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Here's a piece of "art" I created as a kid in the 90s with those spinner machines. By adjusting the angle of a candle on top of a circular disk, I was able to play with the shadow and line it up with the red line on the spinner art.
The photo was taken on an overcast day and the statue is apart of a larger series. To find out more about the site, either follow the link below or read the excerpt.
From en.wikipedia.org/wiki/Chicago_Portage_National_Historic_Site :
The site commemorates the Chicago Portage first written about and used by French explorers Father Jacques Marquette and Louis Joliet during their exploration of the area between Lake Michigan and the Mississippi River. The portage crossed what was known as Mud Lake, which could be wet, swampy, frozen, or dry, depending on the season, and which has since been completely obliterated. Mud Lake extended roughly from the historic western end of the South Branch of the Chicago River (near today's Damen Avenue) to the Des Plaines River at this National Historic Site. These explorers understood the importance of the easiest crossing of the continental divide between the Gulf of Mexico and Atlantic Ocean watersheds.
The site, which was designated January 3, 1952 as an "affiliated area" of the National Park Service, is owned and administered by the Forest Preserve District of Cook County. Visitor access is via Harlem Avenue, just north of Interstate 55. The site contains the parking area, a memorial statue, interpretive signs, and trails. Activities here are hiking and canoeing, and the Friends of the Chicago Portage sponsors guided walks. In the future, it is hoped that adjacent vacant industrial land can be used to construct a visitor's center.
MEDIEVAL OPTICS ON RENAISSANCE ALCHEMY .Late roman cult of Mithras, a dualistic.
This is the primal light which God made. It is the light of the eye. This light God showed to Adam, and by means of it he was enabled to see from end to end of this world, On these neoplatonic and cabbalistic models, Fludd devised his own christianised image of the creative eye of God in the "Microcosm (Utriusque Cosmi Historia, 1619-1621) From the internal evidence of his writings, it is probable that Fludd was influenced by Khunrath who had earlier evolved an alchemical cos- mos of light in his Amphiteatrum Sapientiae Aetemae. Khunrath's own source of inspiration was the image of Eternal Wisdom in the form oflight in the Old Testament Book of Wisdom (11. 21). In his last treatise, De Egne Mago- num (circa 1602-1604), he also reviewed the ancient religions, such as Zoroastrianism, which had venerated God in the form of light and fire. In reality, these historical beliefs had been more complex than Khunrath supposed since, for the Zoroastrians, light was only one principle co- existent eternally with that of darkness. A similar dualistic position was held by the medieval Manicheans and Cathars, who believed in a lumi- nous deity trapped in an evil natural phenomena as irredeemable enemies of the spirit.15 Variant ac- counts of these two eternal principles of light and darkness pervaded the symbols of medieval alchemy, it was left to Robert Fludd to admit the full logic of the ontological anxieties concerning the nature of the Divine. In a bold, but not altogether heretical, gesture he produced a unique alchemical image in the Medicina Fitzer 1629-31) which promoted the idea that light and darkness were two dispositions of the same God (fig. 50 In response qualms concerning the nature of Absolute Be- g, Christianity produced a symbol of Christ as the one pure Light, an age which was developed into a Christian tenet by St. Augustine former Manichean. Influenced by neoplatonism, Augustine also created which divine light manifested in the natural world absolute beauty," Another image incorporated into early Christian i lithras, a dualistic late Roman cult ol nography was adapted from the cosmogony of light and darkness. Christ was occasionally given the Mith- raic title of "Sol Invictus 15 Similarly, contemporary late Alexandrian neoplatonists and hermeticists ciple. Thus, Asclepius had regarded the sun as the transmitter of God's beneficence to the earth, nullifying the effects of the negative demonic powers. 6 Subsequently, the neoplatonist Pseudo-Dionysos the Aeropag- ite propagated a Christian image of the sun as representing the quality of God's Divine Intelligence. 7 In the seventh century, Isidore of Seville integrated Christian and neoplatonic conceptions of the sun with those of natural philosophy in his Nature. Other sources sun were late hellenistic texts which had interpreted the ancient gods as signifying dif ferent aspects of the One Divine Being, such as Cornutus in De Natura Deonum, or Hyginus on the stellar constellations in his Fabulae. The most important source, however, for the development of the subsequent iden- tity sun and Christ was Macrobius in the Saturmalia, who ventured to prove that all gods were subsumed by the Sun as the sole almolute deity.i Isidore christianised Macrobius' analogical interpretations and developed them into a cosmogenesis. The sun became Christ's "modus operandi" whereby he conferred life and health on the world (XV: 3.19 Thereby, inspired a lineage of medieval texts which Christ's role as Creator. The lines of Isidore's account of the sun are found in the French ovide moralisee of the early fourteenth century and in the fifteenth century Latin commentary, the Reductorium morale by Petrus on Chapter natura deorum. These texts Berchorius ed an analogical commentary on Ovid's poem concerning the nature of the pagan gods, regarding them as being various attributes of Christ
