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Committed to Rollei RPX 25 using a Mamiya 645 1000S and 80 mm f1.9 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.
This time at Ruddington’s bus event I really committed to going for rides of stuff. The first bus I rode on was NABS’s open top Atlantean ORC 545P in its faux Trent livery, which is also the Notts TV bus used for broadcasting at Splendour. Because they ran out of timetables I had no idea where this was going, so by complete surprise it took us to Rushcliffe Halt station, in East Leake.
Normally buses to here would connect with the heritage trains, but seeing as the trains weren’t running it just ended up being a visit to the station for a look around. A small portacabin was serving tea and snacks, and there was a piece of artwork showing different trains at Rushcliffe Halt made by artists in East Leake. The station itself seems to look different to when I last saw it, though that’s possibly just down to the vegetation being cut back. There’s two platforms and a small wooden waiting shelter on each side, decorated with period parcels, suitcases and a bicycle. Inside one of the shelters was a 00 scale model of the station.
Since I visited trains have begun running at GCRN again, but as far as I can tell they’re only able to use the short spur between Ruddington Fields and the 50-steps footbridge a few hundred yards down the line. Hopefully when trains are back to running the full length of the line, they can run the intense timetable (which I think they used to before?) where two service trains cross in the loop at Rushcliffe Halt.
21.7.24
Can't lie - I'm not committed enough to get up FOR sunrise, but we've been lucky with some amazing morning's at Robin Hood's Bay on the North Yorkshire Coast. On this day I hadn't checked the tide times, so had a chance to play with the camera whilst Obi waited impatiently for the water to recede and open up the beach.
Robin Hood's bay has always been a busy, summer, day trip, so being based here out of season and right on the beach
was fantastic!
If there's one thing I've committed to, it's this – visiting places no one goes, or at times when no one goes there. The precarious lighthouse at Boar's Head is certainly no secret, but you'll likely be alone on days like these. No one passing on the winding walk up, no one down to darkness but me. It's a long way from home to Long Island, about as far as I'll venture in an afternoon – two highways and a ferry to go. It's that body of water I'm spanning at last, Petit Passage narrowly keeps me from the mainland. The wind is screaming, and for the first time this season, it stings. Burning my fingers as my blood runs off for warmth, raking my face with breezes from all sides at once. This structure is much younger than many similar ones in my homeland, only raised in 1957. About the same age as my mother, but unlike her, infinitely more weather-worn. Facing the brunt of an angry Atlantic, day and nightly, never a reprieve. I stand and shiver until I can't face her any longer. It's my time now to turn for home.
December 13, 2022
Tiverton, Nova Scotia
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I have committed to making 24 projects this year, and the first will be a new pole to help put out campfires when I am camping.
The first one I made off an idea and design I came up with while walking- it was a rare gem of an idea that worked perfectly. I have tweaked a couple things with this design and hope it will be perfection.
Theme: Crafty Creations
Year Fifteen Of My 365 Project
the wine was excellent - very refreshing - while I couldn't put down his first book, The Sympathizer, this one is dragging.... not sure if I'm committed to finishing.
Committed to expired Fujifilm Superia 100 using a Leica M6 and 28 mm Summicron ASPH lens. Developed using a C-41 kit from Ars-Imago and scanned using an Epson V850 using Silverfast. Positive conversion, colour and levels done with Negative Lab Pro.
In the dark, rainy, and misty jungle we meet Chief Mammatus. Leader of the keepers and committed to his duty to protect the Storm Amulet at all costs.
Closely and silently Mammutus is followed by a masked Thunder Keeper. Together they ventured deeper into the jungle, unraveling the mysteries of the island.
Although I am firmly committed to the wilder forms of nature - meadows, lakes, forests, wildflowers, I have to admit that when they're very well done (and that is rare), cultivated gardens can have a certain appeal.
There is one such place in Annapolis Royal - a world-class Historic Gardens - that, when "the light is right", is a dreamy and magical wonderland.
