, a simple bellhop, to be a better National Socialist. Looking closely at him and sensing his dark nature, Hitler decided to take up the challenge and recruited him. Dissatisfied with the standard drill instruction his subordinates used to train Schmidt, Hitler took over personally. Upon completion, Hitler gave Schmidt a unique uniform with a grotesque mask and he emerged as Red Skull. His role was the embodiment of Nazi intimidation while Hitler could remain Germany’s leader. Red Skull was appointed head of Nazi terrorist activities with an additional large role in espionage and sabotage. He was successful wreaking havoc throughout Europe in the early stages of World War 2. The propaganda effect was so great that the US government decided to counter it by creating their own equivalent: Captain America. The two soon clashed in what would be a series of engagements throughout the war, ending with a final battle that left Skull buried under rubble. Because he was immediately exposed to an experimental gas, he remained in suspended animation for decades, just like Cap. Schmidt was rescued by the terrorist organization HYDRA. Skull was attacked by the mutant terrorist Magneto, a Holocaust survivor who wanted to punish him for his involvement in Hitler’s regime. Magneto buried him alive and Skull remained there until he was rescued by his henchman Crossbones. Red Skull, by Ruiz Burgos.
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youngjusticer:

Johann Schmidt was born the son of abusive German villager Hermann and his long suffering wife Martha, who died giving birth to Johann. Driven to madness by the death of the woman he both loved and hated, Hermann tried to drown the newborn, accusing him of murdering Martha. The doctor who delivered the baby saved Johann, and the next morning, Hermann committed suicide. The doctor took Johann to an orphanage, where the child led a lonely existence. Johann ran away and lived as a beggar and thief. As a teen, Schmidt was a bellhop who served the rooms of Hitler himself. By chance, he was present when Hitler was berating an officer and swore he could train Schmidt, a simple bellhop, to be a better National Socialist. Looking closely at him and sensing his dark nature, Hitler decided to take up the challenge and recruited him. Dissatisfied with the standard drill instruction his subordinates used to train Schmidt, Hitler took over personally. Upon completion, Hitler gave Schmidt a unique uniform with a grotesque mask and he emerged as Red Skull. His role was the embodiment of Nazi intimidation while Hitler could remain Germany’s leader. Red Skull was appointed head of Nazi terrorist activities with an additional large role in espionage and sabotage. He was successful wreaking havoc throughout Europe in the early stages of World War 2. The propaganda effect was so great that the US government decided to counter it by creating their own equivalent: Captain America. The two soon clashed in what would be a series of engagements throughout the war, ending with a final battle that left Skull buried under rubble. Because he was immediately exposed to an experimental gas, he remained in suspended animation for decades, just like Cap. Schmidt was rescued by the terrorist organization HYDRA. Skull was attacked by the mutant terrorist Magneto, a Holocaust survivor who wanted to punish him for his involvement in Hitler’s regime. Magneto buried him alive and Skull remained there until he was rescued by his henchman Crossbones.

Red Skull, by Ruiz Burgos.

(via iamthedeadpool)

Source: youngjusticer

bobbycaputo:

Stunning Photos of Cities Without Light Pollution

There are many advantages to city life, from conveniences like 24-hour delis and reliable public transportation to all of the culture that’s right at our fingertips. But there’s one thing that’s sadly missing from our lives: starry skies. In Thierry Cohen‘s thought provoking series Darkened Cities, which we spotted thanks to Visual News, we get to see what various cityscapes worldwide would look like minus all of the light pollution. The Paris-based photographer’s work is very precise; the skies that he superimposes into his photos are taken from locations that are situated on precisely the same latitude as the original cities, and shot at the same angle. The resulting images are beautiful, but there’s something apocalyptic about them too — especially shots of New York City, which recall photos of Lower Manhattan in the wake of Hurricane Sandy.

(Via. Flavorwire)

(via ions-anions-and-cations)

Source: flavorwire.com

cavetocanvas: Stephen Shore, U.S. 97, South of Klamath Falls, Oregon, 1973 From the Metropolitan Museum of Art: This photograph succinctly demonstrates the post-Romantic perspective on American landscape that Shore shared with the other photographers associated with the “New Topographics” in the mid-1970s. Rather than the majestic views produced by Timothy O’Sullivan, Carleton Watkins, Edward Weston, Ansel Adams, and Minor White (who was Shore’s teacher), Shore gives us an image of nature occluded by its own representation. An ironic commentary on “authentic’ natural experience, this photograph also displays Shore’s impeccable color sense—which, along with that of a few other photographers in the 1970s—pulled color photography out of its exile in the commercial world and into the realm of serious art.
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cavetocanvas:

Stephen Shore, U.S. 97, South of Klamath Falls, Oregon, 1973

From the Metropolitan Museum of Art:

This photograph succinctly demonstrates the post-Romantic perspective on American landscape that Shore shared with the other photographers associated with the “New Topographics” in the mid-1970s. Rather than the majestic views produced by Timothy O’Sullivan, Carleton Watkins, Edward Weston, Ansel Adams, and Minor White (who was Shore’s teacher), Shore gives us an image of nature occluded by its own representation. An ironic commentary on “authentic’ natural experience, this photograph also displays Shore’s impeccable color sense—which, along with that of a few other photographers in the 1970s—pulled color photography out of its exile in the commercial world and into the realm of serious art.

wolf189: 3 levels of a shopping mall (or the security in the center of attention) by Wolf189 (@wolfphoto) The ultimate FAQ (for now ) about Wolf189 ,  Most recent videos , Archive, Video Channel  ** Please don’t remove the credits and links. Thank you. **
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wolf189:

3 levels of a shopping mall (or the security in the center of attention) by Wolf189 (@wolfphoto)

The ultimate FAQ (for now )

about Wolf189 ,  Most recent videos , Archive, Video Channel 

** Please don’t remove the credits and links. Thank you. **

newyorker:

For the past twenty years, the documentary photographer Joseph Rodriguez has worked all over the world, but his most deeply intimate projects have been his portraits of American struggle. “My aim is to get to the core of violence in America,” Rodriguez told me. “Not just the physical violence against one another but the quiet violence of letting families fall apart, the violence of unemployment, the violence of our educational system, and the violence of segregation and isolation.” Click-through for a selection of images from Rodriguez’s work, now on display at Taller Boricua: http://nyr.kr/LdtC3n