sophical setting influencing early alchemy. The documents develop and define technological processes and practical techniques of metallurgy that were originally Egyptian. They incor porated theories of matter and change from the Greek philosophers including "the notion that entities and events in the heavens were mirrored by those on earth: a mystical cast to religious beliefs, with a belief in spirit intermediaries, magic, astrology, and other esoteri cisms. The practical nature of Greek philosophy was strong, but in the Hellenistic age there was a distrust of traditional Greek rationalism primarily due to breakdown of the distinction berween science and religion. Hellenic Alexandria also contributed the god Her- mes or Thoth to the Greek pantheon but he was but one of the gods and prophets to who people turned for a divinely revealed wisdom. There was, consequently, no religion governed by fixed creeds in Ancient Greece, nevertheless, advice from the gods was sought for most public and private matters. It was generally believed that gods represented all aspects o life.Gnosticism, a philosophical and religious movement during the second century, com- bined a number of different elements and may have introduced the influence of Mithraism into the philosophical thinking of the Greeks. Mithra or Sanskrit Mitra (the word can be translated as either friend or contract) is the god of light and a feature of ancient Indo- Iranian mythology. He was called the mediator. The soldiers of Alexander the Great spread the cult of Mitra throughout the Hellenic world after the defeat of the Persians, and later it became the chief rival to the newly developed religion of Christianit The Greeks con sidered Mitra a sun god and the god of justice. The Vedic Mitra was first mentioned about 1400 Bac E. Legend described Mitra as a child of the earth. He said to have "killed the life-giving cosmic bull, whose blood fertilizes all vegetation.The worship of Mitra was not particularly popular in the Greek world, because of its association with the Persians: in spite of this history, the mythical killing of the cosmic bull was an often-depicted image in Hellenic art. The myth tells that with the death of the bull the creatures of the world emerged from darkness and good and evil began, thus initiating the conditions of human life (a version of partaking of the tree of knowledge) The raven messenger in the myth, symbolizes air. The myth included a lion, a serpent, and a bowl to catch the blood of the slain symbolically represented fire, the serpent earth, and the bowl water. The story identifies the four elements (air, fire, earth, and water) and from this beginning, all things were created Early myths established the thinking from which later Greek philosophy emerged, and although the lives and work of both Plato (427-347 B.o.E) and Aristotle (384-322 B.c.E) predate the Hellenistic Age (beginning roughly 322 B.c.E. and ending, by some accounts as late as 323 o.E., the philosophical foundation they inherited and promoted influenced the social, material, political, and spiritual life of the region for centuries, lt seems certain that the center for Western alchemic activity in the years before and after the beginning of the current era was Hellenistic Alexandria. The impulses felt in Greece came from that city and included both Greek and Egyptian thinking. It is also likely that "Greek philosophers before Plato, Aristotle, and particularly the Sicilian Empedocles (490-430 B.c E.), had the- ories about the nature of matter, the elements which make it up. and how one could change into another. Empedocles was a philosopher, politician, and poet admired by Aristotle. He cated the theory that all matter was composed of the four essential ingredients, fire, air water, and earth, and that nothing could be made or destroyed but merely transformed. depending on the relation of basic substances to one another, (This is obviously the same idea advocated by many later alchemists.) Like Heracleitus (540-480 B.c.E.) before him Empedocles held that two forces, love (attraction: positive energy and strife (repulsion negative energy), either bring together or separate the four substances (This interaction calls to mind the energetic interplay of the yin and yang,) Strife makes the elements withdraw from the others: Love makes them commingle. The world, according to Heracleitus, was a stage in which neither force dominated. Love was dominant in the beginning. and the four substances were mixed; later, during the formation of the cosmos, strife caused the ele ments to separate. The four elements were again arranged in partial combinations in certain places a a time. Volcanoes, for example, show the presence of both water and earth."