Frederick Law Olmstead, impressed by the gentle pastoral beauty he found in England..."greem. dripping, glistening, gorgeous..." recognized this aesthetic contrast between the truly wild and the gently cultivated. .
"The sublime in nature is much more rare in England, except on the sea-coast, than in America, but there is everywhere a great deal of quiet, peaceful, graceful beauty which the works of man have generally added to."
Frederick Law Olmstead, Speaking of Nature, 1885
Committed to Rollei RPX 25 using a Mamiya 645 1000S and 80 mm f1.9 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.
Family Church is on mission to make disciples of Jesus in the places where we live, work and play. We are continuing a legacy of people committed to taking the gospel—the good news that Jesus died on the cross for our sins, was buried and raised from the dead—to the ends of the earth.
We were founded as the First Baptist Church of West Palm Beach in 1901 when there were fewer than 1,000 people living in the city. A small group met first in a home, then in the city’s reading room and then in a donated building on Clematis Street. As the church grew, we changed location and acquired buildings and property to accommodate the growth. Our current downtown worship center was built in the year 1965. Over the years, buildings have come and gone but our church has reinvented herself to continue spreading the gospel in South Florida.
This mission is more important now than ever before. There are an estimated 1.4 million people in Palm Beach County and 96% of them remain unconnected to God and His church. When Pastor Jimmy Scroggins came as our Lead Pastor in 2008, he brought to us a vision to plant 100 neighborhood churches. We want to more effectively go out to reach people rather than expecting them to come to us.
We are growing as a multicultural, multigenerational and multisite church. The name “Family Church” incorporates this vision and has allowed us to plant campuses across Palm Beach County and beyond. Our church planting residency program trains bi-vocational campus pastors as well as other pastors and ministry leaders in areas such as worship, assimilation, adults, students, kids and operations. These men and women are planting churches all over South Florida—turning a vision into a reality.
Each Family Church campus has been launched by a group of courageous individuals who are willing to go and make disciples. God raised up our first church plant, Family Church Abacoa in October 2010, out of a partnership between Family Church Downtown and Central Baptist Church. Our first Spanish-speaking campus, Iglesia Familiar Downtown, was launched in January 2011 and expanded in April 2014 when we partnered with Centro Familiar Cristiano to form Iglesia Familiar Greenacres. We are intentionally reaching out to the fastest-growing demographic in our area — those whose heart language is Spanish.
Family Church West was launched in October 2013 to reach our western communities, and Family Church Sherbrooke joined them to the south in October 2014. Then in March 2015, believing they would be better together, Family Church Abacoa partnered with Palm Beach Community Church to become Family Church Gardens. Continuing to pursue the vision of planting 100 neighborhood churches, Family Church Gardens launched the first Family Church “grandbaby,” Family Church Jupiter, in October 2015. We all partnered with the Church in The Farms and Harvest Bible Chapel in October 2016 to launch Family Church in The Farms.
God is still writing our story. There is no master plan other than His. We constantly challenge each other to be His ambassadors, joining God in the work He is doing to reconcile broken people to Himself. At each campus, we are committed to teach the Bible, build families and love our neighbors. We are on mission to be the church OUT THERE, helping people discover and pursue God’s design.
Credit for the data above is given to the following website:
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.
This morning was the wettest, windiest and foggiest day you could imagine, saturated, but happy to see the Mighty steam locomotive 6029 pass. Assisted by C502 and S311.
First of all (1 & 2) down and through the Goondah Sweeper then (3) entering Binalong.
It is on its way to do shuttles at Dubbo over the weekend. - www.canberrarailwaymuseum.org/dubboshuttles
New South Wales, Australia
- if it wasn't snow, it was only a minor technicality in the difference!!!
Having shut himself off from access to Heaven and having several times repeated—within ever narrower limits—his initial fall, man has ended by losing his intuition of everything that transcends himself, and he has thereby sunk below his own nature, for one cannot be fully man except through God, and the earth is beautiful only through its link with Heaven. Even when a man still believes, he forgets more and more what religion really demands: he is astonished at the calamities of this world, without its occurring to him that they may be acts of grace since—like death—they rend the veil of earthly illusion and thus allow man “to die before dying”, hence to conquer death.
