Magazine Silver
Silvana Fleischacker
ENMU's Green & Silver Magazine started out as the ENMU Effect newsletter in 2007 as a joint Alumni Affairs and ENMU Foundation publication produced by the foundation. Since March 2013, the magazine has served as a channel to stay in touch with alumni, highlight campus activities and encourage others by showcasing alumni success. Green & Silver is an ever-evolving and diverse publication, just like our alumni and friends.
Share your story: We are always looking for exciting news to share with our alumni and those who support our scholarship funding effort. However your ENMU education/scholarship has helped you achieve success during school or after graduation, we want to hear about it! Submit your career and monumental life experience news to the Green & Silver Magazine at [email protected].
Issue 22 is out now!
Our main themes this issue:
Foreigners capturing culture on film
New film cameras are finally on the way!
Making meaningful portraits
Are your films really safe in airport scanners?
A scanning workflow to bridge analog and digital
Read more for details and images from inside the issue.
Cinestill is bringing their 400Dynamic color cinefilm for 45-inch large format cameras to their standard catalogue! Exciting news for large format photographers, and another sign that film photography is thriving.
"Composites" - an Open Call from alternativephotography.com We spoke with Malin Fabbri about the "Composites" Open Call. This is the latest open call from the AlternativePhotography.com team. By Christopher Osborne. Gery Oth and Reiny Rizzy, Luxemburg, Taking...
While we take pride on our various and well researched online content, our heart beats analog. Where online sparkles, print truly shines. If you like coffee table photo books, you will love SilvergrainClassics. Sturdily bound, in book quality print, the magazine is the next best thing to holding an actual silver gelatin print of an image in your hands.
Our team are experienced photographers with a passion for sharing information and inspiration. From large format landscape to instant street over development specialists and online blogger personalities, we are excited to bring together a first-class team from different areas of analog photography. Working with international contributors gives us the opportunity to spread the love for analog photography all around the globe.
Because the truck is all silver, and silver tends to lift on multi-colored stripe jobs, I had the shop paint it three separate times, clearing and sanding the entire body each time, before adding the next stripe. This was tedious work, and I appreciate their patience in the paint shop. In addition to making sure the silver did not lift, I also wanted the entire exterior to feel smooth, so they added extra layers of clear to help bury the stripes. My friend Bub made me a special set of door-mounted mirrors that slanted to match the cab stripes and the doors. He also removed all the excess wiring from the mirrors to clean things up even more.
Silver Screen was an American monthly magazine focusing on the film industry. It had its first publication in November 1930, and continued publication through the 1970s. It positioned itself as a source for behind-the-scenes stories about the stars of movie industry. The publication contained articles about film personalities, relationships, fashion and the film companies. It also contained reviews of the new releases in the film industry.
The magazine began publication in November 1930,[1] featuring a portrait of Greta Garbo on the cover. The publisher was Screenland Magazine, Inc., which also published Screenland, another monthly magazine about the film industry. The president of Screenland was Alfred A. Cohen, and the magazine's editor was Ruth Waterbury.[2] The magazine fashioned itself as a behind-the-scenes look at Hollywood, focusing on the lives of the stars of the film industry.[3]
By 1931 the magazine was claiming that it had the largest newsstand circulation of any publication dealing with the film industry.[4] Eliot Keen, who had joined the magazine in 1930, took over the editor-in-chief duties for the September 1931 issue,[5] a position he held until his death of a sudden heart attack in March 1939,[6] although he remained on the masthead through the June 1939 issue.[7] He was replaced by Lester C. Grady for the July issue. Their advertising slogan was "Reflecting the Magic of Hollywood."[8]
The magazine was published monthly until August 1954, when the magazine took a hiatus until February 1955, when it returned as a bi-monthly magazine. It remained bi-monthly through 1966, after which it returned to a monthly format.[10] In 1965, in addition to the 6 regular issues, there were two additional special issuances, an "Annual" and a "Yearbook" edition.[11] In 1971, Silver Screen merged with Screenland, but retained the Silver Screen title. It continued publishing through the beginning of 1977, when its final issue was a special "horror" issue.[12]
Though his primary interest was in establishing a new innovative digital presence for Garden Design, gardening aficionados all over the country spoke strongly to their appreciation for the printed page. Who knows what possessed him to commit to bringing that print publication back to life in an incredibly beautiful and signature way, but he did. I greatly admire this about him. Jim called me to ask if Detroit Garden Works would consider carrying his new magazine. I loved how he was willing to take his passion as far as making his case for his new magazine personally to people in the retail garden community. I admire any gardener that creates magic from dirt, and Jim Peterson is no exception. Of course I said yes. I am an American landscape designer. A publication devoted to American landscape and garden design is a resource I would treasure. I take great pride that my practice was featured in their first issue.
