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Dichotomy.
Committed to Ilford HP5+ using a Hasselblad X-pan and 45 mm lens and red filter. Developed with Ars-Imago FD as standard and scanned using an Epson V850 using Silverfast. Positive conversion and levels done with Negative Lab Pro.
This was taken by my son and edited by a special angel in my life, Tracie Taylor www.flickr.com/photos/22553353@N00/
I have learned to appreciate the simpliest moments and hold them very close... this was taken on Christmas Day 2008. Bev had just gotten out of the hospital and was touching our new little grandson... as it turned out for the last time.
My journey with Bev has been beautiful and is now very painfully coming to an end. I know that I will always have her in my heart, but I long for this simple touch...
Please remember that tonight when you see someone you love and haven't expressed it enough lately... don't pass on what may be the last touch... blessings my friends.
Peul (Fulani, Fulbe, Fula) herdsmen with traditional wide-brimmed fibre-and-leather conical hats meet at the weekly market in front of Djenné's Great Mosque. A colourful multiethnic gathering of herders and traders converges at the mosque from the surrounding regions and fertile flood plains of the Niger River inland delta in central Mali. Digital film scan, Asahi Pentax Spotmatic, shot directly under the noonday sun, circa 1976.
The Great Mosque of Djenné towers over the market in a seemingly apocalyptic backdrop on this day. The mosque is considered the world’s largest adobe building and one of the greatest achievements of Sudano-Sahelian architecture, unique to the semi-arid Sahel zone that stretches across northern Africa just south of an encroaching Sahara.
These Peul herdsmen are likely from the class of “free nobles” (mostly nomadic herders, religious and political leaders, some tradesmen and sedentary cultivators) at the top of a highly stratified caste-based Peul society.
Ethnographers distinguish this class from lower-tiered occupational groups or “castes” (griot story tellers and song-praisers, artisans, blacksmiths, potters, woodworkers, dress makers) and descendants of slaves (labourers, brick makers, house builders).
~~~
Postrscript - The enchanting Arabian Nights imagery emanating out of this ancient marketplace at the time if this photo shoot (1976) is reminiscent of a seemingly bygone Sahelian era devoid of smartphones, credit cards and packaged safari tours.
Nowadays, nascent tourism is on hold and easy access to markets, pastures and farmlands is hampered as ethnic strife and inter-communal violence continue to erupt under a fragile or failed Malian state with a troubled history of military coups.
The current military junta relies on mercenaries from the private Russian-backed Wagner Group for its security needs, coinciding with the recent French withdrawal of troops from the region. By providing protection to the Malian military regime, the Moscow-centered paramilitary group has increased its power and access to Mali's scarce natural resources.
In 2018, Human Rights Watch reported that the Mopti region of central Mali has become an epicentre of inter-rethnic conflict, fuelled by a steady escalation of violence by armed Islamist groups largely allied with Al Qaeda’s advance from the north since 2015.
Recruitment to the militant Islamist movement from Peul pastoral herding communities has inflamed tensions within sedentary agrarian communities (Bambara, Dogon, Tellem, Bozo and others) who rely on access to agricultural lands for their livelihood.
Predominantly Muslim but opposing ethnic self-defence militias on both sides have been formed for the protection of their own respective communities. This has contributed to a continuous cycle of violent attacks and reprisals touching villages and hamlets, pastures and farmlands, and some marketplaces.
While communal tensions are profoundly connected to a larger ethnopolitical conflict unfolding in northern Mali, chronic insecurities around the ancient town of Djenné and in the broader central regions of Mali are exacerbated by longstanding indigenous concerns over a struggle for scarce natural resources - agricultural land for settled farmers versus water and grazing land for semi-nomadic Peul herdsmen.
Efforts at mediation in the area around Djenné and the grand mosque include a Humanitarian Agreement specifically among Bambara and Bozo farmers, Dogan "hunters" protecting farmers' interests and Peul herders, all committed to guaranteeing the freedom of movement of people, goods and livestock in the "Circle of Djenné" situated in the Mopti region of central Mali.