Many people imagine that purgatory or hell are for those who
have killed, stolen, lied, committed fornication, and so on and that it suffices to have abstained from these actions to merit Heaven; in reality the soul is consigned to the flames for not having loved God or for not having loved Him enough; this can be understood if we recall the supreme Law of the Bible: to love God with all our faculties and all our being. The absence of this love does not necessarily involve murder or lying or some other transgression, but it does necessarily involve indifference; and indifference, which is the most generally widespread of faults, is the very hallmark of the fall.
It is possible for the indifferent not to be criminals, but it is
impossible for them to be saints; it is they who go in by the “wide gate” and follow the “broad way”, and it is of them that Revelation says, “So then because thou art lukewarm, and neither cold nor hot, I will spew thee out of my mouth” (3:16).
Indifference toward truth and toward God borders on pride and is not free from hypocrisy; its seeming harmlessness is full of complacency and arrogance; in this state of soul the individual is content with himself even if he accuses himself of minor faults and appears modest, which in fact commits him to nothing but on the contrary reinforces his illusion of being virtuous. It is this criterion of indifference that makes it possible for the “average man” to be so to speak “caught in the act”, for the most surreptitious and insidious of vices to be as it were taken by the throat, and for every man to have his poverty and distress proven to him; in short it is indifference that is “original sin” or its most general manifestation.
Indifference is diametrically opposed to spiritual impassibility
or contempt of vanities as well as to humility. True humility is to know that we can add nothing to God and that, even if we possessed all possible perfections and had accomplished
the most extraordinary works, our disappearance would take nothing away from the Eternal.
Even believers themselves are for the most part too indifferent to feel concretely that God is not only “above” us “in Heaven”, but also “ahead” of us, at the end of the world or even simply at the end of our life; that we are drawn through life by an inexorable force and that at the end of the course God awaits us; that the world will be submerged and swallowed up one day by an unimaginable irruption of the purely miraculous—unimaginable because surpassing all human experiences and standards of measurement. Man cannot possibly draw on his experience to bear witness to anything of the kind any more than a mayfly can expatiate on the alternation of the seasons; for a creature that is born at midnight and whose life will last but a day, the rising of the sun can in no way enter into the series of its habitual sensations; the sudden appearance of the solar disk, unforeseeable by reference to any analogous phenomenon that had occurred during the long hours of darkness, would seem like an unheard of and apocalyptic prodigy. Now it is thus that God will come. There will be nothing but this one advent, this one presence, and by it the world of experiences will be shattered.
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Frithjof Schuon: Light on The Ancient Worlds
Committed to Fomapan 200 using a Leica M6 and 35 mm Summicron v3. Developed in Ars-Imago R9 (rodinal) 1:50 for 9 minutes 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.
A green heron goes all in after some prey while fishing on Horsepen Bayou. I am always amazed that they will make this type of commitment.
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.
Today I’ve committed a serious crime,
By kidnapping a moment in time.
The present is put on permanent hold,
As all within my view is denied a right to become old.
Once imprisoned in a 16:9 frame,
They shine as my Trophies of Game.
In return I hand the gift of existence for eternity,
By uploading and releasing them again digitally.
Poem: Jan Elemans
2011
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Canterbury Cathedral
England
Name: Lawrence Armstrong alias Hanby
Arrested for: not given
Arrested at: North Shields Police Station
Arrested on: 30 September 1915
Tyne and Wear Archives ref: DX1388-1-262-Lawrence Armstrong AKA Hanby
The Shields Daily News for 8 October 1915 reports:
“A SOLDIER COMMITTED FOR THEFT.
Today at North Shields, Laurence Armstrong (21) of the 1st Northumberland Fusiliers was charged with having stolen on Sept. 20th a box of cigarettes valued at 5s from the shop of Henry Nicholson, tobacconist, Saville Street. An assistant of the prosecutor’s said she was serving a customer on the above date, when accused entered the shop, picked up a box of cigarettes and went away.