Mysticism and Alchemy through the Ages: The Quest for Transformation
Par Gary Edson
Pasqual Sébah was one of the most important professional photographers of his time in the Ottoman Empire. Today, his works are highly sought after by museums and collectors.
Of Syrian or Lebanese origins, Sébah (1823-1886) was a leading photographer in Constantinople, now the city of Istanbul. In 1857 he opened a studio, which he called "El Chark," next to the Russian Embassy on the Grande Rue de Pera, the main shopping street of the European part of the city. He sold photographs of the city, ancient ruins in the surrounding area, portraits, and images of local people in traditional costumes to tourists. His prints are signed P. Sébah.
Sébah rose to international prominence because of his well-organized compositions, careful lighting, effective posing, attractive models, and great attention to detail. His career coincided with intense Western European interest in the "Orient," which was viewed as exotic and fascinating.
In 1860, he secured the collaboration of the French photographer A. Laroche to direct his studio. As Sébah's technician, Laroche turned out photographic prints of superior quality.
Sébah's career was accelerated through his collaboration with the artist, Osman Hamdi Bey (1842-1910). Osman Hamdi Bey posed models, often dressed in elaborate costumes, for Sebah to photograph. The painter then used Sébah's photographs for his celebrated Orientalist oil paintings.
In 1873, Osman Hamdi Bey was appointed by the Ottoman court to direct the Ottoman exhibition in Vienna and commissioned Sébah to produce large photographs of models wearing costumes for a sumptuous album, "Les Costumes Populaires de la Turquie." The album earned Sébah a gold medal awarded by the Viennese organizers, and another medal from the Ottoman Sultan Abdulaziz.
In that same exceptional year of 1873, Sébah opened a branch in Cairo, Egypt, on the Esbekieh next to the French Embassy, where he installed his associate, Laroche. (The Cairo studio remained in business until 1898.)
In 1883, Sébah suffered a stroke. He died on June 15, 1886, and his brother Cosmi managed the business until Johannes (1872-1947), Pascal’s son, was old enough to take over.
Johannes (Jean) grew up to become a talented photographer in his own right, but to profit from his father’s fame, he signed his photographs J. Pascal Sébah. In 1888 he went into partnership with a French photographer resident in Istanbul, Polycarpe Joaillier. The firm of Sébah and Joaillier were named the official photographers of the Sultan, and at his command took photographs all over his empire.
Joaillier returned to Paris in the early 1900s, but Jean Sébah continued the studio, forming a partnership in 1910 with Hagop Iskender and Leo Perpignani. The latter left the firm in 1914. Jean Sébah and Hagop Iskender retired in 1934, leaving the business to Iskender's son, Bedros Iskender and his partner, Ismail Insel. Ismail Insel eventually became sole partner and renamed the studio Foto Sabah, which remained in business until 1952. (Sabah means "morning" in Turkish.)
With all the changes, the studio that Pascal Sébah began in 1857 lasted 95 years.
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・- ̗̀໒ ⋮ crowded homes blog details
cosmi home ⎯ crowded homes mainstore
・- ̗̀໒ ⋮ catarsis blog details
chi chi set ⎯ access event
・- ̗̀໒ ⋮ tredente blog details
interactive vacuum ⎯ tredente's mainstore
clothes rack ⎯ alpha event
・- ̗̀໒ ⋮ ninetyfive blog details
my booty matter no. 260 ⎯ ninetyfive's mainstore
cute friends phone collection⎯ ninetyfive's mainstore
blogging socials
Hemos cubierto las 100 plazas! Lamentamos no poder inscribir mas participantes.
