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*Eng/ Hello everybody! Please I need to ask for your help. I have been informed by several people now, there's an instagram account publishing pictures of my work and claiming them as her own. I sent her a DM some hours ago asking her to delete the pictures, but she didn't bother answering, so i wrote comments on the pictures she has been uploading asking her to delete the pics and the account or else i'll report her. Not only she didn't do it, but she blocked me on instagram. I ask you to please report her account. I really think it's sad there's people like this. I don't get why they do it.
Thank you!!
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*Esp/ Hola a todos! Necesito vuestra ayuda por favor. Me han informado varias personas que hay una cuenta de instagram que está publicando fotos de mis trabajos sin mi permiso y diciendo que es ella la que los hace. Le he enviado un mensaje por privado hace unas horas y viendo que sigue subiendo fotos, le comento en varias de sus publicaciones, volviendole a pedir que por favor borre mis fotografías, si no tendré que denunciarla a instagram. Ella no sólo no ha borrado mis fotos, si no que me ha bloqueado. Necesito, por favor, que me ayudéis a denunciar su cuenta. De verdad, me da mucha pena que haya gente así. No entiendo por qué hacen estas cosas. Gracias de antemano!!
[ENG] My tribute to Darth Vader. For this moc I got a 75534 set for the armor and cape pieces, but I completely rebuilt the guy, aiming for an effect similar to an action figure. Honestly, I had a specific static scene in mind, but I couldn't resist inserting a number of joints, obviously 😅.
Model: : Dianne van den Eng (@dianne_vandeneng)
Recently I went to the Profoto Roadshow, where I was allowed to take this photo. A number of prominent photographers gave workshops and of course we were allowed to get to work ourselves. With an experience richer, a head full of inspiration and more knowledge I went home after this beautiful day.
Thank you for your views, faves and comments, they are all much appreciated! Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved.
[ENG] The Generalife is a rural village inhabited by the Nasrid kings of Granada for their rest, surrounded by gardens and orchards. It is located in Granada (Spain), near the Alhambra. Construction began in the 13th century in the Arab-Nasrid style commissioned by Muhammed II, and has undergone reforms and additions promoted by his successors. The garden is organized in terraces to adapt to the land, and they have been cultivated without interruption to this day. The current gardens were designed in the 19th century and retain nothing of the medieval approach. It is declared a World Heritage Site by UNESCO. Other pictures in Generalife, Granada (Spain) album.
[ESP] El Pabellón norte es el mejor conservado. Se abre al Patio de la Acequia por una galería de cinco arcos de medio punto, el central de mayores dimensiones, que apoyan en capiteles decorados con una granada en cada lado, y se cubre con una bóveda de lazo de madera. La entrada al pabellón se realiza por una puerta de tres arcos de medio punto, el central de mayor anchura, que descansan en bellos capiteles de mocárabes, y se puede cerrar por una puerta de madera de dos hojas. Sobre estos arcos se abren cinco ventanas dotadas de una celosía. En el muro norte se abre un mirador construido en la época de Ismail I (1319).
El Generalife es una villa rural que habitaron los reyes nazaríes de Granada para su descanso, rodeada de jardines y huertos. Está situado en Granada (España), cercano a la Alhambra. La construcción se inició en el siglo XIII en estilo árabe-nazarí por encargo de Muhammed II, y ha sufrido reformas y añadidos impulsadas por sus sucesores. La huerta está organizada en bancales para adaptarse al terreno, y se han cultivado sin interrupción hasta nuestros días. Los jardines actuales fueron diseñados en el siglo XIX y no conservan nada del planteamiento medieval. Está declarado Patrimonio de la Humanidad por la Unesco. Más fotografías en el álbum Generalife, Granada (España)
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ENG:
Remembering the early eighties. This cassette recorder was intended for recording digital data on cassette; however, it is also a very useful general audio cassette recorder.
The rotary tone and volume knobs were extremely useful for increasing compatibility as a data recorder with other computers of that era. If you have a ZX81, BBC Master, Commodore, or any of the home computers from the 80s, this unit should work well with it. I used it for recording data from the ZX81 and for audio recording in the field. It served me perfectly and is still useful today.
GER:
Erinnerungen an die frühen 80er Jahre. Dieses Kassettenlaufwerk war für die Aufzeichnung digitaler Daten auf Kassette gedacht; es ist aber auch ein sehr brauchbares allgemeines Audiokassettenlaufwerk.
Die Drehknöpfe für Ton und Lautstärke waren äußerst nützlich, um die Kompatibilität als Datenrekorder mit anderen Computern dieser Zeit zu erhöhen. Wenn Sie einen ZX81, BBC Master, Commodore oder einen anderen Heimcomputer aus den 80er Jahren haben, sollte dieses Gerät gut damit funktionieren. Ich habe es verwendet, um Daten vom ZX81 aufzunehmen und um Audioaufnahmen im Feld zu machen. Es hat mir ausgezeichnete Dienste geleistet und ist auch heute noch brauchbar.
