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Gedenkblatt
Max List gefallen am 25.5.1916
8. Kompanie, Infantrie-Regiment von Alvensleben
6. Brandenbg. Nr .52
The BMW 1 series M coupe driven by Wouter Ploeg and Harm van Koppen during the ELE Rally.
Car: BMW
Type: 1 Series M Coupe (with an E46 M3 engine)
Camera: Canon EOS 7D
Lens: Canon 70-200mm F/4.0 L USM with B&W polarisation filter
Exposure: 1/320
Aperture: f/4.0
ISO speed: 100
Focal length: 70mm
Facebook: www.facebook.com/AutosportMedia
Website: www.autosport-media.nl
Twitter: @autosport_media
Contact: Info@autosport-media.nl
Today I was in one of my favourite places: the "Bosco di Montenero". Tonight snow gave it a fairytale aspect ... do you agree?
I used ONLY my new cheap chinese 35mm 1,7 lens, almost always at full aperture.
This is the result: something like a Lensbaby or a Holga lens. What do you think? Did I spent well 36$ (adapter included)? I looove this rendition.
Camera: Minolta X-370s
Lens: Minolta MC Rokkor-PF 1 : 1.7 f=55mm
Film: Kodak Gold 200 (Expired)
The Darkroom Cross-Processed
I've been waiting to post these! They're a series of four cross-processed cherry blossom photos with light-leaks. Honestly the cross-process didn't seem to change the images vey much but each one turned out really nice. I can't wait to take pictures of the trees every year and this is the first spring that I've had film! I'm so happy with the results and I hope you guys enjoy the photos.
This is the first of four
Die weltweit erste Systemkamera, die bis zu 15 Meter wasserdicht ist und stoßfest. Den vollständigen Test gibt es hier:
As promised, I'm going to make a video each week of my 31 Days of July project of different things that happened that week or behind the scenes from a shoot.
This week I:
--Got a new lens
--Saw the fireworks
--Explored a new location with my mom
--Made Front Page!
--Went to Connecticut
--Sunbathed with my doggie :)
Now I'm off to go on a 5 hour shooting spree! Expect tons of uploads.
Just entered a contest. It would mean the world if you could hit "Collect me" at the top! You must log into Facebook and hit 'Collect me' twice because sometimes the first vote doesn't go through. Vote! Thank you<3
Instagram: justttmakayla / Facebook / Ask me stuff! / Tumblr / Youtube
Get my Facebook page to 1,000 likes and I'll hold a print giveaway! :)
ngày hôm đó vui ghê ^^
bố nói
- tao bán mio của mày rồi đó
Sinz
ba vừa phãi thôi nha , biết bao nhiêu công sức của con h ba bán k nói con là sao
Bố
tao bán mua Nou4 cho mày đc không
Sinz
đâu ?
Bố
mày đợi 4h xe về
Sinz
k có là con đi bụi luôn đó
Bố
....
3h 3h30 3h45 ... 4h ... tiếng xe đậu trước cữa ... chãy ra xem thấy nguyên em nou4 ... thíc thật ^^
Quay lại nói với bố : tưỡng banói xạo chứ hìhì Bố vẫn làm mặt lạnh quà sinh nhật của mày đó , dữ cho cẫn thận , k có chiếc nào thêm nữa đâu nha con
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Quà sinh nhật của con đến sớm hơn 1 tháng .. !
trong lúc vui con đã thoáng nghĩ rằng : " tại sao ? " và vô tình con nghe ba nói với mẹ rằng " tui sợ tui k tặng quà cho nó kịp ... "
Khóc ... nước mắt con tuôn ngay lập tức khi câu nói đó chưa kịp dức ...
Vẽ mặt lành lùng khi trao chìa khoá xe cho con thì ra là ba sợ ...
Ba sợ niềm vui khi thấy con hạnh phúc và sợ sẽ mất đi nụ cười đến 1 ngày ba nằm xuống ..
Đôi khi con ghét ba lắm nhưng con biết không có ba con sẽ ngã ...