Growing and arranging cut flowers appeals to everyone who has ever been enchanted by flowers. I have no idea in what context this scrumptious but simple arrangement of anemones, lisianthus and carnations was photographed by Pia Clodi, but I will be finding out next week.
I do believe there is some great landscape design being done in the US. Photographed by Robert Yu, this contemporary landscape is absolutely stunning. It is not a landscape I am familiar with. Garden Design is a forum for landscape and garden design that I appreciate having available to me. I might not otherwise see this garden. I am keenly interested to read more about it.
As much as I appreciate this garden and fence, as photographed by Rob Cardillo, what strikes me the most is the idea that a landscape and garden can be a gateway to a way of life that is good for people. Garden Design makes this case in many different ways. If you do not already subscribe, I would recommend you do so. Subscribe now, and you get the early spring issue from which all of these photographs were taken, free. Check it out: subscribe to Garden Design here Yes, I have a good bit of enthusiasm for this magazine. It is the only magazine of its kind. I would like to see them continue to cover horticulture and design for a long time to come.
We know all about the questions people have about the future of print: we expect our business to be one part print (a vital, already profitable part of the whole) and several parts digital (we have advertising online/ in our newsletters/ etc.). But oh that print part is so beautiful and makes so many things possible. Print still matters.
Thank you for this wonderful news! As a fellow designer I really have my seed this publication and the inspiration and knowledge it provided. If it was not for this blog I would not have known! Signing up as soon as I finish this comment!
During an expansion of our church, my friend Mike would go out at the end of the day and literally dig through the construction dumpster looking for any type of metal. Amused, I gave him a hard time until he explained that his previous "trash collection" yielded him $67 at the local metal recycling center. A week later, a friend of mine was throwing out a weight bench. I, now well aware of this little treasure trove of metal recycling, gladly took it off his hands. I spent time disassembling the bench and loading the weights in my Explorer. I collected a few more metal items that were being thrown away. Then I drove to the recycling center early one morning. Now, I know this isn't much, but that $36.75 I earned felt like I'd struck gold. "Free lunch today!" "What else can I recycle?"
Just yesterday I read these words in Proverbs, "if you seek it like silver and search for it as for hidden treasure." It was referring to wisdom and understanding, which comes from the Word of God. It resonated in my soul. I thought of how I would search for scrap metal as a little hidden treasure. I would expend energy to find it and collect it. I would wonder if anyone else was throwing away perfectly good metal. Oh, the madness! I think you can see where I'm going with this metaphor.
I'm not suggesting that these are all bad. However, I had to stop to ask myself, "By comparison, of all of the things you seek in life ... how hungry are you for gaining wisdom and understanding from God? How hungry are you for fresh Bread from Scripture? Are you hungry enough to slow down long enough to listen?"
If we find ourselves being too busy to spend time hearing what God has for us in Scripture, then we must act. We must rearrange, reprioritize, delegate, or say "No." Or perhaps stop being too lazy to do something. Seek it out like silver. Search for it like hidden treasure. It holds wisdom and understanding. It is living and active. It is the very words of our living God.
In America, invasive plants are often considered a hated presence. Gardeners shun them and plant nativists call for an all-out war on them. Make no mistake, they are pesky, persistent and without a doubt a problem. Nonetheless, I challenge you to adopt an alternate perspective. Consider the invasive plant as a post-industrial resource and symbol of abundance within the ruins of American industry. Also a visceral stand-in for colonialism, xenophobia and post-industrial abundance.
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