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#AbFav_Plastic_💳
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When I look for utensils for my kitchen, I try to look for non-plastic, but that is a no-go!
They only sell it in plastic or silicon.
And most are made so very attractive?
So, as long as they make it in synthetic, and so attractive, THAT is what people will buy and use?
It starts at the origin to NOT make it any more and look for other materials?
I do NOT mind wood or metal.
Hope you enjoyed my little rant.LOL
With love to you and thank you for ALL your faves and comments! M, (* _ *)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
synthetic, plastic, pasta spoon, umbrella, balls, wheels, pins, thread, smile, graphic, puffer jackets, drinking reeds, fun, Nikon D7000, studio, colour, square, black-background, "Magda indigo"
As if they were small social insects, to image and similarity of the tireless bees, the persistents thermites, or the laborious ants, they were raising their high walls. They were kneading or they were molding the cement, as the insects work the mud. They were throwing towards the sky their spiderwebs of metal cranes, as the animals use the branches and the leaves. Proud of their civilization, of their castes, of their working members, their soldiers, their kings and queens. Of their high rate of reproduction and of productivity. They were thinking about having created a better civilization. They were thinking about being the chosen species. And really they were not more than an nth repetition of the same scheme…
And the Sun was continued going down, day after day, increasingly red, increasingly sadly, increasingly darkly …
[ Photo taken from the bus station of Méndez Alvaro, in Madrid, in February, 2006. Manipulations of light and color, with Photoshop]
*****************
Como si fueran pequeños insectos sociales, a imagen y semejanza de las incansables abejas, las perseverantes termitas, o las laboriosas hormigas, ellos levantaban sus elevadas paredes. Amasaban o moldeaban el cemento, como los insectos trabajan el barro. Lanzaban hacia el cielo sus telarañas de grúas de metal, como los animales usan las ramas y las hojas. Orgullosos de su civilización, de sus castas, de sus miembros obreros, sus soldados, sus reyes y reinas. De su alta tasa de reproducción y de productividad. Creían haber creado una civilización mejor. Creían ser la especie elegida. Y realmente no eran más que una enésima repetición del esquema.
Y el Sol continuaba bajando, día tras día, cada vez más rojo, cada vez más triste, cada vez más oscuro…
[Foto tomada desde la estación de autobuses de Méndez Alvaro, en Madrid, en febrero del 2006. Retoques de luz y color, con Photoshop]
#570: As of 6/29/26, of my 4200+ pics, this is listed as #570 in most # of faves.
#622: As of 4/21/26, of my 4100+ pics, this is listed as #622 in most # of comments.
#1514: As of 6/29/26, of my 4200+ pics, this is listed as #1514 in most # of views.
VIDEO at: youtube.com/shorts/VVUU2n5Qgm4
I'm continuing a series of photos here revisiting pics from 2018 when I took the opportunity to be back in full make-up, and to be out in public en femme for the first time then in 4+ years. These 2018 pics are somewhat deeply buried in my flickr photostream, and yet include many of my favorites, with some great outfits, heels, and accessories.
These are from 7+ years ago, but it feels like longer, what with the pandemic in the intervening period, and so much changed in this time. This video snap was taken inside a changing room at my local Macy's, as I was enjoying shopping en femme.
Anyhow, as usual I really enjoy color-coordinating attractive/sexy/cute outfits, and this one features:
* Forever 21 nude-beige faux-leather ultra-high-heel 5.25"-stiletto strappy sandals;
* a Forever 21 nude crisscross-lacing-scoopneck long-sleeve crop top;
* a Forever 21 tan grommeted waist-belt;
* a Style & Co. "diamond stripe" ivory-beige tiered chiffon-hem midi skirt (from Macy's);
* a Forever 21 nude-taupe faux-leather mini-crossbody handbag with flap top;
* nude wide-net fishnet tights;
* a Lauren Conrad beige-pink floral sheer scarf;
* gold rings, earrings, necklace, watch, and bracelets.