Bao nhiêu lỗi lầm ba vẫn bõ qua và bây h con chĩ muốn ôm ba thật chặt không cho ba lià xa ...
... Đừng bỏ con !
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Chùa đi lột lông trụng cháo hết đó :-w
đẹp trai đẹp gái mà bị kiu là chó ghẽ hơi buồn tình á nha mấy tình yêu =))
0 RETOUCHES & LUMIERE NATURELLE
Soft utilisés : GIMP ( ajout logo )
matériel : Nikon d7000
AF-S DX NIKKOR 35mm f/1.8G
EZ3KIEL durant le LUX TOUR 2014
Site officiel : www.ez3kiel.com/
Lien Facebook : www.facebook.com/ez3kiel.band
Extrait de musique ( soundcloud ) : soundcloud.com/ez3kiel_band
Chaine You tube officiel : www.youtube.com/user/ez3com
posté avec l'accord du groupe
Photos prise en live au LO BOLEGASON le 07 / 11 / 2014
site officiel : www.bolegason.org/
idee : el joker
les allummers prod
====================================
0 RETOUCH & NATURAL LIGHT
Soft : GIMP ( add logo )
material : Nikon d7000
AF-S DX NIKKOR 35mm f/1.8G
EZ3KIEL during LUX TOUR 2014
Official site : www.ez3kiel.com/
Link Facebook : www.facebook.com/ez3kiel.band
extract of music ( soundcloud ) : soundcloud.com/ez3kiel_band
Official channel You tube : www.youtube.com/user/ez3com
posted with the agreement of the group
Photos taken in live at LO BOLEGASON the 11 / 07 / 2014
official site : www.bolegason.org/
idea : el joker
les allummers prod
A very late first submission to the 12 Months Of Dogs group.
But here we are!
After 4 years of doing the 52 Weeks project, and especially after some major changes in our lives, Liz's group became the best fit for this year.
For those of you not familiar with Ouzo, he's a 7 year old Border Collie who lives in Denver, Colorado and loves every second of life.
Here he is this afternoon, enjoying the fresh powder before it melts under the mighty Colorado sun.
We just welcomed our first child into our lives on New Years Eve, a baby boy named Vlad, and our lives have changed forever. So has Ouzo's. He is so good around the baby, gentle, not jealous, despite realizing he's no longer the center of our attention.
This is the reason why I've waited so long till I found time to take a picture for the group - not lack of interest but honestly, lack of any available time :)
Liz - I hope I hit all the convoluted requirements of your group :P
A real life item that Re-ment has made in miniature. It's a ring you put around a babies head when bathing to keep the soap out of their eyes.
The round pink thing in Drug Store #1 and the white round thing in Hello Kitty Drug Store #5 are what I mean:
www.re-ment.co.jp/products/drug/001.html
www.re-ment.co.jp/products/sanrio_hk_drugstore/005.html
A friend of my father sent me an email with several pictures to "make you smile". Some were adorable, but one was very relevant to Re-ment. I thought I'd share, since even though I know what the item is, I've never seen it in action. :)
Not my photo, I just want to share knowledge.
piecing it together, notes added...for this shot.
Lighting Info:
AB800 boomed up 3ft on axis Joe in beauty dish with sock @stop between 1/32 and 1/16
AB400 camera right 5ft from Joe in 7" reflector @1/32
SB600 camera right 6ft from Joe bare 1/16 @70mm
Silver reflector chest height
The PP was done in LR: desaturate, except the yellow and orange slide bar to keep the color of the rope.
View Black
Lens: ZEISS Otus 1.4/85
Camera: Nikon D800
Exposure: ISO 100, f/4.5 at 1/6s
Processed: Adobe LR v5.7
Location: Hudson River Water Front Walkway
January 1, 2011
Okay Soooo I started a 365 last year and i failed haha. I have made another goal to do it again. I hope I can do it! My Birthday was yesterday, it was a great new years eve and 19th birthday! This is my old camera thats hanging around my neck, im excited to start this new project with my new camera! and by the way my underwear has cameras on it :]
I really want to be a photographer for Teen Vogue! My dream is to be one of the youngest photographers for Teen Vogue.. its about teenagers right?? Well im one!! haha
check out all the pics here : facebook
A Lost European Culture, Pulled From Obscurity
By JOHN NOBLE WILFORD
Before the glory that was Greece and Rome, even before the first cities of Mesopotamia or temples along the Nile, there lived in the Lower Danube Valley and the Balkan foothills people who were ahead of their time in art, technology and long-distance trade.
