View allAll Photos Tagged CONSIDERATION
This photo was taken at 4pm on a beautifully sunny day. I may have been a little overdressed for the time of day but one make the effort for cocktails, doesn't one. At 4am after drinks and a lovely evening, I awoke and couldn't get back to sleep. I lay there thinking about life and for some reason the Biblical consideration of faith, hope and love came to mind (Corinthians) or faith, hope and charity in the Kind James' version. Apparently, love or charity is the "greatest of these" but as I lay there I contemplated that kindness which isn't mentioned is the greatest of them all because the kindness we do, even in small acts, not only helps but can also inspire. Maybe I should have had another cocktail.
Next up is an image I promised you all a few days ago that now comes with a great story. As I mentioned previously, my work was being presented to Canon for consideration on an upcoming project in Japan that ended up falling through. If my work had been chosen, I would have had to give exclusive rights of 13 of my images and I was asked to remove these images from my own website and Flickr during the presentation. I knew that eventually, image searches would have been done on these images so I performed my own preliminary searches using TinEye. If you have never used TinEye before it can be fun or horrifying depending on the results you are hoping for. If you just want to see where some of your work has been posted by others on the internet, like blogs sites or other websites then this is an invaluable tool. All you need to do is go to the site, upload your image from your computer and in a matter of seconds, TinEye will search billions of images on the net and cross reference them against yours. If you do not shoot professionally, you may be excited when you see your image on a blog or being shared by someone else. If you do shoot professionally, this can be a very big problem. I have lost deals before that would have been very lucrative including one with the Marriott in Portland due to their lawyers finding my image all over the place when they conduced a simple search.
You see, if a small website wants to license an image from you, or or you are selling a print, the idea that your image is being shown on a blog or two is rarely going to be an issue. However, the larger scale and potentially more lucrative the deal will be for you, the more likely the discussions about your agreement will turn to exclusivity and the more likely your image being spread around the internet will become a problem.
You just never know. :)
Which brings me to the reason I wanted to share this image tonight. When I jumped over to TinEye and did a quick search for this image it came back with 9 results including my own website and of course Flickr. The rest of them were blog sites with one exception: My image had actually been downloaded from a different site than Flickr, and then edited (or added to I should say) with the creativity of the person who had downloaded it. Then, after they were finished, they uploaded it to their own Flickr site where I found it. Now, to be fair, I must say that this person found my image on a Creative Commons site where it is encouraged to download, and make your own, other peoples images by using them in collages, adding textures or completely changing them in whatever way they see fit according to their personal vision. This person was also not a contact of mine on Flickr and had not seen my work before but you can imagine my surprise when I saw my shot.....with a strange addition that I certainly did not see the day I shot it. :) If I had, I would be rich now, sitting on an island with an amazing photograph of a mythical mermaid. :)
Have a look below at the image that I found. When I contacted the person who had done this they were apologetic and removed the photo. You see, they didn't mean any harm...but it could have completely ruined an opportunity for me. It was finding this image that caused me to change my watermark, remove the ability for others to blog my images from Flickr and add the disclaimer you see below. The internet is a big place and if your work is good, and on the internet, it is most likely in places you would never imagine. :)
Check Out My Profile for information on prints, licensing & workshops.
To really see it, just click it. :)
Please do not use my images on blogs, personal or professional websites, or any other digital media without my explicit permission. Thank you.
This is not a photo I would have taken 25 years ago.
Cost considerations of film and developing aside, if the angle didn't give me a 'safe' view of the whole locomotive, I would be very hesitant to press the shutter release. In my early days of rail photography I was locomotive obsessed. Looking back over the grainy prints I shot confirms it. A moderately lit three quarter wedge of the leader was good enough for me.
Forthcoming years of osmosis via the printed railfan press, and my fathers photographic coaching helped eventually guide my lens to a more varied palette of angles and compositions, though still conservative.