Defendant was further charged with having stolen a dress ring, valued at £1, the property of Valone Harrison, conductress of a tramcar on Sept. 14th. The prosecutrix said the accused boarded a car on which she was following her employment. He asked to look at her ring. She took it off her finger and showed it to him. Witness then went to collect some fares and while she was thus engaged the accused got off the car.
Detective Mason said that when accused was arrested on the previous charge a pawn ticket relating to the ring was found in his possession. Accused pleaded guilty and said he was very sorry. He had been seven months at the front and had been gassed. He was committed to prison for 14 days on each charge”.
These images are taken from an album of photographs of prisoners brought before the North Shields Police Court between 1902 and 1916 (TWAM ref. DX1388/1). This set is our selection of the best mugshots taken during the First World War. They have been chosen because of the sharpness and general quality of the images. The album doesn’t record the details of each prisoner’s crimes, just their names and dates of arrest.
In order to discover the stories behind the mugshots, staff from Tyne & Wear Archives & Museums visited North Shields Local Studies Library where they carefully searched through microfilm copies of the ‘Shields Daily News’ looking for newspaper reports of the court cases. The newspaper reports have been transcribed and added below each mugshot.
Combining these two separate records gives us a fascinating insight into life on the Home Front during the First World War. These images document the lives of people of different ages and backgrounds, both civilians and soldiers. Our purpose here is not to judge them but simply to reflect the realities of their time.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
Someone committed arson and burned this lovely church down on May 20, 2017, just a handful of months after this photo was taken. I was looking forward to photographing it again. There is a long and complicated history of mistreatment of indigenous peoples in Canada, and the arson was possibly linked to that history. There is talk of rebuilding, but that is challenging due to changes in materials and workmanship over the years, and also that aforementioned history.
Committed to Lomography Fantome using a Leica M6 and 35 mm Summicron v3 lens. Developed using Ars-Imago R9 (rodinal) 1:50 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.
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European court of human rights: Moscow responsible for murder of civilians, and looting and burning of homes
Russia committed a series of human rights violations during its war with Georgia in 2008, the European court of human rights ruled on Thursday, saying Moscow was responsible for the murder of Georgian civilians, and the looting and burning of their homes.
In a landmark judgment, the court said the Kremlin was guilty of unlawfully rounding up ethnic Georgians and their subsequent “inhuman and degrading treatment”. This included the torture of Georgian prisoners of war and the expulsion of Georgian villagers from their homes in South Ossetia.
The ruling comes 13 years after a bitter five-day August conflict between Russian forces and Georgian troops. The then Georgian government of Mikheil Saakashvili launched a doomed attempt to wrest back control of the Russian-backed breakaway territory of South Ossetia.
Russia responded with a full-scale invasion. It evicted Georgian forces, sent tanks into the country, and bombed civilian and military targets. In evidence presented to the Strasbourg court in 2018, Tbilisi accused Moscow of presiding over a “rampage” through Georgian villages inside South Ossetia and in a nearby buffer zone.
South Ossetian forces and local militia groups were responsible for many violations, including the execution of two Georgian soldiers taken prisoner and the beating to death of another, the court said. But it ruled Russia had effective control of the war zone once an EU-brokered ceasefire came into effect from 12 August 2008.
Amid international recriminations, Russia failed to investigate war crimes and systemic human rights abuses, the judges ruled. It further prevented the return of 20,000 Georgians who had previously lived inside South Ossetia, and whose villages were burned to the ground, they said. Nor did it cooperate with the proceedings, they added.
Georgia’s justice minister, Gocha Lordkipanidze, described the verdict of the court’s grand chamber as a “historic victory”. He said it upheld his country’s claim that Russian-occupied South Ossetia – or the Tskhinvali region, as he put it – was an integral part of Georgia, together with Abkhazia, another breakaway territory.
“The European court confirmed that these violations carried out by Russia amounted to ethnic cleansing of Georgians during the 2008 war,” Lordkipanidze declared.