For 1,500 years, starting earlier than 5000 B.C., they farmed and built sizable towns, a few with as many as 2,000 dwellings. They mastered large-scale copper smelting, the new technology of the age. Their graves held an impressive array of exquisite headdresses and necklaces and, in one cemetery, the earliest major assemblage of gold artifacts to be found anywhere in the world.
The striking designs of their pottery speak of the refinement of the culture’s visual language. Until recent discoveries, the most intriguing artifacts were the ubiquitous terracotta “goddess” figurines, originally interpreted as evidence of the spiritual and political power of women in society.
New research, archaeologists and historians say, has broadened understanding of this long overlooked culture, which seemed to have approached the threshold of “civilization” status. Writing had yet to be invented, and so no one knows what the people called themselves. To some scholars, the people and the region are simply Old Europe.
The little-known culture is being rescued from obscurity in an exhibition, “The Lost World of Old Europe: the Danube Valley, 5000-3500 B.C.,” which opened last month at the Institute for the Study of the Ancient World at New York University. More than 250 artifacts from museums in Bulgaria, Moldova and Romania are on display for the first time in the United States. The show will run through April 25.
At its peak, around 4500 B.C., said David W. Anthony, the exhibition’s guest curator, “Old Europe was among the most sophisticated and technologically advanced places in the world” and was developing “many of the political, technological and ideological signs of civilization.”
Dr. Anthony is a professor of anthropology at Hartwick College in Oneonta, N.Y., and author of “The Horse, the Wheel, and Language: How Bronze-Age Riders from the Eurasian Steppes Shaped the Modern World.” Historians suggest that the arrival in southeastern Europe of people from the steppes may have contributed to the collapse of the Old Europe culture by 3500 B.C.
At the exhibition preview, Roger S. Bagnall, director of the institute, confessed that until now “a great many archaeologists had not heard of these Old Europe cultures.” Admiring the colorful ceramics, Dr. Bagnall, a specialist in Egyptian archaeology, remarked that at the time “Egyptians were certainly not making pottery like this.”
A show catalog, published by Princeton University Press, is the first compendium in English of research on Old Europe discoveries. The book, edited by Dr. Anthony, with Jennifer Y. Chi, the institute’s associate director for exhibitions, includes essays by experts from Britain, France, Germany, the United States and the countries where the culture existed.
Dr. Chi said the exhibition reflected the institute’s interest in studying the relationships of well-known cultures and the “underappreciated ones.”
Although excavations over the last century uncovered traces of ancient settlements and the goddess figurines, it was not until local archaeologists in 1972 discovered a large fifth-millennium B.C. cemetery at Varna, Bulgaria, that they began to suspect these were not poor people living in unstructured egalitarian societies. Even then, confined in cold war isolation behind the Iron Curtain, Bulgarians and Romanians were unable to spread their knowledge to the West.
The story now emerging is of pioneer farmers after about 6200 B.C. moving north into Old Europe from Greece and Macedonia, bringing wheat and barley seeds and domesticated cattle and sheep. They established colonies along the Black Sea and in the river plains and hills, and these evolved into related but somewhat distinct cultures, archaeologists have learned. The settlements maintained close contact through networks of trade in copper and gold and also shared patterns of ceramics.
The Spondylus shell from the Aegean Sea was a special item of trade. Perhaps the shells, used in pendants and bracelets, were symbols of their Aegean ancestors. Other scholars view such long-distance acquisitions as being motivated in part by ideology in which goods are not commodities in the modern sense but rather “valuables,” symbols of status and recognition.