When I picked up a camera again after more than two decades apart, some of my old instincts and teachings came back to me. My first digital images were rough, and awkwardly composed, as my mind struggled to remember what made for a good railroad photograph. In the time I was away from the hobby, railfan news had transitioned away from print and gone online like most everything else today. Discovering some local railfan social media groups was great for not only catching up on what had changed in railroad operations, but also for what the next generation of rail photographers was doing behind the lens. A recent trend that stood out involved framing or veiling the train using trackside foliage. The angles and compositions were neat to see, but didn't register in my mind as something I aspired to try. Fast forward a few months, and while waiting patiently at Hell's Gate BC for CN to throw a westbound my way in the optimum mid day lighting, CP was running a steady parade of eastbounds across the river from me, on the shadowy side of the canyon. A 140 year old CP stone arch bridge was hiding amongst the trees and shadow, begging to be the focal point of an image. Try as I might though, no matter where I positioned myself, I just couldn't get a clear shot. As the roar of another eastbound on the CP side grew louder, the realization dawned on me that while I coudn't see a way around the trees and brush to the bridge, there was a slim window to zoom in and shoot through them. The foliage filled sight in my viewfinder as M310 crossed the arch seemed oddly familiar. Reviewing this image afterwards brought a smile to my face, as the new generation of railfan photographers had indeed taught this old dog a new trick.
(adjective): too small or unimportant to be worth consideration.
Insignificant? Have a close look at the small ridge on the left hand side of the frame. You might just spot the skier perched there contemplating his/her next move.
We were skiing in Tignes, France and had just ascended one of the myriad of chairlifts that crisscross the mountains. The majority of the slopes were covered in ski tracks but every now and then you'd come across a section that was obviously difficult to access and therefore pristine in appearance. Whilst this section wasn't totally devoid of tracks only an intrepid few had traversed their way onto the slopes by foot looking for off piste virgin snow.
When you're in an environment like this with towering peaks and 360 degree vistas it really makes you realise just how insignificant we are. Conversely though you'll probably never feel more alive!
Single handheld exposure. Minor tweaking in photoshop. Fuji X-E2 with 18-55 f2.8-4, @ 55mm, f4, exposure 1/3500 sec, ISO 200.
I hiked up Ripley creek beyond where I have gone before and found this very wide section. You have to climb on a lot of mossy boulders choked with vegetation both dead and alive to get to this point, but it was worth it. I hiked a bit more, but it got very swampy and I stopped. Maybe I could go further on the other side.
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".
Unorthodox and unusual. You might even want to judge her. Yes she is different, but having the privilege of knowing her I can tell you she is full of humor and consideration among other things. As always, there are more then meets the eye
Model: Karina
Thank you for looking, commenting and faves:-)
You are all welcome to follow me on Instagram
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".
Quality: smu.gs/1gDnBh2
日本語は下
Clouds of fire surround Fuji as the sun's last light wanes. Ice riddled shores know night soon falls.
Once again I have Yuga Kurita to thank for this opportunity. His unparalleled regional knowledge provided countless compositions. I spent the day encouraging him to take up guide work; hopefully he gives it deep consideration.
夕焼けの終わり、炎の雲が富士山に取り囲む。夜はもうすぐ、氷の岸がそう知る。
もう一度、この一枚は栗田先生のおかげです。無比の地域の知識で、素晴らしい案内してくれました。本当に富士山の撮影ガイドになってほしいと思いますな...
© all rights reserved
Please take your time... and enjoy it large on black
Laos is blessed with some of Asia’s nicest rivers, and many of them are mellow. Children spent the day at school, and by the afternoon they were doing the chores required of them…building a fire for the kitchen, sweeping the leaves into a pile, or caring for the young siblings strapped to their back …young boys and girls from the age of seven or eight attentive to the baby’s every need. Amongst this was the laughter of children playing in the river. But sometimes they skip their days at school, going fishing and collecting snails from the river, or using long bamboo poles to knock crickets from the trees. They eat the crickets live or drop them into bottles and take them home for lunch or dinner.
Photo taken nearby the Tad Lo waterfall near the little town Kieng Than Lei - Laos. This lovely girl were playing at the riverside with her big brothers. Her bigger brothers spend most of their days not at school, but fishing and collecting snails from the river. School is important for ethnic minority kids, they should attend and complete primary education in order to overcome rural/urban, ethnic in the area of literacy and education. But it isn't that easy. The reason to skip school are the family economic considerations, involvement in family maintenance and subsistence tasks, the lack of perceived benefits from education. While poverty and lack of access are issues. In addition to these, ethnic minority kids have to face further barriers to education, including the distance from school facilities, their extreme poverty, and additional cultural barriers and the lack of fluency in the national language, Lao. The ethnic kids speak their own language. About 32% of all Laotians are related to Ethnic groups. Totally 160 ethnic groups and speak 82 distinct living languages.