What would you think if you saw me in person then? How do I look? What do you think of my outfit? Let me know your thoughts... :-)
As you all know, I love innovation. We are just scratching the surface of what can be. This is a fun video that I created. Enjoy!
As you may have already read in Evansrobinson’s blurb for Stranger # 96 , that it’s been a couple of months since we both had a chance to shoot a stranger. This is a rather extended period for me and we were really keen to get back out there and dust off the gear.
As we both headed down Crown street with my wife keeping an eye on us both, we came up to one of my favourite parts of the area where there is a cluster of outdoor cafes and restaurants and sure enough it wasn’t long before I found a suitable stranger.
Cindy was sitting with her partner Alex enjoying their lunch when I interrupted them and went through my blurb. They were both very friendly and interested in what I was up to. In fact Alex encouraged Cindy to go ahead with being part of the project. So after a quick chat about her current life situation, off we headed across the road to a suitable background leaving Alex to patiently wait at their table as we shot a few frames.
Cindy is a local who is currently working in retail and studying business law. She also has a strong interest in makeup. At the moment she is leaving her options open in regards to her future career.
I guess it was Cindy’s exotic looks that drew me in especially her beautiful mane and golden skin. My only regret was not asking about her heritage. It seems I am a bit rusty after the break!
Not wanting keep them from their lunch, I left them with my card and thanked them both for their time.
Thanks Cindy for being part of the 100 Strangers Project and I hope you like your portrait.
This picture is #203 in my 3rd round of The 100 Strangers Project.
You can see my 1st round of 100 Strangers photos here
My 2nd round is here
Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
As this is the time of the year when there is limited hours of darkness, I have combined this session of images with the ones I took on the 3th May 2014 giving a total of 4 hours of stacked images. This image has been cropped extensively due to the 2 sets of images not aligning very well. I tried processing last nights pictures on there own but the colour was not that good and lacked outer detail. Combining the two set has helped but I may have pushed it a little bit far. Maybe next year I'll invest in a 8" RC as I thing this will be more suited to Galaxies.
EQUIPMENT:
Telescope Meade 6000 115mm and HEQ5.
Canon EOS 1100D (unmodded).
Orion Mini Auto Guide.
Astronomik CLS CCD Filter
CONDITIONS:
Hum 69%
Temp 9 degC
PHOTO DETAILS:
M106 Galaxy
ISO1600
30subs @300sec (2h 30min)
25 Darks.
20 Flats.
PROCESSING SOFTWARE:
DSS
PS CS2 (Image Crop)
DETAILS OF: 3rd May 2014
See M106_2014-5-3
30subs @180sec (1h 30min)
as promised, i am doing a print giveaway now that i have hit 500 likes on my facebook! :) i'm giving away two 5x7s and three 4x6s to five lucky people. you can choose any photo you want (although be warned if it's square, i'll have to use the uncropped version). to enter, just comment either here or on my facebook - you can enter twice, once here and once on my facebook! i'll put all of the names in a hat and pick 5 either this weekend or next week.
anyway just comment with your name! no need to choose a photo yet; i'll contact you if you're a winner and we'll do details then :)
As apart of Mali's prize for winning TA C.3, she got a 6 page spread along with her cover for MOOD.
This photoshoot is supposed to be based around the plastic surgery that girls go through for perfection.
Digital ID: 1260029. [African American cotton plantation worker, hired as a day laborer, riding a mule and holding down a sack of cotton in the cotton field at Nugent Plantation, Benoit, Mississippi Delta, Mississippi, October 1939.. Wolcott, Marion Post -- Photographer. October 1939
Notes: Original negative #: 30542-M3; Caption on back: ''Riders' bring in the sacks of cotton on mule's back from the field to the wagon where it is unloaded and weighed. This is day labor brought in from Greenville, and the pickers receive 75 cents per 100 pounds, on Nugent Plantation, Benoit, Mississippi Delta, Mississippi. October 1939.'