© All rights to these photos and descriptions are reserved. Any use of this work requires my prior written permission. explore#19
Social Documentary | Documentary Portraiture | Lonely Planet | National Geographic
She's so committed to my cause ! bahaha
It's another Orange-A-Lish Weekend at Pinkalicious.. So come on and get off your butts and feed the group some vitamin C !! ;)
Committed to Ferrania P30 using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to innovation, the Solomon R. Guggenheim Foundation collects, preserves, and interprets modern and contemporary art, and explores ideas across cultures through dynamic curatorial and educational initiatives and collaborations. With its constellation of architecturally and culturally distinct museums, exhibitions, publications, and digital platforms, the foundation engages both local and global audiences.
Care to Construct a Charming Comment ???
Certainly no Coercion ..,
but be Content to be Compassionate and Caring.
Conceivably, you Could Compose something Charitable, Considerate, and Charming.
Forster's tern is fully committed and is on her way to her next fish dive in the very late afternoon light ... @ Bolsa Chica Ecological Reserve
Early morning on the Williamsburg Bridge between Manhattan's Lower East Side and Brooklyn's Williamsburg district.
New York City, September 2017.
All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission.
© NGimages / Nico Geerlings Photography
This picture brings to my mind a poem, a favourite of my mother's actually, written by Florbela Espanca, a Portuguese poetess of the early 20th century. I couldn't find a satisfactory English translation so I made my own. The power of the words will be lost but the meaning is preserved, I think.
Vain Wishes
I wish I were the Sea of lofty demeanour
Singing and laughing, the immense vastness!
I wish I were the mindless Stone,
The stone on the path, coarse and strong!
I wish I were the Sun, the intense light,
The bliss of the humble not favoured by fortune!
I wish I were the Tree, rugged and dense
Laughing at the vain world, indeed at death itself!
Yet, the Sea also weeps in sorrow…
The trees as well, as if in prayer,
Open their arms to the heavens, like a believer!
And the lofty and mighty Sun, after one day,
Sheds in its agony tears of blood!
And the Stones… those… everyone steps on them.
=================
Florbela Espanca committed suicide on her 36th birthday. More information to be found on en.wikipedia.org/wiki/Florbela_Espanca
=================
Leica M10-M, Apo-Summicron 2.0/75 Asph., Affinity Photo 2, EI 1250 ISO, 1/250s, f/11
SIM : Elvion
On the day when all the forests of the world started to burn, men did not have the time to understand what was really going on. It was certainly an side-effect of their carelessness, their absurd arrogance and their fury to conquer, but it was not a direct consequence. It was a deliberate act of the tree community. It was a collective suicide.
The trees had deliberated in secret for a year, following two events. The first was a bizarre message of condolence from extraterrestrial beings crossing the solar system. It had warned living beings on earth of their imminent death, which trees had already understood, by observing their irrational and irresponsible behavior. The second was the news that had shocked the entire tree community : a senile olive tree had written a letter to humans in a style so demanding and annoying that the humans had immediately destroyed it.
There was no apparent connection between these two events, except their strangeness. To the trees, everything was connected and sometimes their reaction was difficult, if not impossible, to understand. Thus they took the stunning decision to bring death to their species, and through their suicide, to trigger the death of all life on earth, as it had been for half a billion years. They judged that it had to be finished, it and that it was up to them to do it. By doing so, they would leave no chance of survival to humans, and especially to the very small number of individuals who, knowingly, were leading their species and the entire biosphere to disaster, in an attempt to save their own lives.
This on December 25, all the forests of the world, all the isolated trees in the fields or in the cities, all the groves, spontaneously combusted simultaneously. In a few hours, the whole atmosphere was lit up in an orange-red glow. Everything living in the air, on the earth and underground was asphyxiated. A week later, all life in the oceans died out. The sky was black with soot and it was the start of a very long night.
Among the very last survivors was a handful of humans, well-groomed, greasy and dazed, buried in concrete shelters a hundred meters underground. They had the most powerful weapons to kill their enemy, the most sophisticated electronic instruments to communicate with each other, they had food to hold off a siege for a year. But it did not take more than a month for them to kill each other, rape the wives of their neighbours and slaughter their children. Of humanity, of the kingdom of animals, insects, bacteria and plants, of the era of paradise when trees had cultivated the earth to make it fertile for half a billion years, there was nothing left. The trees had hoped that from the ashes would be born another, better life. There were so many billions of years left. For trees, each year is a new chance to live.