...an old lady washing her clothes in the river gave us a beautiful smile; the Laos people are so friendly. Kids have a great time running on the rampart, swimming in the Sexet river at the Tad Lo waterfall, taking boat rides along the river and playing. A bit futher south men washing their elephants in the river. Lao seems a bit like heaven, the laughter is often & sincere, the rivers are cool and clean and not a speck of modern civilization in sight. In my perspective it is some of the best Laos can offer.
A few considerations, both on the practice and on the "place" of these four jhāna. In order to develop them successively, it is of prime importance that the will for the unconditioned should completely occupy the mind. Only then will its advance not be obstructed. Only then, when each single jhāna has been wholly apprehended, can one he aware of what that jhāna still retains that is "compounded," that is "conditioned," and thus find a way that leads still further.
When contemplating the phenomena proper to each jhāna in their appearance and development, the ascetic must confront them without inclination, without interest, without ties, without being attached, with his mind not limited by them, and he must apprehend "There is a higher liberty"; and by developing his experience he will, in fact, see: "There is."
The demon of identification and of satisfaction raises its head here also. It must be anticipated and conquered. Every feeling of enjoyment or of satisfaction that may arise upon the realization of each jhāna is immediately seen as a possible bond for the mind and is to be rejected.
One must apply here the general Buddhist principle that all enjoyment through attachment is lethal, be it either of the "heavens" or of nirvāna itself, since "a fire lighted with sandalwood burns no less fiercely than any other fire." The action must be neutral, absolutely purified and naked. As in the Carmelite symbolism of the ascent of the mountain, the path that does not become lost, which leads straight up to the summit, is that to which are attributed the words: nada, nada, nada -"nothing, nothing, nothing." The difference is that in the Ariyan path of awakening there is found no equivalent to the crisis that Saint John of the Cross called the "dark night of the soul."
In the texts the impersonality of the action is evident also from the fact that the four jhāna are given as phases of a development from within, phases that occur normally as a result of the fundamental direction that one's own being has taken, without "volitional" intervention in a strict personal sense. In the four jhāna, as in the later experiences, one must never think: "It is I who am about to achieve this jhāna," or: "It is I who have now achieved this jhāna." or "It is I who am surmounting this jhana." On the contrary, the mind, having rightly been set in motion, should lead from one to the other. Any intervention by the normal personal consciousness would only arrest the process and lead back to the point of departure, in the same way as Narcissus, at the moment of gazing at his image, prepared his own end.
The Mahayana saying, "there exist the road and the going, but not he who goes," seems not out of place here. We can also remember the Taoist maxim: "To achieve intentionally the absence of intentions."
--------
Julius Evola: The Doctrine of Awakening - Part II., Chapter 5. - The Four Jhāna : The "Irradiant Contemplations" (excerpt)
--------
image: Ornamental Gateway (Pailou) from Han Dynasty (202 BCE - 220 CE) across a street lined with small shops - Hanzhong, China, 1875
So after careful consideration Ive decided to leave flickr. This isn't one of the things were I say "I'm leaving cause the community is falling apart" .I'm leaving because I'm ready to do diferrent things. I want to learn how to edit more, focus on my basketball and on school. I will stay on Youtube and upload every now and then. Thank you to all of those who have inspired me.
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".
... thought, thinking, consideration, contemplation, deliberation, pondering, meditation, musing, rumination, cogitation...
When it comes to these Holgaramas, form is probably my most important consideration. It is the desire to break out of the standard four sided rectangle that encourages me to make multiple frames in a mishmash like this. So whenever I set up to do one of these, before I even make the first frame the question I am asking and answering is what shape am I going to aim for? And of course, that question is at least partially answered by figuring out what my concept/subject is going to be, because the shape of the frame should be formed deliberately to support the content of the image, otherwise making odd shaped stitches ventures into the realm of gimmickry. That is when you are making weird shape stitches just for the sake of making weird shaped stitches.
I mention all this because part of me wishes I had exposed one more frame that included more of the falls itself, but adding that extra frame to the top middle would have changed the shape of the whole stitch into more of a blob instead of a rough pano and my subject here was the ice-encrusted bowl at the base of the falls, not the falls itself, per se. That and the otherworldly appearance these falls take on in the ice. So I was aiming for content of both the concrete and abstract nature - ice encrusted bowl and otherworldly feeling/appearance.