Source: Farm Security Administration Collection. / Mississippi. / Marion Post Wolcott. (more info)
Repository: The New York Public Library. Schomburg Center for Research in Black Culture. Photographs and Prints Division.
See more information about this image and others at NYPL Digital Gallery.
Persistent URL: digitalgallery.nypl.org/nypldigital/id?1260029
Rights Info: No known copyright restrictions; may be subject to third party rights (for more information, click here)
Dear you, love such as tidal, advance and retreatback, wave and waves but never be static.
The green algae grow on top of reef, the groove-shaped reef , over times was impact by sea water. It's an unique landscape at northeast coast of Taiwan. During the year the green algae reef may seeing every March thru April at low tide. Lao-mei, Shy-Men township, Taipei, Taiwan. (DSC_9478BBBQA)
Austrian postcard by B.K.W.I. (Brüder Kohn, Wien). Feodor Chaliapin as Don Quixote
Russian opera singer Feodor Chaliapin (1873–1938) was an international sensation and is considered as the greatest Russian singer of the twentieth century, as well as the greatest male operatic actor ever. The possessor of a large, deep and expressive basso profundo, he was celebrated at major opera houses all over the world and established the tradition of naturalistic acting in operas. The only sound film which shows his acting style is Don Quixote (Georg Wilhelm Pabst, 1933).
Feodor Ivanovich Chaliapin (Russian: Фёдор Ива́нович Шаля́пин, or Fyodor Ivanovich Shalyapin) was born in 1873, into a poor peasant family in Omet Tawi, near Kazan, Russia. His childhood was full of suffering, hunger, and humiliation. From the age of 10, he worked as an apprentice to a shoemaker, a sales clerk, a carpenter, and a lowly clerk in a district court before joining, at age 17, a local operetta company. In 1890, Chaliapin was hired to sing in a choir at the Semenov-Samarsky private theatre in Ufa. There he began singing solo parts. In 1891, he toured Russia with the Dergach Opera. In 1892, he settled in Tiflis (now Tbilisi, Georgia), because he found a good teacher, Dmitri Usatov, who gave Chaliapin free professional opera training for one year. He also sang at the St. Aleksandr Nevsky Cathedral in Tbilisi. In 1893, he began his career at the Tbilisi Opera, and a year later, he moved to Moscow upon recommendation of Dmitri Usatov. In 1895 ,Chaliapin debuted at the Imperial Mariinsky Theatre as Mephistopheles in Charles Gounod’s Faust, in which he was a considerable success. In 1896 he also joined Mamontovs Private Russian Opera in Moscow, where he mastered the Russian, French, and Italian roles that made him famous. Savva Mamontov was a Russian industrialist and philanthropist, who staged the operas, conducted the orchestra, trained the actors, taught them singing and paid all the expenses. At Mamontov's, he met in 1897 Sergei Rachmaninoff, who started as an assistant conductor there. The two men remained friends for life. With Rachmaninoff he learned the title role of Modest Mussorgsky's Boris Godunov, which became his signature character. Rachmaninoff taught him much about musicianship, including how to analyse a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. When Chaliapin became dissatisfied with his performances, Chaliapin began to attend straight dramatic plays to learn the art of acting. His approach revolutionised acting in opera. In 1896, Savva Mamontov introduced Chaliapin to a young Italian ballerina Iola Tornagi, who came to Moscow for a stage career. She quit dancing and devoted herself to family life with Chaliapin. He was very happy in this marriage. From 1899 until 1914, he also performed regularly at the Bolshoi Theatre in Moscow. The couple settled in Moscow and had six children. Their first boy died at the age of 4, causing Chaliapin a nervous breakdown.
