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For a photographer there is always the challenge to take a decision how the final image should look. I decided to use the flash light in order to present a high key image like this.
New release of seating collection, Soft composed by 12 leather sofas, armchairs and poufs in 4 colors combined with textures details that contrast giving life and character to this design, 100% original design and 3d work by Concept.
Beig, black, blue and brown are the colors of this soft and confortable collection.
Collect all and create amazing home, store, clubs...decorations.
Kustom9 - from 15th Setember
maps.secondlife.com/secondlife/kustom9/145/45/22
Demo:
maps.secondlife.com/secondlife/kustom9/4/93/1501
Gacha:
8 Commons > all armchairs with PG menu, and poufs
3 Rares > Beig, Brown and blue sofas with adult menu
1 Ultrarare > Black sofa with adult menu
Alicja Kwade a créé un cadre spatial composé de murs de béton, de miroirs doubles, de cadres métalliques vides qui convoque le motif du labyrinthe, et plus précisément du dédale. À l'échelle de l'architecture de la nef, cette construction génère un rapport à l'espace, au temps et à la destinée. L’artiste entend décupler notre attention, nous désorienter et mettre nos sens en éveil en perturbant nos repères. Un jeu de réflexions grandeur nature qui lui permet de matérialiser les concepts abstraits de temps et d'espace.Au sol, est disposé un ensemble de 16 sculptures que l'artiste a modélisé en s'inspirant du concept de la suite de « Suite de Fibonacci » : selon ce principe, chaque sculpture constitue la somme des deux précédentes.
Pour Alicja Kwade, cette oeuvre fonctionne telle une image qui serait en constante évolution, au gré des déplacements du visiteur. En choisissant de faire se refléter ou non les objets à l'intérieur du dédale, l’artiste pousse les images à se mouvoir, les formes à se transformer selon une logique de séquençage. Au-dessus de nos têtes plane la menace d’un inquiétant pendule en action, composé d’une horloge et d’une pierre, qui tournent dangereusement à quelques mètres au-dessus de nos têtes au bout de chaines. L’espace est envahi du son amplifié du « tic-tac » généré par l’horloge. Cette vibration sonore dans l’espace matérialise le temps qui passe. Il illustre le souhait de l’artiste de rendre palpable, visible, concrète, une notion aussi abstraite que le temps qui s’écoule inéluctablement. Il souligne également une idée d’infini et nous pose la question de l’instant présent. Où sommes nous ? Est-ce le pendule qui tourne ou est-ce la Terre sur laquelle nous évoluons sans nous en rendre compte ?
Alicja Kwade has created a space frame consisting of concrete walls, double mirrors, empty metal frames that conjure the labyrinth pattern, and more precisely the maze. On the scale of the architecture of the nave, this construction generates a relationship with space, time and destiny. The artist intends to multiply our attention, to disorient us and to awaken our senses by disturbing our bearings. A game of life-size reflections that allows him to materialize the abstract concepts of time and space.At the ground, is arranged a set of 16 sculptures that the artist has modeled, inspired by the concept of the suite of "Suite de Fibonacci ": according to this principle, each sculpture constitutes the sum of the two preceding ones.
For Alicja Kwade, this work works like an image that would be constantly evolving, as the visitor moves. By choosing to reflect or not the objects inside the maze, the artist pushes the images to move, shapes to be transformed according to a logic of sequencing. Above our heads hangs the menace of a disturbing pendulum in action, composed of a clock and a stone, which turn dangerously a few meters above our heads at the end of chains. The space is invaded by the amplified sound of the "ticking" generated by the clock. This sound vibration in space materializes the passing time. It illustrates the desire of the artist to make palpable, visible, concrete, a notion as abstract as the time that elapses inevitably. He also emphasizes an idea of infinity and asks us the question of the present moment. Where are we ? Is the pendulum spinning or is it the Earth on which we move without realizing it?
Selected photos from a workshop shoot in Philadelphia, July 2010, with model Amber C. (Model Mayhem #1638660).
This Photograph, taken, composed and where edited by AKPhotography Staffordshire. Is protected under international Copywriting © laws. And it is strictly prohibited from any reproduction, storage in retrieval system or transmittal by any such means, being and not limited to electronic, mechanical, recording or otherwise without my express permission to do so.
Any prints that you may wish to obtain, can be done so only by contacting me.
Composé d’un parc de plusieurs hectares, de jardins variés et d’œuvres monumentales, mais aussi d’un château normand du XIXe siècle qui abrite des expositions, le Centre d’art contemporain est un lieu atypique de la campagne rouennaise.
Le château se situe dans un parc de 6 hectares avec des univers différents qui évoluent au rythme des saisons : le jardin japonais, le jardin des cinq chambres, l’arboretum et la roseraie Renaissance italienne, le tout peuplé de sculptures monumentales de célèbres artistes (Peter Briggs, Norman Dilworth, Quentin Garel, Vera Molnar…).
Composed of a park of several hectares, varied gardens and monumental works, but also a 19th century Norman castle that houses exhibitions, the Contemporary Art Center is an atypical place in the Rouen countryside. The castle is located in a 6-hectare park with different universes that evolve with the seasons: the Japanese garden, the garden of the five rooms, the arboretum and the Italian Renaissance rose garden, all populated with monumental sculptures by famous artists (Peter Briggs, Norman Dilworth, Quentin Garel, Vera Molnar, etc.).
Composé d’un parc de plusieurs hectares, de jardins variés et d’œuvres monumentales, mais aussi d’un château normand du XIXe siècle qui abrite des expositions, le Centre d’art contemporain est un lieu atypique de la campagne rouennaise.
Le château se situe dans un parc de 6 hectares avec des univers différents qui évoluent au rythme des saisons : le jardin japonais, le jardin des cinq chambres, l’arboretum et la roseraie Renaissance italienne, le tout peuplé de sculptures monumentales de célèbres artistes (Peter Briggs, Norman Dilworth, Quentin Garel, Vera Molnar…).
Composed of a park of several hectares, varied gardens and monumental works, but also a 19th century Norman castle that houses exhibitions, the Contemporary Art Center is an atypical place in the Rouen countryside. The castle is located in a 6-hectare park with different universes that evolve with the seasons: the Japanese garden, the garden of the five rooms, the arboretum and the Italian Renaissance rose garden, all populated with monumental sculptures by famous artists (Peter Briggs, Norman Dilworth, Quentin Garel, Vera Molnar, etc.).
Image mirror view composed and stitched with Paint of Windows from an original of my own.
Copyright
©All my photographic images are copyright. All rights are reserved. Do not use, copy or edit any of my photographs.
Tesuque Pueblo, NM
Camel Rock is a natural rock formation composed of pink sandstone and measures about 40 feet high and 100 feet long. It was formed about 450 million years ago by the action of violent water currents and has appeared as a background setting in several Hollywood movies. Camel Rock once had a more prominent snout; unfortunately, a large chunk of sandstone fell off the formation in 2017, so enjoy this rare view of the rock in 1995.
Nikon F3 HP
Nikkor 50mm f1.4
Scan on Canon 9000F Mark II
@ 600 dpi from 4 x 6 photograph
Edited in Photoshop CC
Went shooting at one of my favorite locations the other day with Jon, and he let me borrow his magnificent 50mm 1.4 to take this picture. To quote Flynn Rider, "Hoo mama, I have got to get me one of these!"
Polymer Clay Beads
This colorful necklace is composed of 5 strands of randomly strung discs, it's my version of "Mother of Pearls"
Diese Kette besteht aus 5 Strängen mit farbenfrohen Scheibchen, es ist "meine" Version von Perlmutt
In France, the Centre des Monuments Nationaux (“CMN”) is a State-run organization that manages many of the most important historic monuments. As such, it is composed mostly of civil servants, some truly knowledgeable and in love with the monument they’re administering, others with a decidedly and predominantly “administrative” (read: fussy and regulations-loving) mindset. Anyway, having learned my lesson the hard way, I now never approach a CMN-run monument with my photo tripod without having made prior contact, gained as much legitimacy as possible, and secured the authorization to take photos on site. With that in mind, one is, most of the time, very welcome, and even given access to very interesting parts the general public doesn’t get to see.
That is just what happened in Le Puy-en-Velay, the starting point of the Via Podiensis to Compostela and home to many Romanesque wonders, some of which I had never seen but firmly intended to photograph on this trip. Unfortunately, the weather wasn’t cooperating and it rained most of the day. Furthermore, the Saint Michael of Aiguilhe chapel wasn’t accessible owing to works being underway. In other words, another trip to Le Puy will need to be scheduled in March, but for the time being, I will upload the photos I managed to take in the canons’ cloister next to the Notre-Dame cathedral, as well as in other, more “secret” parts of the cathedral complex. I hope you will enjoy them.
During the Middle Ages, the cathedral of Le Puy-en-Velay was a major Marian pilgrimage site, thanks to the devotion of hundreds of thousands of pilgrims for a small statue of the Virgin Mary, one of those “Black Marys” of Auvergne that made miracles. That one was supposedly brought back from the Holy Land Crusade by Saint Louis himself (i.e., French King Louis IX), and it may have come originally from Coptic Egypt, or even Ethiopia. There’s no way to tell now, as the wooden statue was burned by revolutionaries in 1794. The Black Virgin one can still see in the cathedral today was made in the 19th century to replicate the genuine one, using descriptions made by visitors who had the opportunity to see it before the French Revolution.
Because of this pilgrimage, it was easy for Le Puy to also become a starting point of a path to Compostela when that pilgrimage took off, and because people consequently thronged the cathedral, it had to be enlarged several times. A cloister was also built next to the nave, on the northern side, for the canons. They were secular canons, a number of them from the highest nobility, and their chapter both carried out the Opus Dei in the cathedral and served as an advisory body to the bishop. This means most of them lived in the city in very comfortable, sometimes even luxurious, accommodations, and I personally believe that, given those circumstances, the construction of a cloister and other “monastery-like” buildings was more for show than anything else. A cloister is meant for solitary meditation, and I’m not sure that that cloister got a lot of it...
It remains a magnificent monument well worthy of a visit and of an in-depth study.
The cloister galleries are all covered with groin vaulting.
Each day she composes, conducts, and plays her own "life song". Some days it is loud and tumultuous; other times it is a soft and flowing ballad. Her life song plays on...day by day...note by note...from the depths of her very soul.
Created for Art Uni International - Magical Backgrounds - Competition No. 1
www.flickr.com/groups/art_uni_international/discuss/72157...
56/365 Photo Manipulations Project
background - h.koppdelaney
www.flickr.com/photos/h-k-d/5393408331/
Piano keys - Chloester
www.flickr.com/photos/etherealdawn/4000020864/
woman - YanivG
www.flickr.com/photos/17796222@N00/139666526/
The music notes are photoshop brushes courtesy of www.obsidiandawn.com
Fun with photography, composed shot #6. This week’s theme: Pyramid. This was my first use of fairy lights in photography.
No marshmallows were harmed in the making of this shot.
Composée des rames PBA 4539 et PBKA 4322 cette UM de Thalys est chargée de ramener les vacanciers Belges et Hollandais chez eux. Elle roule depuis Marseille St Charles sous la marche 9954 pour la rame de tête vers Amsterdam et 9958 pour la rame de queue vers Bruxelles. Le train passe alors Chateauneuf sur Isère (26).