Committed to Ferrania P30 using a Hasselblad X-Pan. Developed using Ars-Imago FD as per the suggested times and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust removal and further contrast adjustment in Photoshop.
Committed to Cinestill BwXX using a Leica M6 and 35 mm Summicron V3 lens. Developed using Ars-Imago FD as standard and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to Ilford FP4+ using a Hasselblad X-Pan and 45 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning in Photoshop
i do not condone or wish to promote the actions of these evil bastards
A serial killer is typically defined as an individual who has murdered three or more people over a period of more than a month, with down time (a "cooling off period") between the murders, and whose motivation for killing is largely based on psychological gratification. Other sources define the term as "a series of two or more murders, committed as separate events, usually, but not always, by one offender acting alone" or, including the vital characteristics, a minimum of at least two murders. Often, a sexual element is involved with the killings, but the FBI states that motives for serial murder include "anger, thrill, financial gain, and attention seeking." The murders may have been attempted or completed in a similar fashion and the victims may have had something in common; for example, occupation, race, appearance, sex, or age group.
Serial killers are not the same as mass murderers, who commit multiple murders at one time; nor are they spree killers, who commit murders in two or more locations with virtually no break in between.
1969
Sutcliffe committed his first assault on an older prostitute whom he had met whilst searching for the woman who had previously tricked him out of money. He had left his friend's mini-van and walked up Pauls Road, Bradford, until he was out of sight. When he came back, he was out of breath, as if he had been running. He told long-term friend of his, Trevor Birdsall, who was the driver of the vehicle that he was in, to drive off quickly. Sutcliffe said that he had followed a prostitute into a garage and hit her over the head with a stone in a sock. According to his statement, Sutcliffe stated, "I got out of the car, went across the road and hit her. The force of the impact tore the toe off the sock and whatever was in it came out. I went back to the car and got in it".
When the police visited his home the next day, they informed him that the woman, who bore no resemblance to the prostitute who had tricked him out of £10, had noted down Birdsall's mini-van vehicle registration plate. Sutcliffe admitted that he had hit her over the head, but claimed that it was only with his hand. The police told him he was "very lucky" as the prostitute didn't want anything more to do with the incident - she was a known prostitute and her common-law husband was serving a sentence for an assault.
1975
Sutcliffe committed his second assault on the night of 5 July 1975 in Keighley. He attacked Anna Rogulskyj, who was walking alone, striking her unconscious with a ball-peen hammer and slashing her stomach with a knife. Disturbed by a neighbour, he left without killing her. Rogulskyj survived after extensive medical intervention but was emotionally traumatised by this attack.
Sutcliffe attacked Olive Smelt in Halifax in August. Employing the same modus operandi he struck her from behind and used a knife to slash her, though this time above her buttocks. Again he was interrupted, and left his victim badly injured but still alive. Like Rogulskyj, Smelt suffered emotional scars from the attack, including clinical depression. On 27 August, Sutcliffe attacked 14 year old Tracy Browne in Silsden. He struck her from behind and hit her on the head five times while she was walking in a country lane. Sutcliffe was not convicted of this attack, but confessed to it in 1992.
The first victim to lose her life was Wilma McCann, on 30 October. McCann was a mother of four from the Chapeltown district of Leeds. Sutcliffe struck her twice with a hammer before stabbing her 15 times in the neck, chest and abdomen. Traces of semen were found on the back of her underwear. An extensive inquiry, involving 150 police officers and 11,000 interviews, failed to uncover the culprit. One of McCann's daughters committed suicide in December 2007, reportedly after suffering years of torment over her mother's death.
1976
Sutcliffe committed his next murder in January 1976, when he stabbed Emily Jackson 51 times in Leeds. In dire financial straits, Jackson had been using the family van to exchange sexual favours for money, a fact which shocked family and neighbours when it was revealed after the murder. Sutcliffe hit her on the head with a hammer and then used a sharpened screwdriver to stab her in the neck, chest, and abdomen. Sutcliffe also stamped on her thigh, leaving behind an impression of his boot.