In 1901, Feodor Chaliapin made his sensational debut at La Scala in the role of the devil in Mefistofele by Arrigo Boito under the baton of conductor Arturo Toscanini. Other famous roles were Boris Godunov in Mussorgsky's opera, King Philip in Giuseppe Verdi's Don Carlos. Bertram in Giacomo Meyerbeer's Robert le Diable, and Ivan the Terrible in The Maid of Pskov by Nikolai Rimsky-Korsakov. His great comic characterizations were Don Basilio in Gioachino Rossini’s Il barbiere di Siviglia and Leporello in Wolfgang Amadeus Mozart’s Don Giovanni. In 1906, Chaliapin started a civil union with Maria Valentinovna Petzhold (also called: Maria Augusta Eluchen) in St. Petersburg, Russia. She had three daughters with Chaliapin in addition to 2 other children from her previous family. He could not legalize his second family, because his first wife would not give him a divorce. Chaliapin even applied to the Emperor Tsar Nicholas II with a request of registering his three daughters under his last name. His request was not satisfied. In 1913, Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev. He began giving well-received solo recitals in Paris in which he sang traditional Russian folk songs as well as more serious fare, and also performed at the Paris Opera. His acting and singing was sensational to the western audiences. He made many sound recordings, of which the 1913 recordings of the Russian folk songs Vdol po Piterskoi and The Song of the Volga Boatmen are best known. In 1915, he made his film debut as Czar Ivan IV the Terrible in the silent Russian film Tsar Ivan Vasilevich Groznyy/Czar Ivan the Terrible (Aleksandr Ivanov-Gai, 1915) opposite the later director Richard Boleslawski. Fourteen years later, he appeared in another silent film, the German-Czech coproduction Aufruhr des Blutes/Riot of the blood (Victor Trivas, 1929) with Vera Voronina and Oscar Marion.
Feodor Chaliapin was torn between his two families for many years, living with one in Moscow, and with another in St. Petersburg. With Maria Petzhold and their three daughters, he left Russia in 1922 as part of an extended tour of western Europe. They would never return. Ther family settled in Paris. A man of lower-class origins, Chaliapin was not unsympathetic to the Bolshevik Revolution and his emigration from Russia was painful. Although he had left Russia for good, he remained a tax-paying citizen of Soviet Russia for several years. Finally he could divorce in 1927 and marry Maria Petzhold. Chaliapin worked for impresario Sol Hurok and from 1921 on, he sang for eight seasons at the Metropolitan Opera in New York. His debut at the Met in the 1907 season had been disappointing due to the unprecedented frankness of his stage acting. In 1921, the public in New York had grown more broad-minded and the eight seasons were a huge success. According to Steve Shelokhonov at IMDb, Chaliapin was the undisputed best basso in the first half of the 20th century. He had revolutionised opera by bringing serious acting in combination with great singing. His first open break with the Soviet regime occurred in 1927 when the government, as part of its campaign to pressure him into returning to Russia, stripped him of his title of 'The First People’s Artist of the Soviet Republic' and threatened to deprive him of Soviet citizenship. Prodded by Joseph Stalin, Maxim Gorky, Chaliapin’s longtime friend, tried to persuade him to return to Russia. Gorky broke with him after Chaliapin published his memoirs, Man and Mask: Forty Years in the Life of a Singer (Maska i dusha, 1932), in which he denounced the lack of freedom under the Bolsheviks.