As photographers we have lots of tools at our disposal: shutter, aperture, ISO, white balance, focal length, exposure, saturation, sharpness, hue, contrast, cloning, layering, etc. One of the best lessons that I try to impart to beginning photographers is to become aware of just how many variables you can conceivably control yourself. With our super-advanced equipment sometimes it becomes easy to just go auto too much and take a lot of these tools for granted. Well these holgaramas are a reminder then that frame shape is another tool at our disposal and one many photographers take for granted and forget that not everything has to be rectangular or square. Think about it, how many times over the last 100, 500, even 1000 frames you have made have you stopped and asked yourself, "is rectangular/square really the best shape for what I am trying to photograph?" Probably not too many times. We just do it with little regard or conscious decision. Instead of fitting our frames to our subjects, we fit our subjects to our frames. In a sense, this is a bit backwards.
Something to keep in mind and chew on with the photographic part of your brain.
So, the next time you get out try setting up some multiple-photo stitches, particular composites where the pieces are not all going to line up evenly. Break out of that rectangular cage. Just remember to start with subject matter first. Figure that out and the shape tends to follow naturally.
New breath or the budding Congo
--------
Nieuwe adem of het ontluikende Congo
When conceptualising the renovation, consideration was given, among other things, to removing the colonial statues in the large rotunda from their niches. The competent heritage services pointed out to the museum that the works of art were an integral part of the protected building.
The AfricaMuseum then decided to add elements instead of taking them away. In 2015, the museum organised a competition and focused on African artists or artists of African origin to create a work of art that would counterbalance the colonial images. The jury selected Aimé Mpane, a Congolese artist, with his work Nouveau souffle ou le Congo bourgeonnant, a monumental sculpture in openwork wood that was placed in the large rotunda shortly before the museum reopened.
However, in the months following the museum's reopening, many visitors expressed their incomprehension about the preservation of the colonial images in the large rotunda. The museum's desire to convey a decolonial message was not always received by visitors, despite the explanatory texts.
A United Nations working group (Human Rights Council) visited the museum in February 2019 as part of an evaluation of the state of rights of people of African descent living in Belgium. It pointed out that the reorganisation of the museum
did not go far enough. The museum was strongly urged to abandon all colonial propaganda and to present the violence and inequalities of Belgium's colonial past clearly and clearly.
Following these comments and at the invitation of the AfricaMuseum, Aimé Mpane proposed placing a second statue in the large rotunda. This work of art, also in
openwork wood, represents the skull of Chief Lusinga. The statue refers to the raid by the Belgian officer Émile Storms on the village of Lusinga in 1884. During this expedition,
the chief's head was chopped off and then taken to Belgium. Until 1964, this skull was in the KMMA and was then transferred to the Royal Belgian Institute of Natural Sciences. The two wooden statues face each other and refer on the one hand to the death and violence of the past (Skull of Lusinga), and on the other hand to the dignity and promises for the future (Nouveau souffle ou le Congo bourgeonnant).
Source: Text translated from Dutch
and
www.africamuseum.be/en/about_us/history_renovation
------------------
Bij het conceptualiseren van de renovatie werd onder andere overwogen om de koloniale beelden in de grote rotonde uit hun nissen te halen. De bevoegde diensten voor Onroerend
Erfgoed wezen het museum erop dat de kunstwerken integraal deel uitmaakten van het beschermde gebouw, ook al stonden er bij de opening van het museum in 1910 slechts twee van deze beelden.
Het AfricaMuseum heeft dan beslist elementen toe te voegen in plaats van weg te nemen. In 2015 organiseerde het museum een wedstrijd en richtte zich daarbij op Afrikaanse kunstenaars of kunstenaars van Afrikaanse oorsprong om een kunstwerk te creëren dat een tegenwicht zou bieden aan de koloniale beelden. De jury selecteerde Aimé Mpane, een Congolese kunstenaar, met zijn werk Nouveau souffle ou le Congo bourgeonnant, een monumentaal beeld in
opengewerkt hout dat kort voor de heropening van het museum in de grote rotonde werd geplaatst.
In de maanden na de heropening van het museum gaven veel bezoekers echter uiting aan hun onbegrip over het behoud van de koloniale beelden in de grote rotonde. De wil van het museum om een dekoloniale boodschap te brengen, werd door de bezoekers niet altijd opgevangen, ondanks de verklarende teksten.