Sutcliffe attacked Marcella Claxton in Roundhay Park, Leeds, on 9 May. Walking home from a party, she was given a lift by Sutcliffe. When she later got out of the car to urinate, Sutcliffe hit her from behind with a hammer. She was left alive and was able to testify against Sutcliffe at his trial.
1977
On 5 February 1977 he attacked Irene Richardson, a Chapeltown prostitute, in Roundhay Park. Richardson was bludgeoned to death with a hammer. Once she was dead, he mutilated her corpse with a knife. Tyre tracks left near the murder scene resulted in a long list of possible suspect vehicles.
Two months later, on 23 April 1977, Sutcliffe killed Bradford prostitute Patricia "Tina" Atkinson in her flat, where police found a bootprint on the bedclothes. Two months later Sutcliffe committed another murder in Chapeltown, claiming his youngest victim, 16-year-old Jayne MacDonald, on 26 June. She was not a prostitute. In the public perception, her death showed that every woman was a potential victim. Sutcliffe seriously assaulted Maureen Long in Bradford in July. He was interrupted and left her for dead. A witness misidentified the make of his car. More than 300 police officers working the case amassed 12,500 statements and checked thousands of cars, without success. On 1 October 1977 Sutcliffe murdered Manchester prostitute Jean Jordan. Her body was found ten days later and had obviously been moved several days after death. In a later confession, Sutcliffe stated he had realised that the new £5 note he had given her was traceable. After hosting a family party at his new home, he returned to the wasteland behind Manchester's Southern Cemetery, where he left the body, to retrieve the note. Unable to do so he mutilated Jordan's corpse and moved the location of the body.
The following morning, Jordan was discovered by actor Bruce Jones, who at that time was a local dairy worker. He had an allotment on the land adjoining the site where the body was found and was searching for disused house bricks when he made the discovery. The £5 note, hidden inside a secret compartment in Jordan's handbag, offered a valuable piece of evidence. The note was new, allowing it to be traced to branches of the Midland Bank in Shipley and Bingley. Police analysis of bank operations allowed them to narrow their field of inquiry to 8,000 local employees who could have received it in their wagepacket. Over three months the police interviewed 5,000 men, including Sutcliffe, whom they did not connect to the crime.
On 14 December Sutcliffe attacked another Leeds prostitute, Marilyn Moore. Moore survived and provided police with a description of her attacker. Tyre tracks found at the scene matched those from an earlier attack.
1978
The police discontinued the search for the person who received the £5 note in January 1978. Although Sutcliffe was interviewed about the £5 note, he was not investigated further (he would ultimately be contacted, and disregarded, by the Ripper Squad on several further occasions). That month, Sutcliffe killed again. His victim was 21-year-old Bradford prostitute, Yvonne Pearson. Sutcliffe hid her body under a discarded sofa and it was not found until March. He killed 18-year-old Huddersfield prostitute Helen Rytka, on the night of 31 January. Her body was found three days later. On 16 May Sutcliffe killed again after a three-month hiatus. The victim was Vera Millward whom he killed during an attack in the car park of Manchester Royal Infirmary.
1979
Almost a year passed before Sutcliffe attacked again. During this period, in November 1978, his mother Kathleen died, aged 59.
On 4 April 1979 Sutcliffe killed a 19-year-old bank clerk, Josephine Whitaker. He attacked her on Saville Park Moor, Halifax, as she was walking home. Despite new forensic evidence, police efforts were diverted for several months following receipt of a taped message purporting to be from the murderer. The message taunted Assistant Chief Constable George Oldfield who was leading the investigation. The tape contained a man's voice saying "I'm Jack. I see you're having no luck catching me. I have the greatest respect for you, George, but Lord, you're no nearer catching me now than four years ago when I started."
Based on the recorded message police began searching for a man with a Wearside accent, which was narrowed down to the Castletown area of Sunderland. The message was much later revealed to be a hoax. The hoaxer, dubbed "Wearside Jack", sent two letters to police in 1978, that boasted of his crimes. The letters, signed "Jack The Ripper", claimed responsibility for the murder of 26-year-old Joan Harrison in Preston in November 1975. On 20 October 2005, John Samuel Humble, an unemployed alcoholic and long-time resident of the Ford Estate area of Sunderland (a mile from Castletown), was charged with attempting to pervert the course of justice for sending the hoax letters and tape. He was remanded in custody. On 21 March 2006 Humble was convicted and sentenced to eight years in prison.