The lawyer Ben Emmerson QC, who acted for Georgia, said the court’s decision to release its findings a day after Joe Biden’s inauguration in Washington was not a coincidence. Biden is set to take a tougher approach to Vladimir Putin than Donald Trump, he suggested.
“After years of delay, the ECHR seems to be finally taking a strong position against Russian human rights violations,” Emmerson said.
The Kremlin is likely to react furiously. It has argued that the court is biased and politicised. It accused Saakashvili of starting the conflict and said its role was that of an honest peacekeeper. The court on Thursday instructed both sides to make submissions about reparations.
Putin’s response could be consequential. In 2015, Moscow said it was on the brink of withdrawing from the European court of human rights, which has found against the Russian state on numerous occasions.
In a separate case last week judges ruled that Russia unlawfully annexed Crimea in 2014 and that the peninsula remains sovereign Ukrainian territory. In an interim finding they said there was prima facie evidence that Moscow had violated the rights of ethnic Ukrainians and Tatars in Crimea, with enforced disappearances and torture.
In its submission, the Georgian government said Russian planes carried out more than 100 attacks on Georgian targets over five days. There was overwhelming proof that Russian bombs were dropped on civilian areas, killing and injuring innocent people, it added. The evidence included witness statements, satellite footage, and video and phone intercepts.
Tbilisi said Russian troops poured into Georgia’s two breakaway provinces of South Ossetia and Abkhazia when the conflict erupted. Approximately 30,000 soldiers were deployed.
Before and after a ceasefire, Russian soldiers entered ethnic Georgian villages, sealing off entrances and exits, it alleged. Ossetian forces and other irregular soldiers then systematically burned down Georgian homes and entire villages, he said, adding that they carried out summary executions and threatened individuals with death if they refused to leave.
Georgia took its claim to Strasbourg the day after the hostilities stopped. In a hearing in 2018, Emmerson told the judges: “It is an open secret that Russia has been lobbying in public and in private for a favourable outcome, mumbling dark threats that it will de-ratify the European convention on human rights and starve the court of funding if the case goes against it.
“There is no middle ground in adjudicating this case. The evidence is all one way.”
More than 30 witnesses gave evidence. Their testimony covered the war’s most gruesome episodes: the alleged ethnic cleansing of 20,000 Georgian villagers living in or adjacent to South Ossetia, who were driven and burned out of their homes, a deadly rocket attack on the town of Gori, and the torture of prisoners.
An Iskander SS-26 rocket exploded in Gori’s central square on 12 August 2008, killing a Dutch journalist, Stan Storimans, and 11 other civilians, the court heard. Cluster marks at the scene and shrapnel recovered from the journalist’s body identified the rocket as Russian.
However, Russian military officials who gave evidence denied an attack had taken place. Instead, they suggested Georgia’s evidence was fake, or that the Georgian army had bombed its own people to falsely implicate Moscow.
www.theguardian.com/world/2021/jan/21/russia-human-rights...
[Once again I’m writing this for the committed photographer.]
Review: David Ulrich, “Zen Camera: Creative Awakening with a Daily Practice in Photography” (Watson-Guptill, 2018) 217 pages. creativeguide.com/zen-camera/
I do hope that Jim Williams from Canada www.flickr.com/photos/55920888@N08/ doesn’t mind my quoting a recent message from him:
“The way I shoot is very deliberate - almost a Zen exercise.”
I responded that this is exactly the way I like to work too and that indeed photography is my therapy. So I said that I would write a brief review of a book I still find a source of much inspiration.
“Zen Camera employs the camera for its most noble purpose: to learn to see what is.” (p.3)
David Ulrich teaches photography at the Pacific New Media Foundation in Honolulu, Hawai’i. This book is both an inspiration and a practical workbook. Ulrich believes that discipline is required in mastering the craft of photography. The principal discipline in this workbook is to photograph every day. Real progress is only possible he believes by taking 100 to 200 photographs a week following this advice:
“Give yourself the space and luxury of the pure enjoyment of taking pictures for their own sake. Refinement and completion come in their own time. Do not edit. Do not judge. Merely watch with interest what images arise.” (p.17)
Ulrich provides the reader with plenty of his own examples, but the work of many other historic and contemporary photographers is featured as well. He is a Zen Buddhist practitioner by conviction, but everyone can learn from his method. Ulrich has a lovely shot of the Tibetan Buddhist monk Matthieu Ricard taken in Hong Kong. Ricard (a former leading French scientist and son of the famous French philosopher Jean-François Revel) also practices photography as a meditative discipline. www.matthieuricard.org/en/photographies
LESSON ONE: OBSERVATION
“The camera is an instrument that teaches people how to see without a camera.” – Dorothea Lange (1895-1965).