Een werkgroep van de Verenigde Naties (Human Rights Council) bezocht het museum in februari 2019 in het kader van een evaluatie van de toestand van de rechten van mensen van Afrikaanse afkomst die in België wonen. Hij wees erop dat de reorganisatie van het museum niet ver genoeg ging. Het museum werd sterk aangespoord om alle koloniale propaganda achterwege te laten en het geweld en de ongelijkheden van het Belgische koloniale verleden
klaar en duidelijk voor te stellen.
Naar aanleiding van deze opmerkingen en op uitnodiging van het AfricaMuseum stelde Aimé Mpane voor om een tweede beeld in de grote rotonde te plaatsen. Dit kunstwerk, ook in
opengewerkt hout, stelt de schedel van chef Lusinga voor. Het beeld verwijst naar de raid van de Belgische officier Émile Storms op het dorp van Lusinga in 1884. Tijdens deze expeditie werd het hoofd van de chef afgehakt en nadien naar België meegenomen. Tot 1964 bevond deze schedel zich in het KMMA en werd daarna overgedragen aan het Koninklijk Belgisch Instituut voor Natuurwetenschappen.
De twee houten beelden staan tegenover elkaar en verwijzen enerzijds naar de dood en het geweld van het verleden (Schedel van Lusinga), en anderzijds naar de waardigheid en de beloften voor de toekomst (Nouveau souffle ou le Congo bourgeonnant).
Bron: www.africamuseum.be/sites/default/files/media/press/doc/D...
Persdossier – AfricaMuseum; Een stap Dichter naar de dekolonisatie | 27 februari 2020
Here is a brief consideration of my working aims and methods. Firstly, composition is of high importance. I wish the canvas to be as nearly as possible a complete integration of forms and background, having positive and negative shape equivocality. This fundamental derives from Cézanne and the early Cubist considerations regarding the picture plane in itself being an arrangement of lines, shapes and colors without representational approaches to subject matter. To this end, I work with line, tone, color and planes. With line and shaped shards I begin to develop the structure of the surface. No preconceived idea of expectation comes into play at the outset of the process. I start out boldly with a few lines intersecting each other. Soon thereafter I begin to recognize some kind of boxed in forms starting to arise. At this point I will begin laying in planes or shards of tone and color. I almost always begin a picture at the top and work my way down fractionally. It's a process somewhat like completing a page of writing, in that case, left to write or right to left. I like to jump around periodically and move my focus of interest to a remote part of the composition so as not to encourage my progressions looking too logical or what the viewer might expect to see. I want a solid abstract structure firstly. Then I want to solidify some more recognizable references in as enigmatic a way as possible. For example, here, I cannot explain how the animal references emerged other than that they came about through an unexpected converge of linear and planar elements during the process. In summary, the process of my pictures always remains a mystery to me, a kind of puzzle fitting of geometric and abstract shapes which only resolves to completion over time.
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".
Really, so many things to keep in mind when trying to make a good photograph.
Naturally one must deal with the exposure requirements...appropriate shutter speed, desired depth of Field, balanced lighting...in other words, getting the shot.
But then more subjective things come in to play. Composition is so important, and choices need to be made during processing. This photo is a selected example. In this case, the image was composed and cropped to precisely 8 x 10 format...so that it could be framed if desired. Beyond that, it was cropped so that it conformed exactly with the 'rule of thirds'. The head of the bee is precisely at the intersection of the upper right horizontal and vertical thirds point.
That is quite arbitrary, of course, but given that it has been an accepted compositional preference for many many years, it is always a good starting point, if there are no other more pressing considerations.
Photo captured via Minolta MD Zoom Rokkor-X 24-50mm F/4 lens and the bracketing method of photography. On the Snow Lakes Trail and on the way to the Core Enchantments. Alpine Lakes Wilderness. Stuart Mountain Range. Central Cascades Range. Okanogan-Wenatchee National Forest. Chelan County, Washington. Late October 2017.
Exposure Time: 1/250 sec. * ISO Speed: ISO-125 * Aperture: F/8 * Bracketing: +1 / -1 * Color Temperature: 6200 K * Film Plug-In: Kodak E100G Vibrant
© Leanne Boulton, All Rights Reserved
Candid eye contact street portrait from Glasgow, Scotland. Pausing for him to look up from his phone and see my lens I captured this fabulous expression. The spring sunlight was stunning and I just loved the look here, like he was weighing me up. Wishing you all a fabulous weekend ahead. Keep those shutter buttons clicking!