On 1 September Sutcliffe murdered 20-year-old Barbara Leach. Leach was a Bradford University student killed in Ash Grove, close to the university and her lodgings. It was his sixteenth attack. The murder of a woman who was not a prostitute again alarmed the public and prompted an expensive publicity campaign, which emphasised the Wearside connection. Despite the false Wearside lead, Sutcliffe was interviewed on at least two further occasions in 1979. Despite matching several forensic clues and being on the list of 300 names in connection with the £5 note, he was not strongly suspected. In total, Sutcliffe was interviewed by the police on nine occasions.
1980
In April 1980 Sutcliffe was arrested for drunk driving. While awaiting trial on this charge, he killed two more women. He murdered 47-year-old Marguerite Walls on the night of 20 August, and 20-year-old Jacqueline Hill, a student at the University of Leeds, on the night of 17 November. He also attacked two other women who survived. They were Dr. Uphadya Bandara, attacked in Leeds on 24 September, and 16-year-old Theresa Sykes, attacked in Huddersfield on the night of 5 November. On 25 November, Trevor Birdsall, an associate of Sutcliffe reported him to the police as a suspect. This information vanished into the enormous amount of paperwork already created.
Overview of Codex Alimentarius
by Rima Laibow, M.D.
At the request of the United Nations (UN) in 1962, the World Health Organization (WHO) and Food and
Agriculture Organization (FAO) took on the joint role of running and administering the Codex
Alimentarius Commission (CAC) to establish standards and remove barriers to trade for all food and
food products. Having declared that nutrients are toxins from which we must be protected, the CAC
has been busy establishing enforceable international guidelines for upper limits of nutritional
supplement dosing. Codex has goals that affect every person in the UN’s 170+ member nations,
including the United States. As a tool for furthering these goals, member nations are urged to adopt
Codex standards and guidelines as domestic policy. The United States has already committed itself to
doing so despite U. S. law which prohibits this compliance.
The World Trade Organization (WTO) has adopted Codex as a standard for the adjudication of foodrelated
international trade disputes and has the authority to enforce Codex standards through
implementation of harsh economic sanctions on non-Codexcompliant member nations. Pre-existing
international treaty laws dictate that WTO rulings will override the domestic laws already in place in
its member nations and, in fact, the WHO has successfully taken both states and the U. S. government
to court in the U. S. to force changes in our domestic laws eleven times. This means our nation’s hard
won laws that give you access to over-the-counter, natural health supplements will become
meaningless. Codex’s original mandate to remove barriers to trade and assure a clean food supply has,
under the influence of private, economically-driven multinational pharmaceutical, agricultural and
chemical corporations, self-expanded far beyond its original mandate. The result is a body of highly
dangerous and restrictive policies that threaten to become domestic law in the U. S. and, as such, are
a threat to your health and freedom.
The FDA has stated explicitly that its goal is complete "harmonization" with Codex and, in order to
bring that about, international regulations i.e., Codex will be given preference over domestic ones!
(Federal Register, 10/ 11 /95)
If Codex gets its way, as it already has in the EU, we can expect that, ultimately, only 18 or so dietary
supplements will be available over-the-counter in doses which are, by design, far too small to have any
discernible impact on any human being since codex classifies nutrients as toxins. High potency
nutrients will not be available either with or without physician’s prescription since these molecules
and compounds will be forbidden under any circumstances. The big surprise? Once in the hands of
pharmaceutical companies, consumer supplement costs are expected to more than quadruple. This
has, in fact, been the experience in Europe where this process is already underway and micro-dose
nutrient prices have increased 10 to 100 fold or more (e.g., in Norway a bottle of zinc lozenges which
previously cost $2 now costs $54; in France 12 Vitamin C tabs of just10 mg cost $117; while 10 Vitamin
E caps of only 10 IU each cost $110).