El 22 de Noviembre tendremos ganador o ganadora! Muchas gracias y mucha suerte! :)
Lo prometido es deuda : Aquí tenéis nuestro sexto sorteo :)
Sorteamos el siguiente material, siendo las bases las mismas de siempre, los requisitos son muy básicos por lo que la participación es muy sencilla:
Contenido (Hama Beads Mini):
* Mini Mix 7.500 beads mezcla de 48 colores
* 12 bolsas Mini mix 2.000 beads por bolsa, de los siguientes colores:
(el número entre paréntesis es el número de color Hama basado en la siguiente lista : www.tiendadehamabeads.com/mini.jpg)
......... Blanco (01)
......... Amarillo (03)
......... Naranja (04)
......... Rojo (05)
......... Rosa (06)
......... Violeta (07)
......... Azul claro(09)
......... Verde (10)
......... Marrón (12)
......... Gris (17)
......... Negro (18)
......... Translúcido (19)
* 2 Placas/pegboards 7x7 cms cuadradas conectables entre sí
* Placa/pegboard con forma de corazón
* Archivador perfecto para tamaño Mini, con 18 bandejas extraibles y capacidad de aprox. 3.000 beads Mini cada una
* Pack papel de planchado Hama
* Envío gratuito (mensajería 24 horas en la península, Paquete Azul en el resto de destinos nacionales, o descuento equivalente en el gasto de envío si el ganador o ganadora reside fuera de España)
El requisito para participar es dejar un comentario y publicar la foto del sorteo en tu flickr o blog, y el número con el que se participará será el número de comentario, siendo una participación por persona, con un máximo de 100 participantes. Si se alcanzara esta cifra no se podrían asignar nuevas participaciones. La lista se actualiza lo más frecuentemente posible y siempre asignando números en orden de llegada.
Podéis guardar la foto del sorteo en el siguiente enlace : Vista en varios tamaños ,eligiendo el tamaño, haciendo click con el botón derecho del ratón sobre la imagen y después "Guardar imagen como", o similar.
Para participar publicando foto en blog es obligatorio enviar un email a hamalorios@yahoo.es una vez esté la foto publicada, para asignar número. No se reservará ni asignará número si no hay foto publicada en flickr o blog, ya que es el único requisito que se pide. Si no se nos comunica la publicación de la imagen del sorteo vía email en el blog, no podremos saberlo y no podríamos asignar número de participación.
Se agradecería que la imagen estuviera en un lugar destacado y se enlazara esta página de Flickr o la tienda online www.TiendadeHamaBeads.com .No es una exigencia para participar, queda a criterio de cada participante.
El plazo para participar finaliza el lunes 22 de noviembre a las 20:00h, y el ganador será el número que coincida con las dos últimas cifras de la ONCE del mismo día. De ser esta cifra superior al número de participantes, se tomarían las dos últimas cifras del sorteo de la ONCE del día siguiente, aunque no se admitirían nuevas participaciones.
Por último, estas normas pueden ser ligeramente modificadas o adecuadas para mejorar o corregir algún posible error.
Mucha suerte a tod@s!
Participaciones:
01: urbannoises
02: basda
03: Laura ( burbujasrosas.blogspot.com/ )
04: María Diz
05: ☆MIREIA☆
06: El Rinconcito de Adrián
07: Llámame freaky
08: 3amCreaciones ( 3amcreaciones.blogspot.com/ )
09: Canibalismo ya!
10: _Audrey_
11: Celenia★
12: WitchMuffin
13: -Siloh-
14: The Black Cat Factory
15: Nya23
16: Kusita
17: serene21
18: Na Nena ( elartedenanena.blogspot.com/ )
19: Marla_00
20: brujitadrea
21: *Maria
22: SaMtRoNiKa
23: Nubedepegatiina ( nubedepegatiina.blogspot.com )
24: AzulDeLuna
25: sonia vallejo
26: ♥ Jin
27: Dana Loves dollys!
28: Elystrei
29: Dama Mízar
30: spiral.world
31: Sunflowered / Doll Me Up!
32: Lu Bodaczny
33: ay carmela!!!