9V-OTF Scoot Boeing 777-212(ER) - cn 28522 ...flying in from Qingdao Liuting Int'l (ZSQD / TAO) 10:13AM CST arriving SIN/WSSS 04:05PM SGT as flight SCO/TZ95 (5 hours 52 minutes)
Aircraft Name: Bo-Eng Boeing
Apr 2001 was her first flight. Delivered to Scoot 28 Oct 2013
Manual eng.-http://ussrphoto.com/Wiki/default.asp?WikiCatID=36&ParentID=4&ContentID=679&Item=Zenit+11+Manual+%28English%29
[ENG] Santa María de Naranco is one of the most enigmatic and harmonious monuments of Western architecture. It is an old palace that was the Aula Regia of the palace complex that King Ramiro I (842-850) ordered to be built on the outskirts of the capital of the kingdom of Asturias. It was completed in the year 842. Its artistic style is the so-called Asturian or "ramirense" art, within the pre-Romanesque period. It functioned as a temple from the collapse of the chevet and part of the naves of San Miguel de Lillo (12th century) until its restoration in the years 1929-1934. It is located on the southern slope of Mount Naranco, about 4 km from Oviedo (Asturias, Spain). It was declared a World Heritage Site by UNESCO in 1985. More photos in the album Santa María de Naranco (9th century)
[ESP] Santa María de Naranco es uno de los monumentos más enigmáticos y armoniosos de la arquitectura occidental. Es un antiguo palacio que fue el Aula Regia del conjunto palacial que el rey Ramiro I (842-850) mandó construir en las afueras de la capital del reino de Asturias. Se terminó en el año 842. Su estilo artístico es el denominado arte asturiano o "ramirense", dentro del prerrománico. Funcionó como templo desde el derrumbamiento de la cabecera y de parte de las naves de San Miguel de Lillo (siglo XII) hasta su restauración en los años 1929-1934. Se ubica en la ladera meridional del Monte Naranco, a unos 4 km de Oviedo (Asturias, España). Fue declarado Patrimonio Mundial de la Humanidad por la Unesco en 1985. Más fotografías en el álbum Santa María de Naranco (siglo IX)
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Wild - Salvaje - (Barranco de Salenques, Pirineo aragonés, España)
[ENG] Red admiral
[ESP] Vanesa o almirante rojo
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[ENG] The complex of Wetlands of Sastago-Bujaraloz constitutes a set of endorheic lagoons without drainage, temporary and saline, considered as the most extensive and important in Europe, being unique for its peculiarities. It is located between the towns of Bujaraloz (Huesca, Spain) and Sástago (Zaragoza, Spain) between the regions of Los Monegros and the Ribera Baja de Ebro. These lagoons are flooded after the rains, and some - located below the water table - They also receive underground water, the latter being the ones with the highest concentration of salts. The evaporation exposes the bottom of the lagoon with a characteristic white saline crust. The vegetation that lives in the salt flats is adapted to low rainfall and extreme temperatures, and is arranged in concentric rings depending on its tolerance to salinity, the macrophytes appearing inside the buckets. Among the inhabitants of the salt flats, the aquatic invertebrates that have adapted their cycle to the presence of water stand out. And in its vicinity you can see foxes, rabbits, garden dormouse and ocellated lizards, as well as the birds short-toed snake eagle, Eurasian stone-curlew, golden eagle, common sandpiper, lesser kestrel, Dupont's lark, black-bellied sandgrouse and pin-tailed sandgrouse.
The Salada de la Playa is the largest of the whole and with the greatest presence of water, in which there are ruins of constructions related to the exploitation of salt dating from the 17th and 18th centuries, between those that include evaporation terraces, wells, salt store and barracks of soldiers guarding the farms.
Other pictures in Saladas de Sástago-Bujaraloz album.
[ESP] El complejo de Humedales de Sástago-Bujaraloz constituye un conjunto de lagunas endorreicas (sin desagüe), temporales y salinas, considerado como el más extenso e importante de Europa, siendo único por sus particularidades. Está situado entre las localidades de Bujaraloz (Huesca, España) y Sástago (Zaragoza, España) entre las comarcas de Los Monegros y la Ribera Baja de Ebro. Estas lagunas se inundan tras las lluvias, y algunas –situadas por debajo del nivel freático- también reciben agua subterráneas, siendo estas últimas las que tienen mayor concentración de sales. La evaporación deja al descubierto el fondo de la laguna con una costra salina blanca característica. La vegetación que vive en las salinas está adaptada a las lluvias escasas y a las temperaturas extremas, y se dispone en anillos concéntricos en función de su tolerancia a la salinidad, apareciendo en el interior de las cubetas los macrófitos. Entre los moradores de las salinas destacan los invertebrados acuáticos que han adaptado su ciclo a la presencia de agua. Y en sus proximidades se pueden observar zorros, conejos, lirón careto y lagartos ocelados, así como las aves culebrera europea, avutarda, archibebe común, alcaraván, ágila real, andarríos chico, cernícalo primilla, rocín o alondra de Dupond, ganga ortega y ganga común.
La Salada de la Playa es la mayor de todo el conjunto y con mayor presencia de agua, en la que existen ruinas de construcciones relacionadas con la explotación de la sal que datan de los siglos XVII y XVIII, entre las que se incluyen eras de evaporación, pozos, almacén de sal y cuartel de soldados que custodiaban las explotaciones.
Más fotografías en el álbum Saladas de Sástago-Bujaraloz
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[ENG] The Church of San Esteban, located in Betrén, Valle de Arán (Lleida, Spain), is a transitional temple from Romanesque to Gothic built in the 13-14th centuries. Highlight the head of three polygonal apses and the extraordinary portal with four profusely decorated pointed archivolts that narrate the Last Judgment through 60 characters representing angels announcing with horns the event, the resurrection of the dead (emerging from their graves), musicians with their instruments, artisans, farmers, kings and commoners, chosen and condemned. More photos in the album Church of San Esteban de Betren, Aran Valley.
[ESP] La rosca situada sobre la arquivolta exterior decorada con dobles bolas apea sobre dos ménsulas historiadas, la del lado izquierdo personaliza a un ser monstruoso con varias patas, y la del lado derecho encarna a dos animales alados con cabeza humana luchando.
La Iglesia de San Esteban, situada en Betrén, Valle de Arán (Lleida, España), es un templo de transición del románico al gótico construido en los siglos XIII-XIV. Tiene una sola nave con una cabecera de tres ábsides poligonales y está cubierta con una doble estructura de madera. La portada es el elemento más destacado, luce cuatro arquivoltas apuntadas profusamente decoradas con imágenes que representan el Juicio Final y en el tímpano la Virgen con el Niño. Sus muros disponen vanos góticos y románicos. En el hastial de levante despunta una representación de iconografía románica con un caballero y una dama. Más fotografías en el álbum Iglesia de San Esteban de Betrén, Valle de Arán.
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[ENG]
This week theme for the group MACROMONDAY is : The periodic table.
It was pretty hard to do this shot. My first problem was to calibrate light, and I was able to do only with a ND8 filter and a polarizer. Then I used a 430EXII flash at 1/2 power to light the glass and another 430EXII to light the background at full power. Balanced light for "fluorescent" to warm up the tungsten filament and get that bluish reflection on the glass.
But the worst thing was reflections over the bulb. I couldn't get rid of them in any way. At the end I managed to shape them to suggest the round shape of the bulb.
Canon EF-S 18-55mm f/3.5-5.6 is my lens, with a 21mm macro extension tube, trigger and receivers.
ISO 100, f11, 1/200
HMM!
If you like it, press F
looking for a better view? press L
[ITA]
Foto realizzata per il gruppo MacroMonday.
Il tema di questa settimana è La tavola periodica.
E' stato parecchio complicato riuscire ad ottenere questo scatto. Il primo problema è stato ovviamente la luce. Sono riuscito ad avere la meglio su quel filamento incandescente solo mettendo un filtro ND8 ed un polarizzatore davanti all'obiettivo.
Dopodichè ho usato un flash 430EXII laterale a 1/2 potenza per illuminare le parti in vetro e un'altro a piena potenza per illuminare lo sfondo. Ho usato il bilanciamento del bianco su "fluorescente" per riscaldare un pochino la luce del filamento ed ottenere quei riflessi blu sul vetro.