Noting the diffusion of these shells at this time, Michel Louis Seferiades, an anthropologist at the National Center for Scientific Research in France, suspects “the objects were part of a halo of mysteries, an ensemble of beliefs and myths.”
In any event, Dr. Seferiades wrote in the exhibition catalog that the prevalence of the shells suggested the culture had links to “a network of access routes and a social framework of elaborate exchange systems — including bartering, gift exchange and reciprocity.”
Over a wide area of what is now Bulgaria and Romania, the people settled into villages of single- and multiroom houses crowded inside palisades. The houses, some with two stories, were framed in wood with clay-plaster walls and beaten-earth floors. For some reason, the people liked making fired clay models of multilevel dwellings, examples of which are exhibited.
A few towns of the Cucuteni people, a later and apparently robust culture in the north of Old Europe, grew to more than 800 acres, which archaeologists consider larger than any other known human settlements at the time. But excavations have yet to turn up definitive evidence of palaces, temples or large civic buildings. Archaeologists concluded that rituals of belief seemed to be practiced in the homes, where cultic artifacts have been found.
The household pottery decorated in diverse, complex styles suggested the practice of elaborate at-home dining rituals. Huge serving bowls on stands were typical of the culture’s “socializing of food presentation,” Dr. Chi said.
At first, the absence of elite architecture led scholars to assume that Old Europe had little or no hierarchical power structure. This was dispelled by the graves in the Varna cemetery. For two decades after 1972, archaeologists found 310 graves dated to about 4500 B.C. Dr. Anthony said this was “the best evidence for the existence of a clearly distinct upper social and political rank.”
Vladimir Slavchev, a curator at the Varna Regional Museum of History, said the “richness and variety of the Varna grave gifts was a surprise,” even to the Bulgarian archaeologist Ivan Ivanov, who directed the discoveries. “Varna is the oldest cemetery yet found where humans were buried with golden ornaments,” Dr. Slavchev said.
More than 3,000 pieces of gold were found in 62 of the graves, along with copper weapons and tools, and ornaments, necklaces and bracelets of the prized Aegean shells. “The concentration of imported prestige objects in a distinct minority of graves suggest that institutionalized higher ranks did exist,” exhibition curators noted in a text panel accompanying the Varna gold.
Yet it is puzzling that the elite seemed not to indulge in private lives of excess. “The people who donned gold costumes for public events while they were alive,” Dr. Anthony wrote, “went home to fairly ordinary houses.”
Copper, not gold, may have been the main source of Old Europe’s economic success, Dr. Anthony said. As copper smelting developed about 5400 B.C., the Old Europe cultures tapped abundant ores in Bulgaria and what is now Serbia and learned the high-heat technique of extracting pure metallic copper.
Smelted copper, cast as axes, hammered into knife blades and coiled in bracelets, became valuable exports. Old Europe copper pieces have been found in graves along the Volga River, 1,200 miles east of Bulgaria. Archaeologists have recovered more than five tons of pieces from Old Europe sites.
An entire gallery is devoted to the figurines, the more familiar and provocative of the culture’s treasures. They have been found in virtually every Old Europe culture and in several contexts: in graves, house shrines and other possibly “religious spaces.”
One of the best known is the fired clay figure of a seated man, his shoulders bent and hands to his face in apparent contemplation. Called the “Thinker,” the piece and a comparable female figurine were found in a cemetery of the Hamangia culture, in Romania. Were they thinking, or mourning?
Many of the figurines represent women in stylized abstraction, with truncated or elongated bodies and heaping breasts and expansive hips. The explicit sexuality of these figurines invites interpretations relating to earthly and human fertility.
An arresting set of 21 small female figurines, seated in a circle, was found at a pre-Cucuteni village site in northeastern Romania. “It is not difficult to imagine,” said Douglass W. Bailey of San Francisco State University, the Old Europe people “arranging sets of seated figurines into one or several groups of miniature activities, perhaps with the smaller figurines at the feet or even on the laps of the larger, seated ones.”