34: Titania y Oberon
35: Anita Complementos ( anitacomplementos.blogspot.com/ )
36: Makoto Mania
37: Myu~Myu
38: kademtc ( vengadoresdelbit.blogspot.com )
39: noyita
40: layka
41: Hyrekia
42: Carigelitas
43: Tamara (http://detodounpoco-tamara.blogspot.com/ )
44: Acuática ( art-fully.blogspot.com/ )
45: Gema ( abalorioscoroygema.blogspot.com )
46: *Driada*
47: mishakal / dequitaypon (
48: sylviamv2003 ( www.flickr.com/photos/losososdelcaldeiro/ )
49 :Calisto82
50: ♥Duckie & Bear♥ ( www.flickr.com/photos/handmadeblythe/5117024007/ )
51: Menchu ( menchuchu.blogspot.com/ )
52: Mirichû
53: samar66
54: kideta♥
55: Artemisa81
56: Tu Fieltro
57: Mhemnoch
58: Loli_lgb
59: .Maite. ( abaloriosdemaite.blogspot.com/ )
60: ErVaipi
61: Cosmia ♪
62: Esther ( amigurumi-ando.blogspot.com/ )
63: Videador ( vidwild.blogspot.com/ )
64: Qky's
65: Musshu
66: El Mundo del Chibolo
67: Sandra M.J ( hadasmodasycomplementos.blogspot.com/ )
68: Misimu ( misimu.blogspot.com/ )
69: Princesita costurera
70: Petite Blasa
71: Elena ( misterios-elena.blogspot.com )
72: Galería de Manualidades carmen. "Brujita"
73: Iris ( volverasentirtetowapacomplements.blogspot.com/ )
74: Ester ( lagatitacosturera.blogspot.com/ )
75: Laura ( mesquecosetes.blogspot.com/ )
76: ♥♪mirthazz♪♥
77: clicia_
78: marimonias
79: Imperdibles y Alfleres
80: Pañal en descomposicion
81: Ani Bijou ( bijouani.blogspot.com/ )
82: Terehime
83: latere74
84: Nube Creaciones ( nubecreaciones.blogspot.com )
85: sebaestrella
86: Kyomu ( letsthinkred.blogspot.com )
87: liebre_azul
88: *Elensar*
89: El Gran Héroe Americano
90: martamartiti
91: Cristina ( mundofieltro-cyl.blogspot.com )
92: Nesta ( versionsubtitulada.tumblr.com/ )
93: Mousike
94: Laguna de Anilina
95: Kasumi ( resumiendotodo.blogspot.com/ )
96: Xaloc Garay
97: Noire ( frikinosumi.com/ )
98: Velectra
99: Sandra ohh
00: stickpictures
PD: Son much@s los participantes y las comprobaciones para asignar número (flickr, email, blog, etc). Si tu participación no está en esta lista, por favor, contáctame !!
Hemos cubierto las 100 plazas! Lamentamos no poder inscribir mas participantes.
El 22 de Noviembre tendremos ganador o ganadora! Muchas gracias y mucha suerte! :)
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 13 1/2 in x 10 1/2 in
Location:
Object No. 2021.738
Shelf: F-7
Publication:
Other Collections:
Provenance: Vintage Works
Rank: 200
Notes: Pascal Sébah (1823–1886) was a photographer in Constantinople (now Istanbul) and Cairo, who produced a prolific number of images of Egypt, Turkey and Greece to serve the tourist trade. Pascal Sébah was born in Constantinople, then the capital of the Ottoman Empire, to a Syrian Catholic father and an Armenian mother. He initially worked in collaboration with the French photographer, Henri Bechard. After receiving medals at the International Exhibition in Paris, he decided to open his own studio in Istanbul in 1857. Sébah's studio was known as ''El Chark (meaning "The Orient"), situated at 439 Grande Rue de Pera in the center of the city and close by the Embassies and hotels where tourists congregated. Sébah primarily produced photographs for the tourist trade. By the second half of the 19th-century, tourist travel to Egypt had created strong demand for photographs as souvenirs. Sébah was amongst a group of early photographers, who made their way to Cairo and Istanbul to capitalise on this demand. By 1873 Sébah was successful enough to open a second studio in Cairo. He exhibited at Ottoman exhibition in Vienna, Austria in 1873. He established a valuable working relationship with Turkish painter Osman Hamdi Bey taking photographs as part of the artist's preparation and in which he experimented with light and shade. In turn, Hamdi Bey selected Sébah to illustrate his text on the popular costumes worn by Turkish people, entitled Les Costumes Populaires de la Turquie en 1873: ouvrage publié sous le patronage de la Commission impériale ottomane pour l'Exposition universelle de Vienne published in 1873. Following his death on 25 June 1886, the studio continued in business. It was managed by his brother, Cosmi, and in 1888 Pollicarpe Joiallier became a partner. At this time the company was renamed Sebah & Joaillier. Pascal's son, Jean Pascal Sébah, also joined in 1888 and went on to run the studio with other photographers. The firm developed a reputation as the leading representative of Orientalist photography and in 1889 was appointed the Photographers by Appointment to the Prussian Court. Sébah's studio continued operations, in one form or another, until 1952 at the same address then moved until its closure in 1973. (source: Wikipedia).
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
This model of human consciousness was the brainchild (pun intended) of Robert Fludd (1574-1637), one of the best-known English physicians and polymath of the 16th and 17th centuries.
Here’s his biography:
en.wikipedia.org/wiki/Robert_Fludd
There’s a lot to unpack, but here’s the standouts for me:
A Divine realm is presented at the top, with God (Deus) in the middle. At the bottom we see the angels (angelos) demarcated, and further up, there are other divine beings, including the seraphim and cherubin.
Just under this we see a "communication channel" that allows man to access the heavenly realm. This can be done using the faculties of reason (Ratio), intellect (Intellectus) and mind (Mens).
And of course:
•Mundus Intellectualis (the intellectual world)
•Mundus Imaginibilis (the imaginary world)
•Mundus Sensibilis (the sensible world).
There’s also a cool connection from the brain to the spinal cord 😊.
Credit for image:
digital.library.cornell.edu/catalog/ss:548491
Title:
De Tripl. Anim. In Corp. Vision
Collection:
Images from the Rare Book and Manuscript Collections
Date:
1617
Description:
pagination starting at the beginning of the book. full page plate
Source:
Utriusque cosmi maioris scilicet et minoris metaphysica, physica atqve technica historia : in duo volumina secundum cosmi differentiam diuisa / avthore Roberto Flud alias de Fluctibus ...
The metaphysical, physical, or technical history of both the greater and lesser cosmos: divided into two volumes according to the difference of the cosmos / by Roberto Flud, alias De Fluctibus.
Repository:
Division of Rare and Manuscript Collections, Cornell University Library
Collecting Program:
History of Science
Robert Fludd (Milgate House 1574-London 1637), "Utriusque cosmi maioris scilicet et minoris metaphysica, physica atque technica. Historia in duo volumina secundum cosmi differentiam divisa", Oppenheim, Hyeronimus Galler, 1617-23 - Temporary exhibition at National Library of Naples
- Nombres por los que se la conoce:
Momo, Momito, Duendecilla, pukipeke...
-Dos cosas que usted esta usando en este momento:
Mi veztido y miz botaz de gato.
-Dos cosas que quiero ahora mismo:
Que mami noz deje de enfocar a Mizifú y a mi con el flexo porque da muchaz lucez moleztaz y ya me pican loz ojoz.
Necezito dormir, que hace mez y medio que no pego ojo.
- Dos ultimas personas con las que hablé por teléfono:
De momento no puedo coger el movil de mami porque zoy muy chiquitita y peza mucho para mi, pero cuando ezten dormidaz miz hermanaz, lez voy a quitar todaz laz chuchez para comérmelaz y azi crecer máz rápido.
- Dos cosas que hice anoche:
Eztar dezpierta (como ziempre).
Lez pinté bigotez a todaz miz hermanitaz mientraz dormian (con eztaz cozaz me entretengo mucho por laz nochez).
- Dos cosas que estoy haciendo para mañana:
Ezconderme bajo la cama por zi Noa ze enfada por zu bigote.
Cuando mami ze vaya a trabajar, liberaré a loz pitufoz de zu caja y después jugaré toda la mañana con elloz.
- Bebidas favoritas:
coca cao para dezayunar...
cola cao para merendar...
cola cao para cuando voy a la camita...
¡ez que me guzta el cola cao! ^^
- Dos hechos al azar:
Hoy me ha dicho mami que un tal Morfeo vendrá mañana a vizitarme, ¿Quién ez eze zeñor? y ¿por qué quiere verme? que miedo, no ze zi me va a guztar…
Poz ahora en cuanto ze vaya mami a ver “Cuentame” voy a ezcribir a todaz miz primitaz del flickr.
*quiero que respondan:
Panocha de MsRakel
Enid de Cosmia
Celia de Extraterrestra
Coco de Jimena58
Nina de Fergo1986
Garabato de Melindafb
Y tod@s l@s que queráis, podéis hacerlo también!!!! Os nominaría a tod@s!!! xD
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10 1/4 in x 7 7/8 in
Location:
Object No. 2021.657
Shelf: D-31
Publication:
Other Collections:
Provenance
Notes: Pascal Sébah (1823–1886) was a photographer in Constantinople (now Istanbul) and Cairo, who produced a prolific number of images of Egypt, Turkey and Greece to serve the tourist trade. Pascal Sébah was born in Constantinople, then the capital of the Ottoman Empire, to a Syrian Catholic father and an Armenian mother. He initially worked in collaboration with the French photographer, Henri Bechard. After receiving medals at the International Exhibition in Paris, he decided to open his own studio in Istanbul in 1857. Sébah's studio was known as ''El Chark (meaning "The Orient"), situated at 439 Grande Rue de Pera in the center of the city and close by the Embassies and hotels where tourists congregated. Sébah primarily produced photographs for the tourist trade. By the second half of the 19th-century, tourist travel to Egypt had created strong demand for photographs as souvenirs. Sébah was amongst a group of early photographers, who made their way to Cairo and Istanbul to capitalise on this demand. By 1873 Sébah was successful enough to open a second studio in Cairo. He exhibited at Ottoman exhibition in Vienna, Austria in 1873. He established a valuable working relationship with Turkish painter Osman Hamdi Bey taking photographs as part of the artist's preparation and in which he experimented with light and shade. In turn, Hamdi Bey selected Sébah to illustrate his text on the popular costumes worn by Turkish people, entitled Les Costumes Populaires de la Turquie en 1873: ouvrage publié sous le patronage de la Commission impériale ottomane pour l'Exposition universelle de Vienne published in 1873. Following his death on 25 June 1886, the studio continued in business. It was managed by his brother, Cosmi, and in 1888 Pollicarpe Joiallier became a partner. At this time the company was renamed Sebah & Joaillier. Pascal's son, Jean Pascal Sébah, also joined in 1888 and went on to run the studio with other photographers. The firm developed a reputation as the leading representative of Orientalist photography and in 1889 was appointed the Photographers by Appointment to the Prussian Court. Sébah's studio continued operations, in one form or another, until 1952 at the same address then moved until its closure in 1973. (source: Wikipedia).
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
I did a shoot for a friend and loyal Subaru enthusiast, Tom.
Here's his Subaru Impreza WRXSTI, slammed on freshly greened Cosmis wheels.
I really wanted to highlight the wheels so I am glad he volunteered his car for a quick shoot.
I saw this location a few weeks back when I was scouting for other spots. I really love how the fence just blurs in the background and all of the lines remain parallel to each other all the way down past the horizon.
I was hoping for a shot with more crispiness but I was forced to use my old back up, Canon T3 for this one. When I started working on this one in post, I completely forgot that I was using my lesser camera. I was finding myself wondering where all the resolution went once I got right in there.
www.instagram.com/faultyflipflap
This is a long exposure photograph. I used the black cloth that came with my camera cleaning kit as a background and then use a small candle for lighting. I appreciate the textures that this lighthouse brings. In the future, I might use a very fine sand paper to remove some of that gloss on the lighthouse.
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10 1/2 in x 8 1/4 in
Location: Italy
Object No. 2015.849
Shelf: A-20
Publication:
Provenance:
Other Collections:
Notes: Pascal Sébah (1823–1886) was a photographer in Constantinople (now Istanbul) and Cairo, who produced a prolific number of images of Egypt, Turkey and Greece to serve the tourist trade. Pascal Sébah was born in Constantinople, then the capital of the Ottoman Empire, to a Syrian Catholic father and an Armenian mother. He initially worked in collaboration with the French photographer, Henri Bechard. After receiving medals at the International Exhibition in Paris, he decided to open his own studio in Istanbul in 1857. Sébah's studio was known as ''El Chark (meaning "The Orient"), situated at 439 Grande Rue de Pera in the center of the city and close by the Embassies and hotels where tourists congregated. Sébah primarily produced photographs for the tourist trade. By the second half of the 19th-century, tourist travel to Egypt had created strong demand for photographs as souvenirs. Sébah was amongst a group of early photographers, who made their way to Cairo and Istanbul to capitalise on this demand. By 1873 Sébah was successful enough to open a second studio in Cairo. He exhibited at Ottoman exhibition in Vienna, Austria in 1873. He established a valuable working relationship with Turkish painter Osman Hamdi Bey taking photographs as part of the artist's preparation and in which he experimented with light and shade. In turn, Hamdi Bey selected Sébah to illustrate his text on the popular costumes worn by Turkish people, entitled Les Costumes Populaires de la Turquie en 1873: ouvrage publié sous le patronage de la Commission impériale ottomane pour l'Exposition universelle de Vienne published in 1873. Following his death on 25 June 1886, the studio continued in business. It was managed by his brother, Cosmi, and in 1888 Pollicarpe Joiallier became a partner. At this time the company was renamed Sebah & Joaillier. Pascal's son, Jean Pascal Sébah, also joined in 1888 and went on to run the studio with other photographers. The firm developed a reputation as the leading representative of Orientalist photography and in 1889 was appointed the Photographers by Appointment to the Prussian Court. Sébah's studio continued operations, in one form or another, until 1952 at the same address then moved until its closure in 1973. (source: Wikipedia).