Ma il vero problema è stato gestire i riflessi! Dopo decine di modifiche e tentativi, non sono riuscito a fare altro che a modellarli leggermente, in modo da suggerire la forma rotonda della lampadina.
Come lente il Canon EF-S 18-55mm f/3.5-5.6 con un tubo estensore da 21mm, trigger radio e ricevitori.
ISO 100, f11, 1/200
HMM!
se vi piace, premete F
se volete vederla meglio, premete L
FIFA 2014 BRAZIL - Group match #URU vs #ENG
Attendance - 62,575
Location - Arena Corinthians, Sao Paulo
[ENG] The Granada Cathedral, or the Cathedral of the Incarnation, shows impressive fronts and a magnificent interior with a grand altarpiece, several chapels and a sepulchral chamber in that the tombs of the Catholic Monarchs are situated. His construction began in 1523 in the place where the former Major Mosque had been placed under the direction of the architect Enrique Egas who conceived the temple in Gothic style, though his work remained limited to the foundation. In 1529 Diego de Siloé took charge of the works following his project of Renaissance lines, with ambulatory and five naves (instead of the three habitual ones) and it remained concluded in 1563. The main facade was undertaken in 1664 by Alonso Cano, in which Baroque elements were introduced. In 1706 Francisco de Hurtado Izquierdo and later his collaborator José Bada they constructed the current tabernacle of the cathedral. Only there got up a tower of three bodies instead of the two of six bodies projected. The lateral naves are closed in numerous chapels of different epochs and styles.
[ESP] La Catedral de Granada, o Catedral de la Anunciación, muestra impresionantes fachadas y un magnifico interior con un grandioso retablo, varias capillas y una cámara sepulcral en la que se hallan las tumbas de los Reyes Católicos. Su construcción se inició en 1523 en el lugar donde había estado situada la antigua Mezquita Mayor bajo la dirección del arquitecto Enrique Egas que concibió el templo en estilo gótico florido, aunque su trabajo quedó circunscrito a la cimentación. En 1529 Diego de Siloé se encargó de las obras siguiendo su proyecto de líneas renacentistas, con girola y cinco naves (en lugar de las tres habituales) y quedó concluido en 1563. La fachada principal fue emprendida por Alonso Cano en 1664, en la que se introdujeron elementos barrocos. En 1706 Francisco de Hurtado Izquierdo y posteriormente su colaborador José Bada construyeron el actual sagrario de la catedral. Sólo se levantó una torre de tres cuerpos en lugar de las dos de seis cuerpos proyectadas. Las naves laterales se cierran en numerosas capillas de diferentes épocas y estilos.
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Foto Emílio Biel in Porto de Leixões – fotografias de Domingos Alvão. Emílio Biel APDL 1998.
Reunidas há séculos as condições naturais e a vontade dos homens, e após vários projetos que não passaram do papel desde 1852, só os projetos apresentados em 1878 pelo Eng.º Afonso Joaquim Nogueira Soares e em 1881 por Sir John Coode levaram a que, em junho de 1883, o ministro das Obras Públicas, Hintze Ribeiro, tenha tomado a decisão política visando a construção de um porto de abrigo artificial em Leixões ao apresentar na Câmara dos Deputados uma Proposta de Lei autorizando o Governo a adjudicar a construção do porto artificial de abrigo de Leixões (Lei de 26/06/1883).
É que um conjunto de rochedos, a que os homens deram o nome de «Leixões (o «Espinheiro», a «Alagadiça», o «Leixão» grande e o «Leixão» pequeno, como grande e pequeno eram também os rochedos da «Lada», o «Tringalé», o «Galinheiro», o «Cavalo de Leixão», a «Quilha», a «Baixa do Moço», o «Fuzilhão», o «Baixo do Leixão Velho» e muitos outros), descreviam um semicírculo no mar, formando como que um porto de abrigo natural junto à foz do rio Leça
Julgando-se então convenientes algumas modificações, foi responsabilizado pela elaboração do projeto definitivo o Eng.º Afonso Joaquim Nogueira Soares que o deu por concluído a 24/08/1883 (justo será salientar o nome de Adolpho Loureiro que, durante este período, fez parte de uma série de comissões que acompanharam a elaboração desse projeto final):
por um Decreto de 23/10/1883, foi aberto um concurso internacional para a definitiva construção do porto artificial de Leixões, sendo de 4500 contos de reis a base de licitação da obra;
na sequência deste concurso, foi lavrado no Gabinete do Ministro das Obras publicas, Commercio e Industria, a 16/02/1884, o contrato de empreitada geral para a construção do porto artificial de Leixões com a empresa «Dauderni et Duparchy» que havia vencido o concurso (em boa verdade, tinham sido os únicos a concorrer) tendo sido de 4 489 000$00 (4 milhões e 489 mil reis ou 4500 contos de reis) o valor da adjudicação, na presença do empreiteiro francês mr. Jean-Baptiste Dauderni (Basècles, Hainaut, 11/01/1827 - Hotel Central de Panamá, Praça da Catedral, 15/04/1886), por si e como procurador que mostrou ser do empreiteiro e engenheiro francês Mr. Jean Alexis Dauphin Duparchy que tinha participado entre 1866 e 1869 na construção do Canal de Suez juntamente com os engenheiros franceses Jean-Baptiste Dauderni e Edmond Bartissol e que em 1870 participou na guerra como Chefe de Batalhão de franco-atiradores, tendo casado com Marie Elisa Roussel em Cérilly a 08/09/1875 e da qual não teve filhos (este contrato de empreitada tinha 45 artigos e uma mapa);
as obras de construção do Porto de Leixões (como porto de abrigo artificial de navios), uma das maiores obras de Engenharia Civil do séc. XIX, iniciaram-se a 13/07/1884 e os trabalhos foram dirigidos pelo Eng.º francês Wiriot (o diretor técnico das obras), sob a fiscalização do governo português que, para tal, nomeou o Eng.º Afonso Joaquim Nogueira Soares, autor do projeto.
Durante o período da construção, ocorreu a morte do viúvo Jean-Baptiste Dauderni a 15/04/1886 (a esposa dele, Amélie Passerieux com quem tinha casado a 01/09/1856 em Narbonne, tinha falecido com 49 anos a 04/02/1881), passando a empreitada para o nome de «Duparchy & Bartissol» (o Eng.º Edmond Bartissol substituiu assim o falecido Eng.º Jean-Baptiste Duaderni na empresa construtora), o que não colocou em causa os prazos previstos:
entrega provisória em 1892 e definitiva em fevereiro de 1895;
a sua construção foi concluída em 1895;
O Projecto do Eng.º Afonso Joaquim Nogueira Soares consistia na construção de 2 extensos paredões ou molhes (o do lado Norte com 1579 m e o do lado Sul com 1147 m) que, enraizados nas praias adjacentes à foz do Rio Leça, formavam uma enseada com cerca de 95 hectares e com fundos entre 7 e 16 metros de profundidade;
além dos paredões, foi construído também um quebra-mar que, elevando-se apenas um metro acima do zero hidrográfico, prolongava em mais algumas centenas de metros o Molhe Norte. Terminava este esporão numa plataforma onde emergia um farolim.
O título de 1.º Barão de Duparchy foi concedido por Carta de D. Luís I de Portugal de 23/12/1886 a Jean Alexis Dauphin Duparchy (Alièze, 12/03/1835 - Savigny sur Orge, 02/101907), tendo-lhe sido concedido o título de 1.º Conde de Duparchy por Carta de D. Carlos I de Portugal de 14/05/1891 (Duparchy vendeu à família Duarte Figueiredo em 1895 a sua casa que tinha construído a 1 Km das termas do Luso e junto à Mata Nacional do Buçaco, a Vila Duparchy que desde 1987 foi aberta pelos seus proprietários a turismo de habitação, para regressar a França e comprar o Castelo de Savigny sur Orge por ter tido lucros consideráveis na construção do porto de Leixões).
Sua Majestade El-Rei D. Luiz I e a família Real visitaram a Pedreira de S. Gens e o porto de Leixões em construção, a 27/09/1887, por convite da empresa construtora 'Duparchy & Bartissol':
o comboio que o trouxe da Pedreira de S. Gens na Senhora da Hora chegou à praia de Matosinhos perto do Monumento do Senhor do Padrão por volta das 14:40 e, após uma pequena paragem por causa de uma manobra que ele teve que executar e da entrada no comboio do Sr. conselheiro e ministro de Estado honorário Barjona de Freitas, seguiu pelo Molhe Sul percorrendo os seus cerca de 700 m então existentes;
a família real, saindo da carruagem, assistiu, bem como todos os convidados, à rápida e perfeita colocação, por meio de um pequeno guindaste, de uma pedra no muro de abrigo, pedra que em letras abertas e douradas tinha a inscrição «27 DE SEPTEMBRO DE 1887 – VISITA DE S.M. EL-REI D. LUIZ I» com as armas nacionais muito bem lavradas por cima dessa inscrição;
a Família real dirigiu-se para a extremidade do muro, onde o sr. Eng.º Edmond Bartissol (Portel-les-Corbières, Aude, 20/12/1841 - Paris, 16/08/1916, vítima de congestão pulmonar), para satisfazer o natural desejo de el-rei, o informou amiudamente dos trabalhos realizados e a realizar, dos processos usados na construção daquela monumental obra de arte, etc.;
em seguida, o Titã mostrou os seus prodígios levando uma vagonete com grandes calhaus do peso de 10 toneladas métricas, pouco mais ou menos, e arremessou-os ao fundo do mar, espadanando a água a grande altura (aqui foi apresentado a el-rei, pelo sr. Bartissol, o hábil engenheiro director técnico francês daquelas obras, o sr. Wiriot, com quem el-rei se demorou conversando durante algum tempo);
depois, o comboio inverteu a marcha e conduziu a família real ao Molhe Norte também em construção atravessando a Ponte do Comboio construída há 3 anos e chegando ao fim dos cerca de 700 m que então o Molhe Norte tinha por volta das 15:25;
a família real, saindo de novo do comboio, assistiu também à colocação neste muro de abrigo de outra pedra em tudo idêntica à que anteriormente fora colocada no Molhe Sul, isto é, com as mesmas armas e a mesma inscrição;
ao findar este trabalho, um dos empregados da empresa, que tinha no braço esquerdo um laço de fita azul e branca, levantou vivas a el-rei, à rainha, príncipes, incluindo o da Beira, e finalmente a toda a família real;
a banda do Regimento de Infantaria 10 executou o hino real, sendo queimados muitos foguetes;
na extremidade do muro, o Eng.º Afonso Joaquim Nogueira Soares esteve explicando a el-rei a forma como eram colocados os blocos, dando-lhe outras informações que S.M. ouvia com vivo interesse.
Uma zorra conduziu para junto do grande Titã deste molhe um bloco que tinha gravada a inscrição «BLOCO COLOCADO NA PRESENÇA DE EL-REI D. LUIZ E DE SUA AUGUSTA FAMÍLIA NO DIA 27 DE SEPTEMBRO DE 1887», e o prodigioso aparelho levantou-o da zorra por meio de correntes de ferro, ergueu-o ao ar e desceu-o até ao mar colocando-o em cima dos outros em 10 minutos, se tanto;
no Leixão grande, que ainda ficava a bastante distância dos muros de abrigo Norte e Sul, achava-se hasteada a bandeira nacional;
já passava das 16:00 quando a família real e seus convidados voltaram no comboio pelo Molhe Norte até à marginal de Leixões em Leça da Palmeira para usufruírem do 'lunch' servido num Pavilhão;
terminado o lanche, a família real voltou para o Porto no comboio que a tinha trazido, passando de novo pela Ponte do Comboio a acaminho de S. Gens na Senhora da Hora e, daqui, a caminho da Trindade..
Sua Majestade El-Rei D. Carlos I também o visitou, a 26/11/1891:
Em 1892, o Titã do Molhe Norte caiu ao mar devido a um temporal, tendo sido recuperado posteriormente.
Mais tarde, no inicio do séc. XX, foi discutida a necessidade de o transformar num porto comercial, um objetivo apenas conseguido em 1940 com a conclusão da doca n.º 1 que foi inaugurada a 04/07/1940.
Nas décadas seguintes, foram edificadas as docas n.º 2 e n.º 4, o cais do pescado e os terminais de contentores e petroleiros.
A Bacia, construída em 1984, sustentava em cada um dos seus Molhes os guindastes denominados Titãs, cada um pesando 400 toneladas:
um dos principais problemas que se colocava à construção dos molhes Norte e Sul era exatamente a forma como se procederia para erguer, e posteriormente depositar no local desejado, os pesadíssimos blocos graníticos;
para resolver esta questão a empresa «Dauderni et Duparchy» encomendou em 1886 às famosas oficinas da empresa francesa de Fives-Lille, em Lille, 2 gigantescos e poderosos guindastes movidos a vapor que se deslocavam, igualmente, sobre carris (guindastes ou gruas que, pelo seu aspeto colossal, tinham o nome de Titãs e tinham sido desenhados pelo catalão Bonnaventure Bassères);
há uns anos, estes gigantescos guindastes ainda permaneciam e resistiam sobre os molhes que construíram, quais 2 titânicas estátuas erigidas à memória dos tempos pioneiros da construção do porto de mar;
a importância crucial que possuíram no contexto da edificação desta estrutura portuária, a sua imponência e força, e o valor simbólico que, ao longo do século, criaram em torno de si, merecem uma atenção mais demorada;
montados em Leixões os Titãs em 1886 até 25 de outubro e dirigidos durante os primeiros anos exclusivamente por um técnico francês, de seu nome Lecrit, revelaram-se de facto como peças fundamentais na construção do porto;
paulatinamente, bloco após bloco e graças à sua ação, os 2 molhes foram avançando mar adentro (é que eles levantavam blocos de 50 toneladas e podiam lançá-los a mais de 29 m de distância, apesar de blocos com menos de 15 toneladas poderem ser lançados a mais de 44 m de distância do seu ponto de rotação);
movidos a vapor (ainda hoje é possível descortinar no seu topo a «Casa das Máquinas», com 2 caldeiras cada um), os titãs tinham uma potência de 25/30 HP e foram utilizados na construção dos molhes Norte e Sul do porto de Leixões, não se tratando, ao contrário do que muita gente pensa, de guindastes para carga e descarga, pese embora tenham posteriormente desempenhado também essas funções (pelo menos o do Molhe Sul, até aos anos 60 do séc. XX).
[ENG] The citadel of the Alhambra, located on the hill of al-Sabika, in Granada (Spain), is one of the most important architectural complexes of the Middle Ages and the greatest exponent of Islamic art in the West. Its history begins in the ninth century with military purposes, it was gradually expanding and in the thirteenth century, with the arrival of the first Nasrid monarch Mohamed ben Al-Hamar, the construction of the palaces that marked his time of greatest splendor began. The Alhambra was officially declared a World Heritage Site in 1984. Other pictures in Nasrid palaces album.
[ESP] Las dos fuentes del Patio de Arrayanes situadas en sus lados cortos del jardín, que suministran el agua al estanque, son circulares y representan el proceso vital: el surtidor es el nacimiento, que al caer va remansando en su ancho círculo que es la continuación de la vida, para luego correr por el estrecho canal figurando el ocaso, y terminar por fin derramándose en el gran estanque central que simboliza la eternidad. El imperceptible murmullo de la fuente y los reflejos ondulantes del palacio crean una atmósfera mágica difícil de olvidar.
La ciudadela de la Alhambra, asentada sobre el Cerro de al-Sabika, en Granada (España), es uno de los complejos arquitectónicos más importantes de la Edad Media y máximo exponente del arte islámico en Occidente. Su historia comienza en el siglo IX con propósitos militares, fue paulatinamente ampliándose y en el siglo XIII, con la llegada del primer monarca nazarí Mohamed ben Al-Hamar, se inició la construcción de los palacios que marcaron su época de mayor esplendor. Tras la conquista de Granada por los Reyes Católicos en el siglo XV se hicieron reformas y Carlos V inició la construcción del palacio que lleva su nombre. En el siglo XVIII quedó abandonada. Durante la dominación francesa parte de la fortaleza fue volada, y hasta el siglo XIX no comenzó su reparación y restauración, que aún se mantiene. Más fotografías en el álbum Alhambra. Palacios nazaríes
083621
ITA (ENG below)
Le foto del viaggio in barca tra le Isole Ionie. Un vero viaggio, non una semplice crociera, perché oltre la vela e il mare abbiamo vissuto numerose esperienze sulla terraferma.
Abbiamo assaporato da vicino quegli aspetti e quelle curiosità che fanno parte del mondo ellenico e che solitamente si perdono durante una classica vacanza in barca a vela.
Abbiamo degustato vino, cucinato nella cucina di una taverna sul mare, prodotto i nostri formaggi, mangiato i piatti tipici, ma soprattutto abbiamo conosciuto i greci.
Un mix di mare e terra!
Per leggere il diario di questo viaggio e vedere il video: clicca qui
Ripeterò quest’avventura altre volte, anche a breve, se vuoi partecipare alla prossima avventura contattami
o seguimi su:
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ENG
The picts of the boat trip between the Ionian Islands. A real journey, not just a cruise, because beyond sailing and the sea we have tried many experiences on land.
We have closely tasted those aspects and those curiosities that are part of the Hellenic world and that are usually lost during a classic sailing holiday.
We tasted wine, cooked in the kitchen of a tavern on the sea, produced our cheese, ate typical dishes, but above all we met the Greeks.
A mix of sea and land!
To watch the video: click here.
I will repeat this adventure other times, even shortly, if you want to participate to the next,contact me
or follow:
Mount Pleasant is a neighbourhood in the city of Vancouver, British Columbia, Canada, stretching from Cambie Street to Clark Drive and from Great Northern Way and 2nd, to 16th and Kingsway.
Mount Pleasant owes much of its origins to a former stream and, because of it, developed much of its unique and rich character. The stream attracted a number of breweries from 1888 to 1912, hence it became known as Brewery Creek. In 1890, the first street cars arrived; as far south as 1st and Main. Brewery Creek, in conjunction with the connecting routes of Main and Kingsway, became the centre of industry and commercialism for the district of Mt. Pleasant. By 1897, there was a substantial population growth centred on Broadway and Main Street. The ability to commute to the City Centre and the industries of Brewery Creek and False Creek provided the draw for many working families that now populated the area below Broadway. In a sense, Mount Pleasant can be called Vancouver's "first suburb". The area high above False Creek was named "Mount Pleasant" in 1888, after the Irish birthplace of Jane Fortune Kemp the wife of Henry Valentine Edmonds. Edmonds, clerk of the municipal council in New Westminster, was the original owner of much of Mount Pleasant.
The MOUNT PLEASANT Post Office was established - 1 October 1891 - it became VANCOUVER Sub Office 8 - 1 May 1908.
LINK to a list of the Postmasters who served at the MOUNT PLEASANT Post Office - www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...;
- sent from - / MOUNT PLEASANT / AM / OC 13 / 06 / B.C. / - cds cancel - (RF D).
Message on postcard reads: Dear Walter (her brother), Thanks so much for your postcards - I do like them. I am going to send you the photo of our house. I hope you will like it. I had a letter from Eva (Eva Maud Mckay 1878 - 1946). I asked her to send me some postcards of her place. I hope she will. Love to all. Mary E. McKee.
Mary Elizabeth (nee McKay) McKee (1877 - 1953) - she was born in Barnstaple, Devon, England on 23 February 1877 to Douglas William Mckay and Elizabeth Ann Rock. Mary Elizabeth Mckay married Robert Humes McKee. She passed away on 9 December 1953.
Robert Humes McKee (b. February 1859 in Ireland - d. 19 May 1936 in York / Toronto, Ontario) - his occupation in 1906 was the Superintendent of the E.H. (Edward Hewetson) Heaps Lumber Company. In 1907 he was President & General Manager of the Anglo-American Lumber Company Ltd. He was replaced later in 1907 and Mr. McKee was associated with the management of the new North Arm Lumber Company, Limited. His first wife was Ellen (Nellie) Oharra (1858 - 1893).
Addressed to: Walter McKay Esq / 4 Alexandra Place / Barnstaple / North Devon / England
Walter Douglas McKay
(b. 1883 in Barnstaple, Devon, England - d. 9 September 1950 in Llanelly, Carmarthenshire, Wales).
His parents: Douglas William McKay (1855 - 1930) and Elizabeth Ann Rock (1854 - 1925).
His wife - Emily Hoyle (b. 1885 in Barnstaple, Devon, England - d. 1971)
Eva Maud Mckay (1878 - 1946) - she was mentioned in the message on this postcard (Walter's sister) - Born in Barnstaple, Devon, England on April 1878 to Douglas William Mckay and Elizabeth Ann Rock. Eva Maud Mckay married James Partridge. She passed away on J-M 1946 in Barnstaple Devon.
Barnstaple is a town in North Devon, England. It was a river port at the lowest crossing point of the River Taw, flowing into the Bristol Channel. The town centre still preserves a medieval character. From the 14th century, it was licensed to export wool. Great wealth ensued. Later the town imported Irish wool, but its harbour silted up and it developed other industries such as shipbuilding, foundries and sawmills. Its Victorian market survives, with a high glass and timber roof on iron columns. The Parish of Barnstaple had a population of 24,033 at the 2011 census.
[ENG] The Church of Saint Andrew de Salardú, located in the Aran Valley (Lleida, Spain), was built between the 12th and 13th centuries in a transitional Romanesque to Gothic style. It has a basilica plan with three naves and four sections, and head-board of three semicircular apses. The most outstanding elements are a valuable polychrome wood carving (12th century) known as the Christ of Salardú, the bell tower of 25 m. high (15th century), the Romanesque portal of five archivolts adorned with plant motifs supported by columns, and the exceptional set of Renaissance wall paintings (17th century). More photos in the album Church of Saint Andrew of Salardu, Aran Valley.
[ESP] Una reja de forja de relevante factura protege el presbiterio. Su altura es de unos 3,5 m, formada por 29 barrotes verticales de sección rectangular acabados en florones tridimensionales con flores de lis en los extremos, de donde nacen puntas de lanza, evocando la derrota del ejército francés de 1597 que la tradición atribuye a uno de los milagros del Cristo de Salardú que protege. En el centro se abre una pequeña puerta de fino y elaborado trabajo a base de espirales yuxtapuestas formando grupos de cuatro. Está datada a finales del siglo XVI, si bien la puerta central podría ser más moderna copia de una anterior románica.
La Iglesia de Sant Andreu de Salardú, situada en el Valle de Arán (Lleida, España), se construyó entre los siglos XII y XIII en estilo románico de transición al gótico. Es de planta basilical con tres naves y cuatro tramos, y cabecera con tres ábsides semicirculares. Los elementos más destacados son una valiosa talla en madera policromada (siglo XII) conocida como el Cristo de Salardú, la torre campanario de 25 m. de altura (siglo XV), la portada románica de cinco arquivoltas adornadas con motivos vegetales que apoyan en columnas, y el excepcional conjunto de pinturas murales renacentistas (siglo XVII). Más fotografías en el álbum Iglesia de San Andrés de Salardú, Valle de Aran.
195978
[ENG] The citadel of the Alhambra, located on the hill of al-Sabika, in Granada (Spain), is one of the most important architectural complexes of the Middle Ages and the greatest exponent of Islamic art in the West. Its history begins in the ninth century with military purposes, it was gradually expanding and in the thirteenth century, with the arrival of the first Nasrid monarch Mohamed ben Al-Hamar, the construction of the palaces that marked his time of greatest splendor began. The Alhambra was officially declared a World Heritage Site in 1984. Other pictures in Nasrid palaces.
[ESP] La emblemática Fuente de los Leones da nombre al patio en la que se asienta y al palacio cuyas dependencias se distribuyen alrededor del anterior, que fue conocido como Riyād al-Sa’īd (Palacio del Jardín Feliz), y que construyó el sultán Muhammad V hacia 1380. La fuente está formada por una taza dodecagonal que apoya sobre el lomo de doce leones –que aluden a los doce soles del zodíaco-, con tallados distintos en mármol de Macael a finales del siglo X o principios del XI, colocados en ruedo –cubriendo con su mirada todos los puntos del patio-, que arrojan agua por la boca –simbolizando el Sol, del cual brota la vida-. En los bordes de la taza puede leerse una casida de Ibn Zamrak.
La ciudadela de la Alhambra, asentada sobre el Cerro de al-Sabika, en Granada (España), es uno de los complejos arquitectónicos más importantes de la Edad Media y máximo exponente del arte islámico en Occidente. Su historia comienza en el siglo IX con propósitos militares, fue paulatinamente ampliándose y en el siglo XIII, con la llegada del primer monarca nazarí Mohamed ben Al-Hamar, se inició la construcción de los palacios que marcaron su época de mayor esplendor. Tras la conquista de Granada por los Reyes Católicos en el siglo XV se hicieron reformas y Carlos V inició la construcción del palacio que lleva su nombre. En el siglo XVIII quedó abandonada. Durante la dominación francesa parte de la fortaleza fue volada, y hasta el siglo XIX no comenzó su reparación y restauración, que aún se mantiene. Más fotografías en el álbum Alhambra. Palacios nazaríes
198281
[ENG] The church of Bossost , dedicated to the invocation of the Mother of God of Purification, is one of the best preserved in the entire Val d'Aran region, and a clear example of the prototype of a Romanesque church of the valley (very horizontal buildings, with three naves and three semicircular apses and a very marked gable in the presbytery). It was built in the first half of the 13th century, and includes many foreign decorative elements: strips of blind semicircular arches in the bell tower and apses, or the small vertical lesenes (pilaster strip) on the outside of the apse, both typical of Lombard Romanesque, checkered jaques on the front and eaves… Outside the temple, the highlights are the bell tower, the head and its two façades. More photos in the album Church of Bossost, Aran valley (Spain).
[ESP] Los tramos rectos del presbiterio y de los muros sur y norte comparten un motivo ornamental: los canecillos con rostros humanos en que descansa la cornisa del alero. Son múltiples, y cada rostro trata de transmitir una emoción diferente (burlones, otros expresan quietud, o quizás temor).
La iglesia de Bossost, dedicada a la advocación de la Mair de Diu dera Purificacion, es una de las mejor conservadas de toda la comarca del Val d'Aran, y un claro ejemplo del prototipo de iglesia románica aranesa (edificios muy horizontales, con tres naves y tres ábsides semicirculares y un hastial muy marcado en el presbiterio). Fue construida en la primera mitad del siglo XIII, e incluye muchos elementos decorativos foráneos: franjas de arquillos ciegos de medio punto en campanario y ábsides, o las pequeñas lesenas verticales en el exterior del ábside, ambos propios del románico lombardo, ajedrezado jaqués en portada y aleros… En el exterior del templo, lo más destacado son el campanario, la cabecera y sus dos portadas.
Más fotografías en el álbum Iglesia de Bossòst, Valle de Aran (España).
162243
[ENG] Attached to the north wall of the church, in what possibly it was going to constitute a lateral nave, there is situated a hall to which one accedes for the exterior door and that conects, on the one hand with a portico or rectangular lounge, for other one with the lateral apse and for the front with the church. The facade of the portico divides in four sections, in each of which a wide large window is opened surrounded by arches lightly pointed that roll over on thin columns with capitals of vegetable ornamentation.
[ESP] Adosado al muro norte de la iglesia, en lo que posiblemente iba a constituir una nave lateral, se halla un vestíbulo al que se accede por la puerta exterior y que comunica, por un lado con un pórtico o salón rectangular, por el otro con el ábside lateral y por el frente con la iglesia. La fachada del pórtico se divide en cuatro tramos, en cada uno de los cuales se abre un amplio ventanal rodeado por arcos ligeramente apuntados que voltean sobre finas columnillas con capiteles de ornamentación vegetal. El alero está sostenido por canecillos.
101166
[ENG] The Toro Collegiate Church began to be constructed in the year 1160 during the reign of Alfonso VIII of Castile in Romanesque style, but his building did not end until ends of the 13th century, in Gothic style. The conjunction of both styles makes it specially attractive. The temple is formed by three naves with cruise that is finished off by a magnificent dome, whose design presents influences of the Zamora Cathedral and of the Salamanca Old Cathedral. He has three portals, those who are prominent the placed one in the north front, in that in one of his archivolts are carved the Elders of the Apocalypse, and the Door of West, also call of the Majesty, having a uncommon polychrome Gothic pórtico and richly adorned.
More photos in the album Toro Collegiate Church, Zamora Spain
[ESP] La Colegiata de Toro comenzó a construirse en el año 1160 durante el reinado de Alfonso VIII en estilo románico, pero su edificación no terminó hasta finales del siglo XIII, en estilo gótico. La conjunción de ambos estilos la hace especialmente atractiva. El templo está formado por tres naves con crucero que se remata con un magnífico cimborrio, cuyo diseño presenta influencias de la Catedral de Zamora y de La Catedral Vieja de Salamanca. Dispone de tres portadas, de las que son destacables la situada en la fachada norte, en la que en una de sus arquivoltas están esculpidos los Ancianos del Apocalipsis, y la Puerta de Occidente, también llamada de la Majestad, que tiene un pórtico gótico policromado poco común y ricamente ornamentado.
Más fotografías en el álbum Colegiata de Toro, Zamora España
180297
Title.
Deep sleep. :)
(FUJIFILM GFX50R shot)
Guam. America. 2024. … 2 / 10
(Today's photo. It's unpublished.)
Images.
Hitsujibungaku(羊文学)- Burning (Eng Ver.)
youtu.be/ONIEzox_Duc?si=gpeuat01SSKFVcuG
::Link photo music and iTunes playlist::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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Important Notices.
I have relaxed the following conditions.
I will distribute my T-shirt to the world for free.
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
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Exhibition in 2024
theme
Goodbye , Photo .
Images
Ai Otsuka ( 大塚 愛 ) / Goodbye photo ( 恋愛写真 )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
Sponsored by
design festa
place
Tokyo Big Site
schedule
November 16 and 17, 2024.
exhibition.mitsushiro.nakagawa@gmail.com
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Notice regarding "Lot No.402_”.
From now on I will host "Lot No.402_".
The work of Leonardo da Vinci who was sleeping.
That is the number when it was put up for auction.
No sign was written on the work.
So this work couldn't conclude that it was his work.
However # as a result of various appraisals # it was exposed to the sun.
A work that no one notices. A work that speaks quietly without a title.
I will continue to strive to provide it to many people in various ways.
October 24 2020 by Mitsushiro - Nakagawa.
Mitsushiro Nakagawa belong to Lot No. 402 _.Copyright©︎2024 Lot No.402_ All rights reserved.
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Profile.
In November 2014 # we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model # and will conclude a confidentiality agreement with them.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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Interviews and novels.
About my book.
I published a book a long time ago.
At that time # I uploaded my interview as a PDF on the internet.
Its Japanese and English.
I will publish it for free.
For details # I explained to the Amazon site.
How to write a novel.
How to take a picture.
A sense of distance to the work.
All of these have something in common.
I wrote down what I felt and left it.
I hope my text will be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
3 Interview Japanese version
4 novels. unforgettable ' JPN version.
5 A streamlined trajectory. only Japanese.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel : Unforgettable'
(This book is Dedicated to the future artist.)
Synopsis
Kei Kitami, who is aiming for university, meets Kaori Uemura, an event companion who is 6 years older than her, on SNS.
Kaori's dream of coming to Tokyo is to become friends with a famous artist.
For that purpose, the radio station's producer, Ryo Osawa, was needed.
Osawa speaks to Kaori during a live radio broadcast.
"I have a wife and children. But I want to meet you."
Rika Sanjo, who is Kei's classmate and has feelings for him, has been looking into her girlfriend Kaori's movements. . . . .
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
Main story
There are two reasons why a person faces the sea.
One to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other to brush the dust of memory like an old man who misses old days staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left # how many times did I depend too much on her # doubt her # envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me # a guy filled with ambiguous unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
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www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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My Works.
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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Do you want to hear my voice?
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
4
Why did not you have a camera so far?
5
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell # I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
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What is a good composition? What is a bad composition?
10
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs # it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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I talked about how to make a work.
About work production 1/2
About work production 2/2
1 Photo exhibition up to that point. Did you want to go?
2 Well # what is an exhibition that you want to visit even if you go there?
3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.
4 works are materials and silhouettes. Similar to fashion.
5 Who is your favorite artist? What is it? Make it clear.
6 Creating a collage is exactly the same as taking photos. As I wrote in the interview # it is the same as writing a novel.
7 I want to show it to someone # but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.
8 What is copycat? Nowadays # it is suspected to be beaten. There is something called Mimesis?
kotobank.jp/word/Mimesis-139464
9 What is Individuality? What is originality?
www.youtube.com/user/mitsushiro/
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Explanation of composition. 2
1.Composition explanation 2 ... 1/4
2.Composition explanation 2 ... 2/4
3.Composition Explanation 2 ... 3/4
4.Composition Explanation 2 ... 4/4
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My shutter feeling.
Today's photo.
It is a photo taken from Eurostar.
This video is an explanation.
I went to Milan in 2005.
At that time # I went from Milan to Venice.
We took Eurostar into the transportation.
This photo was not taken from a very fast Eurostar.
When I changed the track # I took a picture at the moment I slowed down.
Is there a Japanese beside you?
Please have my video translated.
:)
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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_________________________________
twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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_________________________________
threads.
www.threads.net/@mitsushiro_nakagawa
_________________________________
_________________________________
Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
_________________________________
_________________________________
Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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My statistics (as of August 1, 2024)
How many views have I had on Flickr and Youpic?
Flickr 23,192,383 Views
Youpic 7,574,603 Views
My statistics. (As of February 7, 2024)
What is the number of accesses to Flickr and YouPic?
Flickr 21,694,434 Views
Youpic 7,003,230 Views
What is the number of accesses to Flickr and YouPic?
(As of November 13, 2023)
Flickr 20,852,872 View
Youpic 6,671,486 View
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Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsu Nakagawa belong to Lot No. 204 _ . Copyright©︎2020 Lot No.402_ All rights reserved.
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Title.
寝落ち。:)
( FUJIFILM GFX50R shot )
グアム。 アメリカ. 2024。 … 2 / 10
(今日の写真。それは未発表です。）
Images.
Hitsujibungaku(羊文学)- Burning (Eng Ver.)
youtu.be/ONIEzox_Duc?si=gpeuat01SSKFVcuG
::写真の音楽とiTunesプレイリストをリンク::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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重要なお知らせ。
僕は以下の条件を緩和します。
僕はTシャツを無料で世界中へ配布します。
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
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２０２４年の展示
テーマ
Goodbye , Photo
Images
大塚 愛 ( Ai Otsuka ) / 恋愛写真 ( Goodbye photo )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
主催
デザインフェスタ
場所
東京ビッグサイト
日程
2024年11月16日。17日。
exhibition.mitsushiro.nakagawa@gmail.com
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” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsushiro - Nakagawa.
Copyright©︎2021 Lot No.402_ All rights reserved.
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プロフィール
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
１ インタビュー 英語版
２ 小説。unforgettable’ 英語版。
３ インタビュー 日本語版
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
(四百字詰め原稿用紙４５６枚)
あらすじ
大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。
上京してきた香織の夢は、有名なアーティストの友達になるためだ。
そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。
大沢は、ラジオの生放送中、香織へ語りかける。
「僕には妻子がある。しかし、僕は君に会いたいと思っている」
ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。
本編
人が海へ向かう理由には、二つある。
ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。
もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。
二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。
再生だ。
明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。
それが再生の意味だ。
十八歳だった僕には大切な人がいた。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
５ 流線形の軌跡。 日本語のみ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
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僕の作品。
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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あなたは僕の声を聞きたいですか？
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
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作品制作について 1/2
作品制作について 2/2
１ それまでの写真展。自分は行きたいと思ったか？
２ じゃ、自分が足を運んででも行きたい展示とは何か？
３ 原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。
４ 作品とは、素材とシルエット。ファッションと似ている。
５ 自分が好きなアーティストは誰か？ どんなものなのか？ そこをはっきりさせる。
６ コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。
７ 誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。
８ パクリとは何か？ 昨今、叩かれるパクリ疑惑。ミメーシスとは？
https://ja.wikipedia.org/wiki/ミメーシス
https://kotobank.jp/word/ミメーシス-139464
９ 個性とはなにか？ オリジナリティってなに？
おまけ 眞子さまについて
という流れです。
お時間がある方は是非聴いてください。
:)
www.youtube.com/user/mitsushiro/
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構図の解説２
1.構図の解説２ ... 1/4
2.構図の解説２ ... 2/4
3.構図の解説２ ... 3/4
4.構図の解説２ ... 4/4
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僕のシャッター感覚
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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_________________________________
Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
_________________________________
_________________________________
flickr.
www.flickr.com/photos/stealaway/
_________________________________
_________________________________
YouTube.
www.youtube.com/user/mitsushiro/
_________________________________
_________________________________
instagram.
www.instagram.com/mitsushiro_nakagawa/
_________________________________
_________________________________
Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
_________________________________
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YouPic
youpic.com/photographer/mitsushironakagawa/
_________________________________
_________________________________
fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
_________________________________
_________________________________
threads.
www.threads.net/@mitsushiro_nakagawa
_________________________________
_________________________________
Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
_________________________________
_________________________________
Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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_________________________________
僕の統計。（2024年8月1日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 23,192,383 View
Youpic 7,574,603 View
僕の統計。（2024年2月7日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 21,694,434 View
Youpic 7,003,230 View
僕の統計。（2023年11月13日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 20,852,872 View
Youpic 6,671,486 View
_________________________________
_________________________________
Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsushiro Nakagawa belong to Lot no.204_ . Copyright©︎2020 Lot no.204_ All rights reserved.
_________________________________
_________________________________
” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsushiro - Nakagawa.
Copyright©︎2024 Lot No.402_ All rights reserved.
_________________________________
_________________________________
ENG
The regional train Zaragoza - Valencia, served by a DMU series 594, arrives to the railway station of Teruel, the smallest county town in Spain. This city is well known thanks to its buildings built in Moorish style and the cured Iberian ham. In the backgorund the old seminary of the city
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ESP
Antes de que los 599 cubriesen las relaciones en el corredor Huesca - Zaragoza - Valencia, los T.R.D. de la serie 594 eran los únicos que iban para arriba y para abajo en la línea del "Central de Aragón". Éstos aún pueden verse en parte de este trayecto, por ejemplo, con los MD que unen la capital del Túria con la del río Guadalaviar...que es como se llama al Túria a su paso por Teruel, ciudad desde cuya estación pueden obtenerse fondos, a mi juicio, tan bonitos con el edificio del Seminario Conciliar.