Others imagined the figurines as the “Council of Goddesses.” In her influential books three decades ago, Marija Gimbutas, an anthropologist at the University of California, Los Angeles, offered these and other so-called Venus figurines as representatives of divinities in cults to a Mother Goddess that reigned in prehistoric Europe.
Although the late Dr. Gimbutas still has an ardent following, many scholars hew to more conservative, nondivine explanations. The power of the objects, Dr. Bailey said, was not in any specific reference to the divine, but in “a shared understanding of group identity.”
As Dr. Bailey wrote in the exhibition catalog, the figurines should perhaps be defined only in terms of their actual appearance: miniature, representational depictions of the human form. He thus “assumed (as is justified by our knowledge of human evolution) that the ability to make, use and understand symbolic objects such as figurines is an ability that is shared by all modern humans and thus is a capability that connects you, me, Neolithic men, women and children, and the Paleolithic painters in caves.”
Or else the “Thinker,” for instance, is the image of you, me, the archaeologists and historians confronted and perplexed by a “lost” culture in southeastern Europe that had quite a go with life back before a single word was written or a wheel turned.
1st Explore
Explored # 476
January 1, 2009
1000 views =]
I decided to do the whole one picture a week for 52 weeks thing, I figured I wouldn't be able to keep up with the 365 thing... Happy new year! =]
I felt really silly setting up a tripod in my bathroom....
Almost 5 months have passed since my last upload. The reason behind this pause lies on the conditions that I experience in Greece.
In Greece, nowadays, there are three cases. Either you are unemployed or, if you are employed, you live within a constant state of insecurity of losing your job, either because the company you work is having problems or because they can find someone else who will be willing to work more hours for less money. All is justified in the name of “calming” the “markets”. As if the markets are demons or demi-gods who demand the lives of the people in order to be satisfied. This is madness!!
Unemployment is 26% and by the end of the year it will reach 34% of the active population! This kind of unemployment has been noted only in countries that have been facing long term wars. The health system is collapsing rapidly and the fascist party is getting more and more strong. We do not speak of a Far Right party but of a Fascist party on the steps of the Nazi party. Everyday that passes they become more and more popular with their mix of populist politics and hate speech.
Europe, for Greeks, is dead. As it seems Greece is dead for Europe too. A new Europe is rising that in order to secure itself it is becoming smaller and smaller. As if to become secure it has to cut parts of its body. What a mental anomaly!
And then there are those people who live by their pensions. As the man in this photo coming out of a “1 euro shop”, dressed poorly, passing through a body of demonstrators, looking down, speaking to himself, lost somewhere on his thoughts.
This old man, lives with a pension of 300 or 400 euros. Now, he has to pay all his medicine, he has to eat and live with this money. And the prices in Greece are the same just like Germany. Greece is among the three most expensive countries to live in Europe!
On my side, while life has been hard there have been some good news too. “Gateway” magazine from China has published a set of my photos on greek crisis on its July issue. It was an 8 page article I wrote with photos I had taken. In the next days I will see to post some pages from the magazine with the text in English.
On the other hand, I am left with no camera to take photos (except from an automatic Panasonic Lumix) since my Olympus E-400 has broken into pieces after an accident I had. This has been very frustrating for me and while I have been trying to put some money on the side this is very very difficult.
Hope you enjoy the photo.
The little RX100 delivers the goods again. A grab shot of someone looking for a lunch of tired salmon.
Some little studio work from yesterday. I got some new shelves for my studio from IKEA and I cleaned everything up because I want to do a bit more studio and flash work in the future. My plan is to do a 100 portrait project with 50mm focal length and flash work as main part of this project. There is no time frame but I don't want to do a portrait of a person twice that's mean I need 100 people for this project :-/ if you are interested to be a part of this, please let me know ;-)
Strobe info: VC300 in a gridded 120cm octa-box right from camera metered to F5.6 as main light. 400Ws monolight with light through umbrella left and far behind camera for fill light – metered to F2.8 or more less. Right and left behind me 430EX II in a 60x90 squared umbrella soft-box for rim – metered to F/4. 580 EXII with blue gel and full power spoted to the backdrop. Triggert with Pocket Wizard miniTT1, flexTT5 and Phottix Atlas.