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
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I did a shoot for a friend and loyal Subaru enthusiast, Tom.
Here's his Subaru Impreza WRXSTI, slammed on freshly greened Cosmis wheels.
I really wanted to highlight the wheels so I am glad he volunteered his car for a quick shoot.
I saw this location a few weeks back when I was scouting for other spots. I really love how the fence just blurs in the background and all of the lines remain parallel to each other all the way down past the horizon.
I was hoping for a shot with more crispiness but I was forced to use my old back up, Canon T3 for this one. When I started working on this one in post, I completely forgot that I was using my lesser camera. I was finding myself wondering where all the resolution went once I got right in there.
www.instagram.com/faultyflipflap
I did a shoot for a friend and loyal Subaru enthusiast, Tom.
Here's his Subaru Impreza WRXSTI, slammed on freshly greened Cosmis wheels.
I really wanted to highlight the wheels so I am glad he volunteered his car for a quick shoot.
I saw this location a few weeks back when I was scouting for other spots. I really love how the fence just blurs in the background and all of the lines remain parallel to each other all the way down past the horizon.
I was hoping for a shot with more crispiness but I was forced to use my old back up, Canon T3 for this one. When I started working on this one in post, I completely forgot that I was using my lesser camera. I was finding myself wondering where all the resolution went once I got right in there.
www.instagram.com/faultyflipflap
See where this picture was taken. [?]
On Saturdays, I include a "sound" to go with the "sight"... click the link to hear some audio!
Although I wish I would have composed to include the entire words "Sonny Eclipse", I'm fairly happy with the way this turned out. I've always wanted to shoot this dude and this was the first opportunity I'd had. And of course, colors pushed to the max, like I like them :=0)
Quick EXIF:
Camera: Nikon D300
Lens: Nikkor 70-300mm VR
Mode: Manual
Exposure: 1/40 sec
Aperture: f/4.5
Focal Length: 110mm (165mm full frame equivalent)
ISO: 640
Bias: N/A
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"For thousands of years the Arts have permeated our cultures, and have produced through us, it's Concepts, and ideas that only change and adapt to the time period and culture of the present time, but you are more than a carbon copy, actually, you are necessary to keep the vision and dream of the Poets from long ago alive."
From the Cosmic Poem by Michael A. Gòmez.
Complete text here : mikegomez123173.wixsite.com/mysite-1/post/the-great-cosmi...
Photographer: Pascal SebahPascal Sébah (1823-1886) from Constantinople/Istanbul was a great Turkish photographer. He produced outstanding portraits, city landscapes, ethnographic photos, captures of historic monuments from Turkey and Middle East. He was the fourth child of the Syrian Catholic Hanna Sébah and the Armenian Lisa Hichaftadjan. He was father of the photographer Jean Sebah (1872-1947).
Addresses:
- 1857 10 Tom Tom Sokaği, ('El Chark Societé Photographic' El Chark = the Orient) (”prés la Poste d’Autriche”)
- 1858- ?: Grand Rue de Péra 232.(“Vis-á-vis de Palais de France”) His Tom Tom Sokaği studio remained open, and was used as a laboratory.
-1860: Grand Rue de Péra 439 (next to the Russian Embassy); he employed A. Laroche to run that studio.
- 1873: opened a branch in Cairo
Medals:
- 1859 Paris: Medal from the Societé Française de Photographie
- 1867 Naples: Medal from “La Scuola Dantesca Napolitana”
- 1870 Paris
- 1873: Ottoman exhibition in Vienna: Sébah presented the album, Les Costumes Populaires de la Turquie. He received a gold medal from the Austrians and the Medjidie Order from the Sultan Abdülaziz.
- 1877 medal in Philadelphia
- 1878 Paris: silver medal at the ‘Exposition Universelle‘ for photographs of Nubian desert tribes.
1883 suffered a stroke; his brother Cosmi, and later Jean Sébah (1872-1947), Pascal’s son, run the studio up to 1945.
Location: Constantinople/ Istanbul
Date: probably 1864
Subject: presumably sister of Ecaterina Obreja, born Xantopol
Format: CDV (number scratched on the negative 10153)
(By courtesy of Mrs. Lilian Theil)