The only sound film which shows Chaliapin's acting style is Don Quixote/Adventures of Don Quixote (Georg Wilhelm Pabst, 1933). He had also starred onstage as the knight in Jules Massenet's 1910 opera, Don Quichotte, but the 1933 film does not use Massenet's music, and is more faithful to Miguel de Cervantes' novel than the opera. In fact there were three versions of this early sound film. Georg Wilhelm Pabst shot simultaneously with the German language version also English and French versions. Feodor Chaliapin Sr. starred in all three versions of Don Quixote, but with a different supporting cast. Sancho Pansa was played by Dorville in the German and French versions but by George Robey in the English version. Benoit A. Racine at IMDb: "These films (the French, English and German versions) were an attempt to capture his legendary stage performance of this character even though the songs are by Jacques Ibert. Ravel had also been asked to compose the songs for the film but he missed the deadline and his songs survive on their own with texts that are different from those found here. The interplay between the French and English versions is fascinating. Some scenes are done exactly the same for better or worse, some use the same footage, re-cut to edit out performance problems, while others have slight variants in staging and dialogue. (The English version was doctored by Australian-born scriptwriter and director John Farrow, Mia's father, by the way.) Even though the films are short and they transform, reduce and simplify considerably the original novel, they still manage to carry the themes and the feeling that would make Man of La Mancha a hit several decades later and to be evocative of Cervantes' Spain." In the late 1930s, Feodor Chaliapin Sr. suffered from leukaemia and kidney ailment. In 1937, he died in Paris, France. He was laid to rest is the Novodevichy Monastery Cemetery in Moscow. Chaliapin was awarded a Star on the Hollywood Walk of Fame for Recording at 6770 Hollywood Boulevard in Hollywood, California. In 1998, the TV film Chaliapin: The Enchanter (Elisabeth Kapnist, 1998) followed. His son Boris Chaliapin became a famous painter. who painted the portraits used on 414 covers of the Time magazine between 1942 and 1970. Another son Feodor Chaliapin Jr. became a film actor, who appeared in character roles in such films as the Western Buffalo Bill, l'eroe del far west/Buffalo Bill (Mario Costa, 1965) with Gordon Scott, and Der Name der Rose/The Name of the Rose (Jean-Jacques Annaud, 1986), starring Sean Connery. His first wife, Iola Tornagi, lived in the Soviet Union until 1959, when Nikita Khrushchev brought the 'Thaw'. Tornagi was allowed to leave the Soviet Union and reunited with her son Feodor Chaliapin Jr, in Rome, Italy.
Sources: Steve Shelokhonov (IMDb), Benoit A. Racine (IMDb), Encyclopaedia Britannica, Wikipedia and IMDb.
"That which is Below corresponds to that which is Above, and that which is Above, corresponds to that which is Below, to accomplish the miracles of the One Thing."
The Emerald Tablet of Hermes Trismegistus
Being something of a proud Luddite, any further development in the world of coaching to me was superfluous. This was it, anything which came later was an irrelevance. The combination of AEC Reliance '760 with Plaxton's Supreme IV bodywork was a pinnacle. Even the livery here of Cambridge based Premier Travel was excellent... real colours, no bendi paint, no flash over in white with vinyl splodges and stripes.
The 12.47 litre (naturally aspirated) Reliance was a treat to drive with masses of bottom end grunt and was practically un-stallable. Pulling from 10mph with a full load in fourth gear was quite possible though not recommended.
This was the second time in quick succession that I'd encountered this coach, here in it's home town and once before as an exhibit at a Showbus Rally held at Thorpe Park. Unfortunately Leyland deemed the AEC plant at Southall a luxury they couldn't sustain and the year following WEB 408T's manufacture, the year of this picture 1979, AEC manufacture ceased. Premier Travel were by this time unusual in continuing to specify 10.00x20 tube type tyres as seen here.
Little did I know when I took this picture that I'd one day be the proud operator of it.
