File:Robert Griffin is no spray-painting vandal. Like thousands of other visitors to the "Cadillac Ranch" along Old U.S. Route 66 outside Amarillo, Texas, he is encouraged to bring a along a spray can to LCCN2014633458.tif
Original file (7,360 × 4,912 pixels, file size: 206.9 MB, MIME type: image/tiff)
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Summary
editDescriptionRobert Griffin is no spray-painting vandal. Like thousands of other visitors to the "Cadillac Ranch" along Old U.S. Route 66 outside Amarillo, Texas, he is encouraged to bring a along a spray can to LCCN2014633458.tif |
English: Title: Robert Griffin is no spray-painting vandal. Like thousands of other visitors to the "Cadillac Ranch" along Old U.S. Route 66 outside Amarillo, Texas, he is encouraged to bring a along a spray can to add a touch or two to the unusual public art installation. Thus the overall look remains the same over time, but the details change daily
Physical description: 1 photograph : digital, tiff file, color. Notes: Title, date, and keywords based on information provided by the photographer.; Gift; The Lyda Hill Foundation; 2014; (DLC/PP-2014:054).; The sculpture, a roadside attraction in the Texas panhandle, was executed by Chip Lord, Hudson Marquez and Doug Michels, who were a part of the art group Ant Farm. It consists of what were (when originally installed during 1974) either older running used or junk Cadillac automobiles, representing a number of evolutions of the car line (most notably the birth and death of the defining feature of mid-20th century Cadillacs; the tailfins) from 1949 to 1963, half-buried nose-first in the ground, at an angle corresponding to that of the Great Pyramid of Giza in Egypt.; Forms part of: Lyda Hill Texas Collection of Photographs in Carol M. Highsmith's America Project in the Carol M. Highsmith Archive.; Credit line: The Lyda Hill Texas Collection of Photographs in Carol M. Highsmith's America Project, Library of Congress, Prints and Photographs Division. |
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Date | Taken on 4 February 2013, 12:13 (according to Exif data) | ||||||||||||||||||||||||||
Source |
Library of Congress
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Author |
creator QS:P170,Q5044454 |
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Permission (Reusing this file) |
No known restrictions on publication.
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Licensing
editPublic domainPublic domainfalsefalse |
This work is from the Carol M. Highsmith Archive collection at the Library of Congress. According to the library, there are no known copyright restrictions on the use of this work. Carol M. Highsmith has stipulated that her photographs are in the public domain. Photographs of sculpture or other works of art may be restricted by the copyright of the artist; see Commons:FOP US#Artworks and sculptures for more information. |
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Date/Time | Thumbnail | Dimensions | User | Comment | |
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current | 00:25, 28 September 2016 | 7,360 × 4,912 (206.9 MB) | Fæ (talk | contribs) | LOC 2014633458, Carol M. Highsmith collection. P1230.22358 TIFF (206.9mb) |
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Metadata
This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong.
Image title | Robert Griffin is no spray-painting vandal. Like thousands of other visitors to the "Cadillac Ranch" along Old U.S. Route 66 outside Amarillo, Texas, he is encouraged to bring a along a spray can to add a touch or two to the unusual public art installation. Thus the overall look remains the same over time, but the details change daily. The sculpture, a roadside attraction in the Texas Panhandle, was commissioned in 1974 by eccentric Texas businessman-turned-artist Stanley Marsh 3, who disdained the Roman numeral III as pretentious. Marsh, long known in his hometown of Amarillo as a prankster and philanthropist, died in 2014 Amarillo at age 76. The sculpture was executed by Chip Lord, Hudson Marquez and Doug Michels, who were a part of the art group Ant Farm. It consists of what were (when originally installed during 1974) either older running used or junk Cadillac automobiles, representing a number of evolutions of the car line (most notably the birth and death of the defining feature of mid-20th century Cadillacs; the tailfins) from 1949 to 1963, half-buried nose-first in the ground, at an angle corresponding to that of the Great Pyramid of Giza in Egypt. |
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Camera manufacturer | NIKON CORPORATION |
Camera model | NIKON D800E |
Author | Photographer: Carol M. Highsmith |
Exposure time | 1/400 sec (0.0025) |
F-number | f/10 |
ISO speed rating | 100 |
Date and time of data generation | 12:13, 4 February 2013 |
Lens focal length | 29 mm |
Width | 7,360 px |
Height | 4,912 px |
Bits per component |
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Compression scheme | Uncompressed |
Pixel composition | RGB |
Image data location | 30,766 |
Orientation | Normal |
Number of components | 3 |
Number of rows per strip | 4,912 |
Bytes per compressed strip | 216,913,920 |
Horizontal resolution | 300 dpi |
Vertical resolution | 300 dpi |
Data arrangement | chunky format |
Software used | Ver.1.00 |
File change date and time | 06:53, 24 June 2014 |
Exposure Program | Manual |
Exif version | 2.21 |
Date and time of digitizing | 12:13, 4 February 2013 |
APEX shutter speed | 8.643856 |
APEX aperture | 6.643856 |
APEX exposure bias | −1.3333333333333 |
Maximum land aperture | 3 APEX (f/2.83) |
Metering mode | Pattern |
Light source | Unknown |
Flash | Flash did not fire, compulsory flash suppression |
DateTimeOriginal subseconds | 4 |
Color space | Uncalibrated |
Focal plane X resolution | 2,048.4022216797 |
Focal plane Y resolution | 2,048.4022216797 |
Focal plane resolution unit | 3 |
Sensing method | One-chip color area sensor |
File source | Digital still camera |
Scene type | A directly photographed image |
Custom image processing | Normal process |
Exposure mode | Manual exposure |
White balance | Auto white balance |
Digital zoom ratio | 1 |
Focal length in 35 mm film | 29 mm |
Scene capture type | Standard |
Scene control | None |
Contrast | Normal |
Saturation | Normal |
Sharpness | Normal |
Subject distance range | Unknown |