View allAll Photos Tagged Breakup
The Breakup
Strobist/mindset: I wanted to create a scene of a after-breakup desperate watching romantic movies
I've started with Profoto PRO81 head with 4foot octa filtered with blue gel to fill the room as an after-dusk ambient, to give me some exposure range to work in.
Keylight for the desperate lady was another PRO41 head with a gridded beauty dish, non-filtered, i wanted to create sort of a TV/display/projector light, but not to blue to completely destroy the skin tones.
Outside were two blue-filtered Vivitar 285 speedlites.
The rim light for the couch was PRO41 head with a gridded zoom reflector, filtered blue as well, motivated by the two speedlites outside, for me it's sort of stitching the whole scene together lighting-wise.
Shot on Fuji X100.
The lovely girl on the photo is my girlfriend and immediately after releasing the picture I got a call from my mom "what the heck happened?" And it was just my bad sense of humor.
The ice is breaking up at Bear Lake. The wind has pushed huge piles of ice on shore at a few locations on the east side, including here at Rainbow Cove. On this day, another snowstorm was moving in, and the gray skies were a strong contrast with the blue and white piles of ice.
canon ae1 program, ilford hp5 plus 35mm. the camera data is from the camera I used to shoot the negative with.
Do you see the little man rises on the top of the ice???
This shot reminders me "A Beautiful Lie" song from 30 Seconds to Mars.
Great song with very deep message..."WE ARE AT WAR WITH OUR PLANET"...think about it...
The luckiest Barbie of all! Cali Girl Barbie, she had Blaine and Ken fighting over her for a time, Blaine won! and then she went back to her old love...Ken!
The BTR-80, like much of Tarkhazia's military equipment, was inherited or purchased following the breakup of the USSR. With seats for 8 soldiers and a 14.5mm HMG, the vehicle remains an effective vehicle in various internal conflict and peacekeeping operations.
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Here lays my heart
All broken and torn
There are no feelings left in it
For me to mourn
Here lays my mind
Which has repressed
All the memories we have shared
That have left me a mess
Here lays my soul
Which you took away
Along with my faith and trust in you
That you broke in a day
Here lays my body
All mangled and left to die
I hope that I can get through this
And find another guy.
"Breakup" by Julie Scricco
夜的寧靜是時候好好反省
月的陰晴圓缺就像我的心
夜下著雨 天在哭泣
不知道何時才放晴
我忽然非常想念你
你的背影讓我失去了理性
你的放棄讓我迷失了自己
你的離去就像刺青
永遠烙印在我的心
是如此痛 而如此的美麗
我努力的想哭泣
卻哭不出淚滴
一次又一次的灰心
才發現早已麻痺
終於發現自己
已經不在乎你
原來分手也能如此安寧
安寧／詞：林倛玉
****************************************************************************************
To one of my fiends,
whose heart is broken.
送給一位心碎卻哭不出來的朋友。
加油，我們都在你身邊。
Just couldn't decide which to upload so managed to narrow it down to seven. These are so addictive when you start as no two are alike.
In Alaska, more so than elsewhere I think, we use the term “breakup” as both a noun and a verb. In the latter sense as a description of the ice going out on the rivers, which can be quite dramatic and occurs at different times depending on any number of circumstances. But we also say “Breakup” to refer to a season, in many ways its more or equally significant than “Spring.” After the calm and soft season of winter, breakup is a raucous and mad rush, as if to say there’s no time for spring, let’s get to summer straight on. Breakup is rather late this year, in fact it may be record setting late.
This is the little Chena River, a relatively small stream, the larger rivers are still mostly locked in ice. This shot was made from the Nordale Road bridge looking upstream. You will notice the ice jam up above, in populated areas near the river those things can cause some real problems.
The breakup of the Soviet Union left Kazakhstan with large numbers of tactical reconnaissance and strike aircraft, plus a heavy bomber regiment at Chargan Air Base near Semipalatinsk with 40 Tupolev Tu-95M5 strategic missile carrier aircraft. However, the newly-formed republic had no tactical units at all and had no use for the bombers. Wanting to keep on friendly terms with Kazakhstan so they could continue to use the Baikonur Space Centre and several military training grounds in the country, Russia exchanged the bombers for a suitable number of Su-27 and MiG-29 and Su-25 fighters from Russian Air Force stocks. By 1995, 73 combat aircraft were delivered including 38 Flankers. The Su-27s entered service with the 60th IAP in 1999 and by 2000 the Kazakhstan Air Force was reformed into the Republic of Kazakhstan Air Defence Force with aviation bases as the primary elements in its order of battle, not air regiments. The 60th IAP was transformed into the 604th AvB and stationed at Taldykorgan, with some Flankers being transferred to Qarahandy-Sary Arka International airport in order to have a more even distribution of fighters across the country.
In September 2007, the Kazakhstan Air Defence Force sent ten of its Su-27s to 558th ARZ in Baranovichi, Belarus for upgrades to the BM2 standard. The N001 radar was upgraded with the actual beam and ground mapping modes and increased its compatibility with the R-77 active radar homing AAM and the Kh-31A anti-shipping missile. The cockpit featured an EFIS with colour liquid-crystal MFDs, an enhanced navigation system, a data collection/transmission system, and data cockpit recorders. The first BM2 variant was completed in 2009. In 2015, the Kazakhstan Air Defence Force placed an order for 24 Su-30SM aircraft to replace its ageing MiG-27 Floggers.
In this image, a recently upgraded Su-27BM2 (“05 Yellow”) from the 604th AvB at Taldykorgan flies over the Kazakhstan countryside. 05 Yellow was the first Su-27 to receive the BM2 upgrades in Belarus. The new paint scheme also does away with the old Soviet-era camouflage with a dazzling dark blue, light blue, and grey pattern. Note the two B-13L rocket launchers mounted on the number 3 and 4 pylons.
poster art for the february installment of an open mic series here in berkeley. art direction by joe christiano of pegasus books.
Looking southwestward at a small canyon of a Tornillo Creek tributary.
In this location we're about 6.9 road mi / 11.1 road km north of the intersection of Old Ore Road and Park Road 12. So we're almost 5 mi (8 km) farther up this rocky track from the site of the previous, wildly popular and deeply appreciated photo in this series.
Whoever Carlota was, she certainly had quite an impact on the local landscape.
I've already shown and described Cuesta Carlota, the prominent ridge that parallels the lower portion of Old Ore Road and whose northern end terminates just east of here. And this scenic spot is known as Carlota Tinaja. That requires a bit of explaining.
It's my understanding the Spanish term tinaja denotes a large jar or other similar ceramic container. This leads me to this post's title, which is a play on the old schoolyard riddle, "When is a door not a door? — When it's ajar." Get it? When . . . it's . . a . . . jar. Of course, it loses its punch when it has to be explained.
But in this case, when is a tinaja/jar not a jar? — When it's a natural depression in the bedrock where standing water collects and wildlife and livestock come to drink. That's a nice poetic adaptation of the word, but I don't know if it has that additional meaning far and wide in Mexico and the adjacent US, or is just another of those funky things specific to the alternative universe that is Big Bend.
In any case, there must have been one of those watering holes down in that streambed.
If you've been to this park and spent some time in Boquillas Canyon and Santa Elena Canyon, you know that one of the area's big geologic stories has to do with the series of distinctly stratified Cretaceous-period formations on dramatic display. These contain a lot of limestone, but include other sedimentary rock types, too. They formed after North and South America parted company during the breakup of Pangaea.
In the big Rio Grande canyons, however, most of what you see are Lower Cretaceous units, including the massive, cliff-forming Santa Elena Limestone. Here, however there's a beatifically lovely exposure of the Upper Cretaceous Boquillas Formation. And according to the USGS map of the park I often cite (Kenzie J. Turner et al., 2011), the rock here belongs specifically to the Boquillas' San Vincente Member.
The booklet that accompanies the map describes the San Vicente as
Medium-gray, finely crystalline, thin-bedded limestone, and brownish-gray and yellowish- to light-gray claystone, calcareous shale, marl, and chalk. Limestone is argillaceous and chalky; claystone is calcareous and contains some clay minerals including kaolinite, montmorillonite, and illite; about 145 m thick.
And thin-bedded it definitely is. Such flaggy strata as these can produce striking patterns and textures.
Apparently the Boquillas Formation owes its origin to sea level rise and the establishment of the Western Interior Seaway. This great swath of seawater not only covered the Big Bend region; it transected this continent from north to south. An ambitious mosasaur or ammonite could have traveled all the way from the Arctic Ocean to the correctly named Gulf of Mexico.
To see the other photos and descriptions in this set, visit my my Integrative Natural History of Old Ore Road album.
Horned Puffins mirror one another against a deeply shadowed cliff face. Little Tanaga Strait, Aleutian Islands, Alaska, USA.
Canon 5DM3 | Canon 400mm f/5.6 | Handheld from boat
Polygon Breakup explores unfamiliar techniques for achieving visual effects. In place of a standard fadeout, a recursive polygon splitting function slowly shreds the shapes.
Prints are available at www.tylerlhobbs.com/works/item/polygon-breakup.
Italian postcard, no. 195. In 1957, Anna Magnani received the Nastri d'Argento (Silver Ribbon) award for Best Actress in a Leading Role for the film Suor Letizia/When Angels Don't Fly (Mario Camerini, 1956).
Passionate, fearless, and exciting Anna Magnani (1908 -1973) was the ‘volcano’ of Italian cinema. The unkempt, earthy actress radiated such fierce intelligence and sensuality that she became a major star with Roma, città aperta/Rossellini's Rome, Open City (1945), and won an Oscar for her portrayal of a Sicilian widow in The Rose Tattoo (1955). She also gave dynamic and forceful portrayals of working-class women in Il miracolo/The Miracle (1948), Bellissima (1951), and Mamma Roma (1962).
Anna Magnani was born in Rome in 1908. She was the illegitimate child of Marina Magnani and an unknown father, whom Anna herself claimed was from the Calabria region of Italy (according to Wikipedia he was called Francesco Del Duce). She was raised by her maternal grandmother in a slum district of Rome after her mother left her. At 14, she enrolled in a French convent school in Rome, where, she learned to speak French and play the piano. She also developed a passion for acting from watching the nuns stage their Christmas play. At age 17, she went on to study at Santa Cecilia's Corso Eleanora Duse (the Eleanora Duse Royal Academy of Dramatic Art) in Rome. To support herself, Magnani sang bawdy Roman songs in nightclubs and cabarets leading to her being dubbed ‘the Italian Édith Piaf’. She began touring the countryside with small repertory companies and had a small role in the silent film Scampolo (1927). In 1933 she was acting in experimental plays in Rome when she was discovered by Italian filmmaker Goffredo Alessandrini. She played in his La Cieca di Sorrento/The Blind Woman of Sorrento (Goffredo Alessandrini, 1934). They also married in 1933, shortly before the film was released. Magnani retired from full-time acting to "devote herself exclusively to her husband", although she continued to play smaller film parts. Nunzio Malasomma cast her in a lead role in his La Cieca di Sorrento (1934). Under Alessandrini, she next appeared in Cavalleria (1936), followed by Tarakanova (Mario Soldati, 1938). Alessandrini and Magnani separated in 1942 and finally divorced in 1950. After their separation, her son Luca was born as a result of a brief affair with Italian matinée idol Massimo Serato. Magnani's life was struck by tragedy when Luca came down with crippling polio at only 18 months of age. He never regained the use of his legs. As a result, she spent most of her early earnings on specialists and hospitals. In 1941, Magnani was the second female lead in Teresa Venerdì/Friday Theresa (Vittorio De Sica, 1941) which writer-director De Sica called Magnani’s ‘first true film’. In it, she plays Loletta Prima, the girlfriend of Di Sica’s character, Pietro Vignali.
Anna Magnani’s film career had spread over 18 years before she gained international renown as Pina in the neorealist milestone Roma, città aperta/Rome, Open City (Roberto Rossellini, 1945), about the final days of the Nazi occupation of Rome. Magnani gave a brilliant performance as a woman who dies fighting to protect her husband, an underground fighter against the Nazis. Her harrowing death scene remains one of cinema's most devastating moments. It established her as a star, although she lacked the conventional beauty and glamour often associated with the term. Slightly plump and rather short in stature with a face framed by unkempt raven hair and eyes encircled by deep, dark shadows, she smouldered with seething earthiness and volcanic temperament. Rossellini, whom she called ‘this forceful, secure courageous man’, was her lover at the time, and she collaborated with him on other films, including L'Amore (Roberto Rossellini, 1948) a two-part film which includes Il miracolo/The Miracle and Una voce umana/The Human Voice. In the former, she played a pregnant outcast peasant who was seduced by a stranger and comes to believe the child she subsequently carries is Christ. Magnani plumbs both the sorrow and the righteousness of being alone in the world. The latter film, based on Jean Cocteau's play about a woman desperately trying to salvage a relationship over the telephone, is remarkable for the ways in which Magnani's powerful moments of silence segue into cries of despair. One could surmise that the role of this unseen lover was Rossellini, and was based on conversations that took place throughout their own real-life affair. Rossellini promised to direct her in Stromboli (1950), the next film he was preparing, but, when the screenplay was completed, he instead gave the role to Ingrid Bergman. This and his affair with the Swedish Hollywood star caused Magnani's permanent breakup with Rossellini. As a result, Magnani took on the starring role of Volcano (William Dieterle, 1949), which was deliberately produced to invite comparison.