On each side of the sahn are recesses with arched supports known as iwans, which open upon the courtyard. They are of unequal size, and so great in size that they leave no space for the cells to overlook the courtyard. Each of the four iwans represents one school (or legal rite) of Sunni Islam, consisting of Shafite (Shafi'i), Malakite (Maliki), Henefite (Hanafi) and Hambelite (Hanbali). The floor of each iwan is covered by carpets of different color to differentiate them. The walls of the sahn and the Iwans are marvelously ornate, with lamps hanging from lines looming far above. One of the main reasons that Sultan Hassan built the complex was to host the teaching of all sects of Sunni Islam
Taken @Cairo, Egypt
TIPTOE AS ONE
“Look at my new Tutu”
Susa 5 shouted with
A voice of delight
“It is pink and sweet
It has glittery things on it
Which shine very bright”
“My skirt is like wings
When I spin around
It lifts me up
And makes a ruffling sound”
“It’s soft like feathers
It’s not too heavy
Not even an ounce
And when I tiptoe
It has a gentle bounce”
“It has a funny name
Which I dare not to speak out loud
It makes me giggle
Wearing it makes me proud”
“ It looks childish on you
It is to outspoken
It disturbs my view”
“It bursts my bubble of imagination
Instead of bleaching in
You jump out”
Was Susa’s 6 condemnation
“You can have a tutu as well”
Susa 5 kindly replied
“A tutu goes with everything
and everyone
It will look good on you
I can already tell “
“We can be a duet
Tiptoe as one
Holding hands
It can be a joyful day
Swirling a pirouette
As if in a tutu ballet”
“No” Susa 6 hardhearted replied
“It is too colourful and too loud
We will step out of joint
I don’t want to be part of your pink cloud”
“The tutu is a grieving element
It bullies and lacks respect
Others become paralyzed bystanders
It simply has that effect”
“Listen to me
I say it once
And very clear
Take off that tutu
Stop being a pioneer”
“Only when you blend in
And past the reviewers’ test
You can take a role on this chessboard
And have a legal protest”
“You must have been approved off
Have created at least a thousand things
Not too forthright
Preferably sweet and average
And wait for what the future brings”
“Don’t have an opinion
Then you might win a prize
Refrain from comment
Stay within the context
Here the judges are extremely wise”
“But before that time
Sit back and be quiet
Take your seat at the last row
Only admire and don’t riot”
“Learn this song
And sing it loud
When you do that
You make me proud”
“One, two, three, four
We don’t want your Tutu War
One, two, three, four
We don’t want your Tutu War”
“I’ve one more thing to say”
Six claimed with authority
“The rules are unique
In here you’re minority”
“You’re not allowed to speak
My art is better then your art
My art is strong and meaningful
Next to my art your art
Is empty and weak”
“But” Susa Five whispered soft.
“I only want to learn to love
My criticism is not to kill you off”
Her whisper became a silent cry
Six already moved on
Five didn’t dare to ask why?
But she kept her tutu
Worn it with pride
And just hoped
That one day
Six would join her side
As the call from mosques sound throughout the city, men make their way to begin prayer at this time of Eid. They walk in clothes freshly dressed, through busy streets and building sites. These pipes are some of the obstacals, though also used as shade from the intense sun and as a place of social gathering once prayer has been be completed. As for now, men and boys will soon repetedly bow their heads, all the while strengthening their faith. And I wonder at times, do they ever ask Allah for particular blessings, or do their most intimate hopes remain nothing more than pipe dreams.
PEGASUS AVIACIÓN S.A. / AÉROSPATIALE AS-350B3 ECUREUIL (MSN 3445) HELISUL TAXI AÉREO (EC-JTP) / AERÓDROMO DE PALMA DEL RÍO (LEPR) SPAIN
Warsaw Pact
Book :
Wende Museum
The East German Handbook
Das DDR Handbuch
Taschen
2014
CD :
The Fake
Harmony
Factory DDR
FDR60
Design . James Kay
iTunes :
New Order
Everything's Gone Grau
Factory DDR
FDR8
GDRMA ...
As I told you on previous picture comments, I've been bending, cutting, replacing metalic little parts to make metal clothes for Satyne.
This one is the second one (I won't keep her), and she is dressed with silver to be the opposite of my Satyne (golden clothes).
All is not completely finished (I have to paint horns) but...
Enjoy the preview !