Australia and the European Union (EU) are in the process of enacting harmonized Codex policies that
restrict consumer access to nutritional supplements. America is next. Though Americans value
personal freedom, the fact Codex meets infrequently (and almost always offshore) and is bogged
down in highly technical language that is difficult to understand has resulted in many Americans
being unaware of this threat. The nearly total media blackout on Codex and its activities helps to
keep the U. S. uninformed and therefore, pliant.
While there have been rare serious adverse reactions to nutritional supplements during the past
decades, (usually when taken far in excess of the recommended dosing), numerous severe and even
fatal reactions to drugs (usually when taken at the recommended dosing) occur every day and are the
fourth leading cause of death in hospitalized clients in the United States when properly
used. When improperly used, they are, in fact, far and away the leading cause of death in
the United States. Even so, drug deaths are very likely underreported. Drugs are
inherently dangerous; nutrients are not. This fact makes it clear why the drug culture
2
needs to eliminate all access to natural health options, including nutritional supplements,
in order to expand and intensify its influence and thus its profitability. Healthy people
take fewer drugs and thus are poor customers.
The global pharmaceutical powers -that-be have already purchased a large piece of the
lucrative global nutritional supplement pie but the considerable size of this pie keeps the
hugely profitable pharmaceutical profit -share-pie from reaching its maximum size so the
competing nutrient pie must be destroyed. Though unable to patent a natural substance,
pharmaceutical corporations can hold patents on synthetic versions of vitamins and
minerals that, unfortunately for the consumer, often do not act like their natural vitamin
counterparts in the body and often act in unpredic table and harmful ways. If Codexcompliant
Europe is any guide, the permitted micro-doses of permitted nutrients will be
only synthetic ones.
In addition to regulatory and/or administrative takeover and destruction of the dietary
supplement market and consumer access, Codex also mandates irradiation of food;
mandatory use of antibiotics, hormones and growth stimulants in all animals raised for
food, is expected to legalize the unlabeled inclusion of Genetically Modified Organisms (GMOs) (whose
safety has never been established while their serious dangers have) into our seed and food supplies and
will increase the allowable maximum tolerated levels of pesticides, herbicides, veterinary drugs and
other dangerous industrial toxins in food, likely driving up degenerative illnesses, including cancer,
diabetes, cardiovascular disease, macular degeneration, MS, etc. All of these policies are made under
the guise of free and equal access to trade for all nations and protection of the public.
Some people have “Codex Anesthesia,” a state of overwhelming, numb confusion that occurs just
before people lose their health freedom. Many otherwise well-informed people from the manufacturing
and retailing sectors of natural healthcare believe that the Dietary Supplement Health and Education
Act (DSHEA), passed in 1994 to protect Americans’ access to natural healthcare substances, will still be
in place to protect them. This is not the case: Fundamental health freedoms afforded the American
public by DSHEA, which classifies supplements as food which, as such, can have no upper limit set on
their use, are now under well orchestrated legislative and/or administrative attack. Health nuts and
junk food devotees alike are not immune from this legislative attack on health freedom.
The following is a link to Dr. Laibow's website which gives a self-prompting 5-minute presentation that
tells you about Codex: http: //www.healthfreedomusa.org/aboutcodex.shtml
More in-depth information can be found on her website, www.healthfreedomusa.org, and on
the highly informative "Nutricide: the DVD" http: /
/www.healthfreedomusa.org/aboutcodex/dvd.shtml
★WHO IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
INTERDEPENDENCE TREE PROJECT / HUNTSVILLE, ALABAMA.
*Participants represented 39 states and 23 countries
*Estimated 431 submitting entities
*62 Schools
*Estimated 14,000 leaves were submitted
* 25 Feet wide x 35 Feet Tall
THE GAS STATION WRAP / SYRACUSE, NEW YORK
*Participants represented 17 countries and 29 states
*6,000 square foot wrap
*Approx. 6,000 artworks included
-----------------------------------------------------------------
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
See our Online Flickr Photo Album at: www.flickr.com/photos/thedreamrocket/
★★★SIGN UP AT WWW.THEDREAMROCKET.COM
The Eden of West Auckland was a committed Leyland user and its final full-sizes buses - prior to acquisition of the company by United Automobile Services - were second-hand Mk I Leyland Nationals. Had the original company continued longer as an independent concern, perhaps it may have taken National 2s and found them more to its liking than did fellow County Durham independent Trimdon Motor Services (updated 07-Apr-16).