I love that quote. Lange of course gave us some of the most powerful images of The Great Depression. She learned to see things that most other people couldn’t, and that is the essence of great photography. So we must begin by looking.
LESSON TWO: AWARENESS
Mindfulness and heightened awareness of the world around us are the two key elements of this lesson. Training our minds to be like a camera sensor soaking in the light (both real and metaphorical). Once again Ulrich quotes one of my favourite photographers Henri Cartier-Bresson (1908-2004):
“I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us which can mold us, but which can also be affected by us. A balance must be established between these two worlds – the one inside us and the one outside us. As the result of a constant reciprocal process, both these worlds come to form a single one. And it is this world that we must communicate.” - From “The Decisive Moment” – one of the most important books ever published on photography.
LESSON THREE: IDENTITY
“Know thyself.” – Socrates.
Here Ulrich deals with two important elements: Personal style and Authenticity. In order to communicate effectively we must find our own voice. But, it’s one voice within a community of voices (so history and context matters).
LESSON FOUR: PRACTICE
This is the central chapter of the book. All forms of success in art flow from its practice. Ulrich cites Malcolm Gladwell’s research that it takes about 10,000 hours of deliberate practice to gain mastery in a field. Nothing comes easily and one must pay their dues. This is not a popular message in a world of instant gratification. But then, that’s why our photographs are so quickly forgotten.
LESSON FIVE: MASTERY
“Freedom flourishes in a climate of discipline.” – David Ulrich.
It may seem counterintuitive, but true freedom always works within boundaries. The true “master of a discipline” can only push the boundaries once the fundamentals have been established. Two of my examples here: (1) Before ever Picasso became the master of Cubism, he had already mastered classical portraiture, and (2) Jazz musicians can only ever succeed in improvisation when they understand the rudiments of musical form.
LESSON SIX: PRESENCE
This is by far the most challenging chapter philosophically. I won’t go into detail here, but a few summary thoughts. Ulrich contrasts “spectacle” with “presence”. What do we mean by photographs with presence? We see plenty of spectacle in social media; in earlier days these sorts of pictures were referred to as “chocolate box”, but today they are probably over-processed spectacular sunsets with more than a little post-production fakery. They are made photographs to attract attention (something essential for social media success).
But “real presence”, that’s something much more difficult to achieve. It is central for instance to the Christian concept of a sacrament. Here the photograph is a representation of something ineffable behind it. You can’t quite define a photograph with presence, but you know when you see it. Try any number of Ansel Adams’ photographs. A mere landscape is somehow transformed into a meditation on the glories of nature with a minimum of darkroom fuss. The scene is spectacular, but only because the photograph reveals the TRUTH about the scene. We are brought face to face with the essence of Nature. The same with a great portrait: It reveals a truth about the character and personality of the sitter, in a way that a selfie doesn’t.
Annie Leibovitz www.youtube.com/watch?v=kQtXoseZMuo
For David Ulrich one of the keys to achieving “presence” in photography is to learn to pay attention. And this takes us back to mindfulness practice. Being awake, alive, attentive, observant, present!
It’s a great book with plenty of practical suggestions for exercises in moving beyond the snapshot to mastering the discipline of photography.
* Cover photos taken with the Leica D-Lux 7.
Committed to Lomography Fantome using a Leica M6 and 35 mm Summicron v3 lens. Developed using Ars-Imago R9 (rodinal) 1:50 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 Kodak Ektar 100 using a Hasselblad 503 CX, with Zeiss 100 mm f3.5 lens and 55 mm extension ring. Developed with a C-41 kit from Ars-Imago and scanned using an Epson V850 using Silverfast. Positive conversion and levels done with Negative Lab Pro.