"A little consideration, a little thought for others, makes all the difference." -- Eeyore
(Winnie the Pooh)
A specific, creative struggle is going on at the moment.
It's true. I admit. It is a panging question.
What's next?
How does artistic progression occur without redundancy?
Does this happen to you?
Creating images is so very important to me. It feeds both my wants and needs of expression and communication. I believe that when you are shy or introverted, in particular, photography offers a voice; a presence with proof that all, sometimes socially awkward, inconveniently timid, and the often meek can be not only heard but expressive. Photography gifts this not only to myself but to many others.
Without the use of words, an image can resonate with another human like nothing spoken. Images gift the viewer an opportunity to interpret a soulful message specific to their needs. A communicative conduit through which the viewer receives precisely the emotion that at he/she needs or wants. Be it sadness, peacefulness, happiness, positivity, negativity, love, etc ... Isn't that amazing?
Think about it.
I do.
It's huge.
As 2019 begins, I wish to transform my photography fetish and move forward into sharing a more stimulating and creative forum. I am not a goal-oriented human, but perhaps it is time to structure a few things. I am struggling to make headway in the creative direction that my heart wishes to travel. It is frustrating.
I want to try something new; such as, write a novel and or a book of poetry, teach a class, offer online workshops, hold a photography retreat, open a studio, and more.
I even start a 365 on January 1st, eyes rolling, knowing I have much more important, challenging photography things to accomplish. I have done a 365 previously, four years ago. Why revisit it? Do I find ways to procrastinate creating obstacles to reaching my true wants? Hmmm.
What is the "thing" you are struggling to uncover or explore? As we move into another year of our lives, in which we so very much want to be productive not only for ourselves but for others, what is yours?
For me, the first step is going to be clearing away the fog, the obstacles that are requiring my time which is inhibiting my ability to do the things of creative choice. Prioritize I suppose, would be most specific. Seems like a great place in which to begin.
xo
_________
Panging by Angie Lambert
There is a want
and a need
to be inspirational.
Stealthy,
a blur reveals.
Teasing with clarity
and snippets of precision,
it feeds.
What is next?
I do hear you.
Mind and body hungry,
needing less of the blur
rather than more,
the pang continues.
Photo of Duckie Thot from an ad from an InStyle magazine. (Thanks to whoever has them mistakenly sent to me!)
I’ve been saving this magazine because of THIS ad, and the model that just screams: NADJA.
I think it would be a “quick snip” to customize the new Like No Other Nadja. There are other photos of Duckie where she has a crinkled loose wave to her hair that I may want to try on Nadja.
Also: someone please STOP ME from cutting my own bangs.
Admittedly a rather feeble recreation due to budgetary considerations. Rather than the act of slaying a dragon, it's more of a grimace-off and the orange beast seems to be winning.
After much consideration, I decided to purchase the Cognisys StackShot field system. This is just a snapshot of it taken with my phone. You can see the controller at the base of the tripod. Now when I want to move the camera forward and backward, I have to do so using the motor. I have only used this in the field for one morning, but so far I like it. It is nice to eliminate my least favorite part of focus stacking: turning that damn micrometer knob hundreds of times a day by hand.
© all rights reserved
Please take your time... and enjoy it large on black
Laos is blessed with some of Asia’s nicest rivers, and many of them are mellow. Children spent the day at school, and by the afternoon they were doing the chores required of them…building a fire for the kitchen, sweeping the leaves into a pile, or caring for the young siblings strapped to their back …young boys and girls from the age of seven or eight attentive to the baby’s every need. Amongst this was the laughter of children playing in the river. But sometimes they skip their days at school, going fishing and collecting snails from the river, or using long bamboo poles to knock crickets from the trees. They eat the crickets live or drop them into bottles and take them home for lunch or dinner.
Photo taken nearby the Tad Lo waterfall near the little town Kieng Than Lei - Laos. These ragged little urchins spend most of their days not at school, but fishing and collecting snails from the river. School is important for ethnic minority kids, they should attend and complete primary education in order to overcome rural/urban, ethnic in the area of literacy and education. But it isn't that easy. The reason to skip school are the family economic considerations, involvement in family maintenance and subsistence tasks, the lack of perceived benefits from education. While poverty and lack of access are issues. In addition to these, ethnic minority kids have to face further barriers to education, including the distance from school facilities, their extreme poverty, and additional cultural barriers and the lack of fluency in the national language, Lao. The ethnic kids speak their own language. About 32% of all Laotians are related to Ethnic groups. Totally 160 ethnic groups and speak 82 distinct living languages.