All rights reserved. Follow the link below for terms and conditions, additional information about my work; and to request work from me:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
Nova Scotians are very committed to fresh air drying and energy conservation in general. The rural landscape is dotted with clotheslines and woodpiles. While American tourists lament the poverty which they assume precludes dryers and electric heat, locals smile wisely and go about their business. They would probably be shocked to learn that many American communities have ordinances against. the blight of chotheslines. Ah..... the myriad dilemmas of life in the 21st century!
One thing I committed myself to this summer was to arrive earlier at a locations, take more time to dial in comps, and then wait for the good light to unfold. All too often I’d grow impatient waiting for the light to come, so I’d start jumping around exploring for better (or for what often turned out to be the case – worse) comps. So I test drove this new goal this summer and soon found a couple things out: 1) I’ll always run late and will forever be sprinting down the trail to get in position (that’s just how I roll!), and 2) sometimes sitting on a comp is a fools errand, as the good light has a nasty habit of not showing up where you want it to. This shot illustrates this point clearly. For over thirty minutes I sat on a flower and mountain filled meadow comp as I begged the cloud and light gods to clear out gloriously over Reynold’s mountain. It never happened. What did happen were the skies kept clearing gloriously over my shoulder behind me. But I held steady, determined that my original comp would work if only I sat there a few more minutes. Finally, I couldn’t stand it any more and scrambled to cobble together a comp in the limited time I had before the show shut down. The light was good, the comp was at best passable. Now the only thing I can do is wonder what could have happened if I followed the light instead of entrenching myself in a battle of wills with mother nature…
Committed to Fomapan 100 classic using a Rolleicord Va.
Overdeveloped by half a stop in Ars-imago FD.
Scanned with a digital camera and contrast adjusted in LR.
Being committed to monochrome, I only started taking colour images in 1981. At first this was only 35mm, but later added a second Pentax 6X7 body to take colour. 55015 'Tulyar' at Newcastle Central on the SuO 1120 Edinburgh-Plymouth. circa 1981.
Committed to Ferrania P30 using a Hasselblad X-Pan and 45 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning and local contrast in Photoshop.
The unknown girl committed suicide on Christmas Eve in 1933 by walking into a train in Willoughby, Ohio. She was wearing a blue coat and blue dress. Her identity was unknown for years.
Committed to Ilford Delta 400 using a Hasselblad 503 CX and 60 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
The Art Nouveau is the style of natural harmony. Its committed goal is the establishment of the concord of the beauty and function without compromise. This is the last comprehensive European style enriching the European culture in the applied art, the fine art and construction design. The art of the Hungarian masters enriched the unique idiom of the Art Nouveau. Being a rich resource of the trasures of this style, the Hungarian Art Nouveau is a worthy competiror of the heritages of the French, German, Belgian and Aystrian Art Nouveau. The permanent exhibition consists of paintings, furniture, ornaments and interiors. It provides and authentic sight of the atmosphere of the civic life of the “peacetime” of Budapest for the visitors. A cafe of friendly atmosphere and shop of original silver jewelries and ceramic copies waith the visitors.
Opening hours 10-17, closed on Sunday.
1054 Budaoest, Honved u 3. Hungary
guideme.hu/place/house-of-hungarian-art-nouveau/
The building, designed by Emil Vidor, reflects the influence of Belgian and French architecture. At the same time, the facade of the building also incorporates Hungarian patterns, like the Zsolnay ceramics patterns. Not long ago, the building was entirely renovated. Besides the private museum operating in the establishment and displaying furniture, porcelain, ironwork and paintings, visitors can sit into a lovely café, too.
In 1907 the periodical Hungarian Competition (Magyar Pályázat) presents a description of the building in the Architectonic Chronicle section (Építőművészeti Krónika) with the title: Mr. Bedő Béla's Honvéd Street Palace. The designer, Emil Vidor, took good care of the building’s interior space as well, in the spirit of Gesamtkunstwerk (all objects in the same style).