Camera info: Canon EOS 5D mkII with Sigma 50mm 1.4 at 1/125 sec, F/5.6, ISO100
Hit L or use this one view large
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Posted in the We want more! Group :-)
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Locomotion No. 1 is an early British steam locomotive built for the Stockton and Darlington Railway. Built by George and Robert Stephenson's company Robert Stephenson and Company in 1825. It was the first one to run on a passenger carrying line.
The No. 1 engine, called Locomotion, for the Stockton & Darlington RailwayLocomotion used all the improvements that Stephenson had pioneered in the Killingworth locomotives. It used high-pressure steam from a centre-flue boiler, with a steam-blast in the chimney, to drive two vertical cylinders, enclosed within the boiler. A pair of yokes above them transmitted the power downwards, through pairs of connecting rods. It made use of a loose eccentric valve gear,[3] and was one of the first locomotives to use coupling rods rather than chains or gears to link its 0-4-0 driving wheels together.
The locomotive is historically important as the first one to run on a passenger carrying line,[4] rather than for the innovations in its design. It hauled the first train on the Stockton and Darlington Railway on 27 September 1825.
In 1828 the boiler exploded, killing the driver. With advances in design such as those incorporated into Stephenson's Rocket, Locomotion became obsolete very quickly. It was rebuilt and remained in service until 1841 when it was turned into a stationary engine.
Câmera:Canon EOS-1D Mark II N
Exposição:0,006 sec (1/160)
Abertura:f/1.8
Distância focal:50 mm
ISO:100
Lente:Canon 50mm 1.8f
"RP 1", ink and graphite on paper, 4.125" x 5.75".
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Relentless…the word I chose for this year, 2018. Or the word that chose me. Am I chosen by, or do I choose? I ask this question more often as my years pass by. So what is this word about? This word that chose me–relentless? Must I be relentless in my choosing? Did she choose me to be Mom? Or did I choose her?
The faint smile of knowing. I know that smile. The sideways looking. I know that look. The resolve of her mouth. I know those studied hatch marks. Those lines, drawn lovingly, knowingly. To be... relentless.
- Sherrie Lowly
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About the Redeemer Project: In November of 2017 I received an invitation from Bethany Kenyon of Redeemer University College in Ontario, Canada to participate in a two-person exhibition. My initial thought was to show a few paintings, but various considerations led me to the idea of making a series of small, postcard sized drawings. The drawings would be installed over the course of the exhibition one at a time, starting with just one. I invited my wife Sherrie to write a text for each drawing (see above) which I will post in relation to each drawing concurrently with when it (the drawing) is installed in the exhibition.
Here is the statement I wrote for the exhibition:
"The Redeemer Project"
The viewer: you complete the work. While my intention with this project is hopefully relevant, I invite you to look and think carefully prior to reading my statement. Perhaps start with "What does (the practice of making a) drawing mean?"
The subject: I see her face every day. Over the last 32 years Temma, our daughter, has been a constant presence in our lives. She is profoundly other. To use more medically clinical terms is to largely define her by who and what she isn't. I'm more interested in and constantly unraveled by who she is. The central stream of my work as a visual artist has been Temma-centric. She is emphatically present even while remaining an enigmatic mystery.
The project: Post card sized(1) ink (and a bit of graphite) drawings of Temma. Start the drawing from life, if need be(2) supplement with photographic reference. And again. And again.(3)
The artist: I like to think of (the making of) art as a relational practice, a representational practice, a political practice, a conceptual practice, a contemplative practice, a practice in being (present to), a practice in longing, a practice in loving.
1 - The size of an artwork is always meaningful. The material used to make an artwork is always meaningful. The process used to make an artwork is always meaningful.
2 - Temma doesn't pose, let alone hold a pose. Most likely she has little understanding of what it means to be seen.
3 - The season of Lent and the common practice of reflection leading up to Holy Week (when the exhibition concludes) was not irrelevant to my thinking towards this project and exhibition.
AasP