...an old lady washing her clothes in the river gave us a beautiful smile; the Laos people are so friendly. Kids have a great time running on the rampart, swimming in the Sexet river at the Tad Lo waterfall, taking boat rides along the river and playing. A bit futher south men washing their elephants in the river. Lao seems a bit like heaven, the laughter is often & sincere, the rivers are cool and clean and not a speck of modern civilization in sight. In my perspective it is some of the best Laos can offer.
Giving serious consideration to selling my entire collection of DC Universe Classics (around 18 full waves, plus CnC's, a few two packs, SDCC exclusives and some DCSH stuff) and my DC Direct Superman stuff too. I'm very strapped for cash and I want to move into 1/6 collecting. I haven't made up my mind as yet but I'd be interested to see if anyone has any tips on selling or even any offers.
Within weeks of the sinking of the Titanic a scheme was under consideration in Liverpool to remember the members of the ship's engine room who died in the sinking. The thirty-five engineers aboard the Titanic were employed to keep the ship's engines, generators and auxiliary machinery operating. The Titanic was powered by twenty-nine coal-fired boilers that powered her engines and electricity generators.
Had her lights and wireless telegraph had failed, panic would have been rife and it would have been impossible to summon assistance, or lower her lifeboats safely. In the event power was maintained for the wireless set until ten minutes before she sank, with the lights failing just two minutes before she sank. None of the engineers survived the sinking.
As reported at the time "the proposed Liverpool memorial to the Titanic Engineers should be a national one, and there is in contemplation a river-side scheme that would surpass, in architectural beauty, the Statue of Liberty at New York". Such was the importance of the scheme that "an influential committee... [was]...formed with the approval of the Lord Mayor (the Earl of Derby)" to consider how best to remember the heroes of the engine room, while a plot was identified at St Nicholas Place at the Pier Head, overlooked by the Liver Building.
The memorial is of granite stone and measures 48 feet (14.6 metres) high. It was designed by Welsh sculptor Sir William Goscombe John R.A. (1860-1952) and built at a cost of £4,500. It was unveiled on 6th May 1916. The memorial is noticeably pockmarked on the north-face of the pedestal, a consequence of German bomb and shrapnel damage suffered during the Second World War. It was awarded Grade II*-listed status on 14 March 1975. The memorial was restored in time for the centenary of the sinking of the Titanic. The stonework was cleaned and repointed, and the brightwork re-gilded.
The memorial stands on granite footings, with a wide base surmounted by a splayed granite pedestal. The pedestal is surmounted by a granite obelisk, with four allegorical figures at the base of the obelisk. The squatting figures are shown against a wave-form background surmounted by gilded sunrise carvings. At the north-west, the figure represents "Water" and at the north-east, "Earth". The figure at the south-west represents "Air" and at the south-east, "Fire". The obelisk is surmounted by four female figures, holding buoys between them, beneath a gilded torch flame.
The west side of the pedestal carries two male figures, a stoker (or fireman) and engineering officer. The engineering officer is carrying a spanner, used to help maintain the engines and mechanical equipment aboard the Titanic. The east side of the pedestal carries two male figures of coal trimmers, one with a shovel used to move coal from the bunkers to the stokers at the boiler furnaces. The memorial is significant in its depiction of the ordinary, working-class crew members.
The north side of the pedestal carries a relief carving of a three-bladed propeller encircled with a wreath, beneath the inscription:
In honour of
All heroes of the
Marine Engine Room
This Memorial
Was Erected by
International Subscription
MCMXVI
The south side of the pedestal carries an identical propeller and wreath carving beneath the inscription:
The brave do not die
Their deeds live for ever
And call upon us
To emulate their courage
And devotion to duty
The inscriptions make no reference to the Titanic. It was intended that the memorial commemorate the Titanic engine room heroes, however in the intervening years between the sinking and the completion of the memorial many more ships had been lost, especially during the opening years of the First World War. It was felt appropriate that the memorial dedication be broadened to remember all the "heroes of the marine engine room".