This powerful unity of the arts and crafts in 1903 was a groundbreaking event in Hungary. The Bedő House was built only six years after the Belgian Victor Horta made his first fully Art Nouveau house, and in the same time with the Scottish architect, Mackintosh's famous arts house.
Even a contemporary description mentions the planned use of specially designed murals, the richly applied stained and ground glass, and generally the special design furnishing of the whole building.
On PBS Masterpiece Theatre “Vienna Blood” prodution the location was used and the Dr’s apartment was within this fine building.
The house was built by Emil Vidor in 1903, for the Bedő‘ family. The contemporary furniture, decorative objects, paintings and instruments displayed on more than 600 square meters faithfully evoke the beginning of the twentieth century. In this way, the museum gives insight to the visitor into the “peace-times”, the atmosphere of bourgeois life of Budapest.
First image in the series of Bedo Haz/House
PP work in Luminar Neo HDR filters.
All art works on this website are fully protected by Canadian and international copyright laws, all rights reserved. The images may not be copied, reproduced, manipulated or used in any way, without written permission from the artist. Link to copyright registration:
www.canada.ca > Intellectual property and copyright
Committed to Fujifilm Provia 100F using a Hasselblad X-Pan and 45 mm lens. Developed using the new E6 development kit from Ars-Imago and scanned with an Epson V850 using Silverfast. Dust cleaning in Photoshop.
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Committed to Ilford FP4+ using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to Ilford FP4+ using a Hasselblad X-Pan and 45 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning in Photoshop
Committed to Ferrania P30 using a Leica M6 and 50 mm Noctilux f1 lens. Developed using Ars-Imago FD as standard and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Looking for a committed cleaner to start as soon as possible ;)
Featured Items
Aphrodite Shop - Bodega Barrel Bar (available @ Man Cave running Jan 17 to Feb 11)
Fundati - Black Leather Set (available @ The Men’s Dept running Feb 5 to Feb 29)
Decoration
Kopfkino - Laundry Sign (Cosmo Anniversary Gift)
No59 - Beer Barrel Lager
Soy. - Safety Pinned Torn Tapestry
BackBone - Vinyl Record Storage - Black (Group Gift)
Keke - Zen frames - dark
Seven Emporium - Live Nude Girls Neon
Thor - PizzaLounge - Boxed Pizza Slices / Stack Of Pizza Boxes
DRD - Powergaming Shed - Trashcan
Half-Deer - Socks Clutter
More Info:
I've committed to a monthly 12/12 photography challenge this year, I started a 365 daily one last year and only made it half way through, there was no theme and it became a bit of a chore tbh.
This new one is themed and January's challenge is 'Water Droplets'. Never done anything like this before so a bit of a learning curve, but of course that's the nature of the challenge, to push myself out of my comfort zone.
I don't have a macro lens, so I had to use the Canon 135mm. Slightly restricted by the mfd, as I wanted to get in close without cropping, but I can only work with what I've got. So, it is what it is. I'm pleased I gave it a go and glad I didn't fail at the 1st hurdle, by not even attempting it.
Wex Week 3
Committed to Film Ferrania P30 using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to Fomapan 200 using a Hasselblad 500C and 100 mm lens with a 56 mm extension ring. Developed using Ars-Imago R9 (rodinal) 1:25 as per the Massive Dev chart (though I think the listed times are too short and will be adding at least a minute to them in the future) and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning, sharpening and final contrast in Photoshop.
Shchusev was not a committed Constructivist theorist, and is best known for his design of the Lenin Mausoleum. This building, however, is a particularly well preseved example from the Constructivist era, although the depth of Constructivist principles here is limited.
The Narkomsem is located on the Sadovaya Ring in a neighborhood that was redesigned according to the general plan for Moscow by Shchussev. Although the urban planning proposals were never executed in full, the Narkomsem is still one of the most distinctive buildings in this district and is located adjacent to Le Corbusier’s Tsentrosoyus building, two buildings that were built simultaneously.
Some of the most striking features are the cylindrical corner tower, the overall asymmetry, the ribbon windows (particularly on the top floor), and the corner details, where the glazing is continuous around both internal and external corners.
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Minolta 17-35