In 1950, Life magazine stated that Anna Magnani was "one of the most impressive actresses since Garbo." In Bellissima (Luchino Visconti, 1951) she played Maddalena, a blustery, obstinate stage mother who drags her daughter to Cinecittà for the 'Prettiest Girl in Rome' contest, with dreams that her plain daughter will be a star. Her emotions in the film went from those of rage and humiliation to maternal love. She later starred as Camille, a commedia dell'arte actress torn between three men, a soldier, a bullfighter, and a viceroy, in Le Carrosse d'or/The Golden Coach (Jean Renoir, 1953). Renoir called her ‘the greatest actress I have ever worked with’. In Hollywood, she starred opposite Burt Lancaster as the widowed mother of a teenage daughter in The Rose Tattoo (Daniel Mann, 1955. Screenwriter and close friend Tennessee Williams had based the character of Serafina on Magnani, as Williams was a great admirer of her acting abilities. He even stipulated that the film must star Magnani. It was Magnani's first English-speaking role in a mainstream Hollywood movie, winning her the Academy Award, the BAFTA, the Golden Globe and the New York Film Critics Circle Award for Best Actress. Magnani worked with Tennessee Williams again on The Fugitive Kind (Sidney Lumet, 1959), co-starring with Marlon Brando. In Hollywood she also appeared in Wild is the Wind (George Cukor, 1957), for which she was again nominated for the Academy Award. In Italy, she played strong-willed prostitutes and suffering mothers in such films as the women-in-prison drama Nella città l'inferno/The Wild, Wild Women (Renato Castellani, 1958) with Giulietta Masina, and Mamma Roma (Pier Paolo Pasolini, 1962). In Mama Roma, Magnani is both the mother and the whore, playing an irrepressible prostitute determined to give her teenage son a respectable middle-class life. It was controversial but also one of Magnani's critically highest acclaimed films. In this later period of her career, she also appeared on Italian television and acted on the stage, most notably in 1965 when she starred in 'La Lupa' (She-Wolf), directed by Franco Zeffirelli, and in 1966 when she played the lead in Jean Anouilh's 'Medea', directed by Gian Carlo Menotti. In the film comedy The Secret of Santa Vittoria (Stanley Kramer, 1969), she co-starred with Anthony Quinn as a fighting husband and wife. Magnani and Quinn did also feud in private and their animosity spilled over into their scenes. Reportedly, she bit Quinn in the neck and kicked him so hard that she broke a bone in her right foot. Her final screen performance was a cameo in Fellini's Roma (Federico Fellini, 1972). In 1973, Anna Magnani died at the age of 65 in Rome, after a long battle with pancreatic cancer. Her son Luca and her favourite director Roberto Rossellini were at her bedside. With Rossellini, she'd patched up her disagreements some years before. It was reported that an enormous crowd turned out for her funeral in Italy, in a final public salute that is more typically reserved for Popes.
Sources: Jason Ankeny (All Movie), Norman Powers (IMDb), Answers.com, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
ISS040-E-098571 (17 Aug. 2014) --- One of the Expedition 40 crew members aboard the International Space Station recorded this image of the Orbital Sciences Corporation's Cygnus cargo carrier spacecraft breaking up in Earth's atmosphere after being released from the orbital outpost. The breakup started around 13:22 GMT on Aug. 17, 2014 and this photo was taken at 13:23:32 GMT.
Oh, sweet Fuji. We've had some good times. You were my first digital camera. You've taught me so much about seeing the world. The places we've gone! The people we've seen! We'll always have those special memories. But I'm afraid the time has come to move on...
Yes. It's true. I'm seeing a Canon. I know it must be a shock. Please believe me when I say, it's not you, it's me. There were things I needed that you just couldn't give. I'll always treasure our time together. And hey...I hope we can still be friends.
Broken skateboard poster/sketch/messin around...
everytime you break a skateboard, you break a heart.
-These photographs were taken September 12th 2009. Funny how I reuse oldies.
-My boyfriend and I are no more.
-I haven't felt able to say it out loud/or write it down...
-It ended the last week of May... (however it wasn't clear till July...)
-I've done badly in both of the exams I took three days after we split... I'm very unhappy.
-Its taking me a long time to "get over." I'm sorry but thats just me.
-One thing that made me happy, who made me happy.... turned upside down and became a source of upset.... :'(
-It was one inspiration for "Torn."
www.youtube.com/watch?v=e0AFsMrxwJ8
-Its hard when both people feel differently.
-I didn't want to let go.... still don't want to let go. I hurt more than I let on.
-I miss everything about him... I feel so lonely now... I want him/it back...
-I'm a single girl... There. I said it. After three months... its about time.
- :'(