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 Ilford HP5+ using a Leica M3 and 50 mm Summilux ASPH 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 Rollei RPX 25 using a Mamiya 645 1000S and 80 mm f1.9 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.
© Crystal Perido 2012. ALL RIGHTS RESERVED.
Registered with the U.S. Copyright Office.This image may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission. No rights granted unless in writing by Crystal Perido. Please do not use without my explicit permission, but feel free to contact me if interested
Committed to Lomography Fantome using a Leica M6 and 35 mm Summicron v3 lens. Developed using Ars-Imago R9 (rodinal) 1:50 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.
Every day at Flickr we are committed to inspiring photography by building world-class tools and beautiful photo displays across devices. Ten years ago we defined online photo sharing as the first major online community to store, organize, tag, and share digital photos. Today, we are excited to provide a stunning new experience for sharing and accessing billions of photos on one of the most dynamic platforms in the market, Apple TV.
Our new service for Apple TV brings all your photos to life on the big screen, where you can engage with the Flickr community, explore the world’s most interesting photos, and use our powerful search capabilities to browse billions of photos within the most extraordinary online photo collection.
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.
Family Church is on mission to make disciples of Jesus in the places where we live, work and play. We are continuing a legacy of people committed to taking the gospel—the good news that Jesus died on the cross for our sins, was buried and raised from the dead—to the ends of the earth.
We were founded as the First Baptist Church of West Palm Beach in 1901 when there were fewer than 1,000 people living in the city. A small group met first in a home, then in the city’s reading room and then in a donated building on Clematis Street. As the church grew, we changed location and acquired buildings and property to accommodate the growth. Our current downtown worship center was built in the year 1965. Over the years, buildings have come and gone but our church has reinvented herself to continue spreading the gospel in South Florida.
This mission is more important now than ever before. There are an estimated 1.4 million people in Palm Beach County and 96% of them remain unconnected to God and His church. When Pastor Jimmy Scroggins came as our Lead Pastor in 2008, he brought to us a vision to plant 100 neighborhood churches. We want to more effectively go out to reach people rather than expecting them to come to us.
We are growing as a multicultural, multigenerational and multisite church. The name “Family Church” incorporates this vision and has allowed us to plant campuses across Palm Beach County and beyond. Our church planting residency program trains bi-vocational campus pastors as well as other pastors and ministry leaders in areas such as worship, assimilation, adults, students, kids and operations. These men and women are planting churches all over South Florida—turning a vision into a reality.
Each Family Church campus has been launched by a group of courageous individuals who are willing to go and make disciples. God raised up our first church plant, Family Church Abacoa in October 2010, out of a partnership between Family Church Downtown and Central Baptist Church. Our first Spanish-speaking campus, Iglesia Familiar Downtown, was launched in January 2011 and expanded in April 2014 when we partnered with Centro Familiar Cristiano to form Iglesia Familiar Greenacres. We are intentionally reaching out to the fastest-growing demographic in our area — those whose heart language is Spanish.
Family Church West was launched in October 2013 to reach our western communities, and Family Church Sherbrooke joined them to the south in October 2014. Then in March 2015, believing they would be better together, Family Church Abacoa partnered with Palm Beach Community Church to become Family Church Gardens. Continuing to pursue the vision of planting 100 neighborhood churches, Family Church Gardens launched the first Family Church “grandbaby,” Family Church Jupiter, in October 2015. We all partnered with the Church in The Farms and Harvest Bible Chapel in October 2016 to launch Family Church in The Farms.
God is still writing our story. There is no master plan other than His. We constantly challenge each other to be His ambassadors, joining God in the work He is doing to reconcile broken people to Himself. At each campus, we are committed to teach the Bible, build families and love our neighbors. We are on mission to be the church OUT THERE, helping people discover and pursue God’s design.
Credit for the data above is given to the following website: