View allAll Photos Tagged EXTERNAL
#AB_FAV_ANYTHING_GOES_ 🎨
Gathered during our travels, I will write where I found it and maybe the why? LOL
Great fun! WALL-ANCHOR.
Ghent Belgium
This I discovered on the facade of a small hat-shop, (chapellerie), just to say HELLO... In Brugge, Flanders.
Have a sunny day, thank you, M, (*_*)
For more here: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Facade, wall, window, iron, anchor, hats, design, painted, Belgium, colour, minimalist, horizontal, NikonD7000, Magda Indigo"
The external red emergency exit stairs on this building adjacent to Jubilee Campus in Nottingham reminded me of something more suited to New York.
The angle of the shadow makes the stairs look slightly crooked.
This is a shot in front of External Flame Falls in North Boston, NY. The flame is fueled by natural gas leaking up from behind the falls
I have about 01394823095 more from the beach, but I have no more room on my computer, or my external hard drive to upload them.
shame shame shame shame
Poschiavo owes its beauty to the imposing Renaissance style of its courtly 19th century architecture. These palazzi[3] were built by prosperous local residents who had made their fortune abroad, particularly in Spain.[4]
Relishing External Filaments.
Hlykkjóttir félagar dökkar sveitir sem skipa borðum svíkja merki höfuðvængir vængir nautahöfuðar slátra björg augljósum nætur,
pestilence dtonnta ionsaí anamacha roinnt claimhte fíochán coirce gairbhe tobann streachailt bhréagach gáirsiúil cuanta cogaí buailte,
flammes accrochées terreurs secrets crimes vengeance conflagrations corps blessant des incendies lames trempées exprimant des meurtres mains souillées,
parole inutili porte strazianti ombre barbariche nemici tempeste che aggrediscono lingue cerniere giganti confusioni gestioni imprinting lavori,
atos arrepiantes setas brilhantes chicoteando costas leis cortadas corpos confinados conjurando demônios comprometendo-se a labutar labirintos da perplexidade,
敵対的な兆候壊れた霊数時間の遠いルール厳しい通路を広げる石を蹴る悪魔を踏みにじる不運な死目覚める黒い雲cな槍を深く届ける深い槍.
Steve.D.Hammond.
An idea to add autonomous drones that roam the exterior of the ship picking up loose debris and checking for damage to the hull during the hazardous salvage process.
Given the scale for the (microscale) bridge, the drones would be too massive? Also I can't think of a way to attach them (without glue). Any thoughts? A smaller design maybe?
My soundtrack for my SHIPtember build: Nostromo ambient.
Tim the Tape Measure just couldn't shake the feeling that he was being pulled this way and that by outside forces!
Stansberry Lake, Washington 2018
The dome of St. Peter's rises to a total height of 136.57 metres from the floor of the basilica to the top of the external cross. It is the tallest dome in the world. Its internal diameter is 41.47 metres, slightly smaller than two of the three other huge domes that preceded it, those of the Pantheon of Ancient Rome, 43.3 metres, and Florence Cathedral of the Early Renaissance, 44 metres. It has a greater diameter by approximately 30 feet than Constantinople's Hagia Sophia church, completed in 537. It was to the domes of the Pantheon and Florence duomo that the architects of St. Peter's looked for solutions as to how to go about building what was conceived, from the outset, as the greatest dome of Christendom.
An engraved picture showing an immensely complex design for the façade, with two ornate towers and a multitude of windows, pilasters and pediments, above which the dome rises looking like a three-tiered wedding cake.
Sangallo's design
The dome of the Pantheon stands on a circular wall with no entrances or windows except a single door. The whole building is as high as it is wide. Its dome is constructed in a single shell of concrete, made light by the inclusion of a large amount of the volcanic stones tuff and pumice. The inner surface of the dome is deeply coffered which has the effect of creating both vertical and horizontal ribs while lightening the overall load. At the summit is an ocular opening 8 metres across which provides light to the interior.
Bramante's plan for the dome of St. Peter's (1506) follows that of the Pantheon very closely, and like that of the Pantheon, was designed to be constructed in Tufa Concrete for which he had rediscovered a formula. With the exception of the lantern that surmounts it, the profile is very similar, except that in this case, the supporting wall becomes a drum raised high above ground level on four massive piers. The solid wall, as used at the Pantheon, is lightened at St. Peter's by Bramante piercing it with windows and encircling it with a peristyle.
In the case of Florence Cathedral, the desired visual appearance of the pointed dome existed for many years before Brunelleschi made its construction feasible. Its double-shell construction of bricks locked together in a herringbone pattern (re-introduced from Byzantine architecture), and the gentle upward slope of its eight stone ribs made it possible for the construction to take place without the massive wooden formwork necessary to construct hemispherical arches. While its appearance, with the exception of the details of the lantern, is entirely Gothic, its engineering was highly innovative, and the product of a mind that had studied the huge vaults and remaining dome of Ancient Rome.
Sangallo's plan (1513), of which a large wooden model still exists, looks to both these predecessors. He realized the value of both the coffering at the Pantheon and the outer stone ribs at Florence Cathedral. He strengthened and extended the peristyle of Bramante into a series of arched and ordered openings around the base, with a second such arcade set back in a tier above the first. In his hands, the rather delicate form of the lantern, based closely on that in Florence, became a massive structure, surrounded by a projecting base, a peristyle and surmounted by a spire of conic form. According to James Lees-Milne the design was "too eclectic, too pernickety and too tasteless to have been a success". The façade is wide and has a row of huge columns rising from the basement to support the cornice. The ribbed, ovoid dome is surmounted by a lantern topped with ball and cross. Its drum is framed by two very much smaller domes.
St. Peter's Basilica from Castel Sant'Angelo showing the dome rising behind Maderno's façade.
Michelangelo redesigned the dome in 1547, taking into account all that had gone before. His dome, like that of Florence, is constructed of two shells of brick, the outer one having 16 stone ribs, twice the number at Florence but far fewer than in Sangallo's design. As with the designs of Bramante and Sangallo, the dome is raised from the piers on a drum. The encircling peristyle of Bramante and the arcade of Sangallo are reduced to 16 pairs of Corinthian columns, each of 15 metres high which stand proud of the building, connected by an arch. Visually they appear to buttress each of the ribs, but structurally they are probably quite redundant. The reason for this is that the dome is ovoid in shape, rising steeply as does the dome of Florence Cathedral, and therefore exerting less outward thrust than does a hemispherical dome, such as that of the Pantheon, which, although it is not buttressed, is countered by the downward thrust of heavy masonry which extends above the circling wall.
The ovoid profile of the dome has been the subject of much speculation and scholarship over the past century. Michelangelo died in 1564, leaving the drum of the dome complete, and Bramante's piers much bulkier than originally designed, each 18 metres across. Following his death, the work continued under his assistant Jacopo Barozzi da Vignola with Giorgio Vasari appointed by Pope Pius V as a watchdog to make sure that Michelangelo's plans were carried out exactly. Despite Vignola's knowledge of Michelangelo's intentions, little happened in this period. In 1585 the energetic Pope Sixtus V appointed Giacomo della Porta who was to be assisted by Domenico Fontana. The five-year reign of Sixtus was to see the building advance at a great rate.
Michelangelo left a few drawings, including an early drawing of the dome, and some details. There were also detailed engravings published in 1569 by Stefan du Pérac who claimed that they were the master's final solution. Michelangelo, like Sangallo before him, also left a large wooden model. Giacomo della Porta subsequently altered this model in several ways. The major change restored an earlier design, in which the outer dome appears to rise above, rather than rest directly on the base. Most of the other changes were of a cosmetic nature, such as the adding of lion's masks over the swags on the drum in honour of Pope Sixtus and adding a circlet of finials around the spire at the top of the lantern, as proposed by Sangallo.
A drawing by Michelangelo indicates that his early intentions were towards an ovoid dome, rather than a hemispherical one. In an engraving in Galasso Alghisi' treatise (1563), the dome may be represented as ovoid, but the perspective is ambiguous. Stefan du Pérac's engraving (1569) shows a hemispherical dome, but this was perhaps an inaccuracy of the engraver. The profile of the wooden model is more ovoid than that of the engravings, but less so than the finished product. It has been suggested that Michelangelo on his death bed reverted to the more pointed shape. However, Lees-Milne cites Giacomo della Porta as taking full responsibility for the change and as indicating to Pope Sixtus that Michelangelo was lacking in the scientific understanding of which he himself was capable.
This engraving shows the chancel end of the building much as it was built, except that the dome in this picture is completely semi-circular, not ovoid
Helen Gardner suggests that Michelangelo made the change to the hemispherical dome of lower profile in order to establish a balance between the dynamic vertical elements of the encircling giant order of pilasters and a more static and reposeful dome. Gardner also comments, "The sculpturing of architecture [by Michelangelo] ... here extends itself up from the ground through the attic stories and moves on into the drum and dome, the whole building being pulled together into a unity from base to summit."
It is this sense of the building being sculptured, unified and "pulled together" by the encircling band of the deep cornice that led Eneide Mignacca to conclude that the ovoid profile, seen now in the end product, was an essential part of Michelangelo's first (and last) concept. The sculptor/architect has, figuratively speaking, taken all the previous designs in hand and compressed their contours as if the building were a lump of clay. The dome must appear to thrust upwards because of the apparent pressure created by flattening the building's angles and restraining its projections. If this explanation is the correct one, then the profile of the dome is not merely a structural solution, as perceived by Giacomo della Porta; it is part of the integrated design solution that is about visual tension and compression. In one sense, Michelangelo's dome may appear to look backward to the Gothic profile of Florence Cathedral and ignore the Classicism of the Renaissance, but on the other hand, perhaps more than any other building of the 16th century, it prefigures the architecture of the Baroque.
Photo looking up at the dome's interior from below. The dome is decorated at the top with a band of script. Around its base are windows through which the light streams. The decoration is divided by many vertical ribs which are ornamented with golden stars.
Giacomo della Porta and Domenico Fontana brought the dome to completion in 1590, the last year of the reign of Sixtus V. His successor, Gregory XIV, saw Fontana complete the lantern and had an inscription to the honour of Sixtus V placed around its inner opening. The next pope, Clement VIII, had the cross raised into place, an event which took all day, and was accompanied by the ringing of the bells of all the city's churches. In the arms of the cross are set two lead caskets, one containing a fragment of the True Cross and a relic of St. Andrew and the other containing medallions of the Holy Lamb.
In the mid-18th century, cracks appeared in the dome, so four iron chains were installed between the two shells to bind it, like the rings that keep a barrel from bursting. As many as ten chains have been installed at various times, the earliest possibly planned by Michelangelo himself as a precaution, as Brunelleschi did at Florence Cathedral.
On 7 December 2007, a fragment of a red chalk drawing of a section of the dome of the basilica, almost certainly by the hand of Michelangelo, was discovered in the Vatican archives. The drawing shows a small precisely drafted section of the plan of the entablature above two of the radial columns of the cupola drum. Michelangelo is known to have destroyed thousands of his drawings before his death. The rare survival of this example is probably due to its fragmentary state and the fact that detailed mathematical calculations had been made over the top of the drawing.
Please visit my YouTube, 500px & new Instagram channels www.youtube.com/channel/UCt5wf3DvvWAqgUd9NMUItVw
500px.com/p/svive1?view=photos
www.instagram.com/viv_vivekananda/
Sea lions are pinnipeds characterized by external ear flaps, long foreflippers, the ability to walk on all fours, short, thick hair, and a big chest and belly. Together with the fur seals, they comprise the family Otariidae, eared seals, which contains six extant and one extinct species (the Japanese sea lion) in five genera. Their range extends from the subarctic to tropical waters of the global ocean in both the Northern and Southern Hemispheres, with the notable exception of the northern Atlantic Ocean. They have an average lifespan of 20–30 years. A male California sea lion weighs on average about 300 kg (660 lb) and is about 2.4 m (8 ft) long, while the female sea lion weighs 100 kg (220 lb) and is 1.8 m (6 ft) long. The largest sea lion is Steller's sea lion, which can weigh 1,000 kg (2,200 lb) and grow to a length of 3.0 m (10 ft). Sea lions consume large quantities of food at a time and are known to eat about 5–8% of their body weight (about 6.8–15.9 kg (15–35 lb)) at a single feeding. Sea lions can move around 16 knots (30 km/h; 18 mph) in water and at their fastest they can reach a speed of about 30 knots (56 km/h; 35 mph). Three species, the Australian sea lion, the Galápagos sea lion and the New Zealand sea lion, are listed as endangered. 61535
A very pleasant Saturday and so an ideal day to slip into my favourite black skater skirt. It's funny how sometimes external events can effect the way you dress. I was watching a program on TV last night, and saw one of the main characters of the series I am watching wear a black skater skirt for a short time. It made up my mind to wear mine today.
Tim the Tape Measure just couldn't shake the feeling that he was being pulled this way and that by outside forces!
Stansberry Lake, Washington 2018
Small Johnny Jump up and even smaller friend. Also known as heartsease and wild pansy and many other cute names.
Captured in Ohio with iPhone and Olloclip Macro Lens, Lightly edited and cropped square on the iPad in Snapseed. Then converted to black and white in Fotograf.
I have a couple of color variations. I will post one sometime soon, after I decide which one I like the best.
Always reliable with his fiery approach into braking zones, Colin Comer lights up his 1995 Ford Mustang into Turn 6 at the Road America Fall Vintage 2016
- on the morning of February 4, waiting for the relics of Saint Agatha to leave the Cathedral, and then begin the external or plebeian tour;
- la mattina del 4 febbraio, in attesa dell'uscita delle reliquie di Sant'Agata dal Duomo, per poi iniziare il giro esterno o plebeo;
……………………………….
Poster (Locandina):
www.warnerbros.it/scheda-film/genere-romantico/me-you/
m.media-amazon.com/images/S/pv-target-images/b3eb47bb2236...
i0.wp.com/www.cinematik.it/wordpress/wp-content/uploads/2...
i0.wp.com/www.cinematik.it/wordpress/wp-content/uploads/2...
----------------------------------------------------------
click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………………………
Religious devotion, at times, in Sicily seems to take on the face of women, like that of the two Sicilian saints Agata and Lucia along the Ionian coast of Sicily, or the face of Rosalia, on the opposite side, in Palermo. The lives of Agata and Lucia are closely linked, even though they never met. Agata was martyred in 251, Lucia was not yet born, she was born 32 years later. On February 5, 301, she went to Catania to pray at Agata's tomb to invoke her intercession, hoping to obtain the healing of her mother, who was seriously ill. Agata appeared to her in a dream, confirmed her mother's healing (her mother was healed), but also confided in her that she would be martyred because of her faith in Christ: Lucia was martyred on December 13, 304, during the persecutions of Diocletian. What has been said as an incipit of the photographic story that I present here, created on the occasion of the celebration that Catania dedicates to its Patron Saint Agatha, described as the most important religious celebration in Catania, also considered the third Catholic religious celebration in the world (first are the “Semana Santa” in Seville, and the “Corpus Domini” in Cuzco in Peru), a ranking that takes into account the huge number of people who participate every year. The celebration of Saint Agatha takes place on several dates, from 3 to 6 February, on 12 February and on 17 August: the February celebration is linked to her martyrdom, the August celebration commemorates the return to Catania of her mortal remains, initially taken to Constantinople as spoils of war by the Byzantine general Maniaces, and remained there for 86 years. The young Agata lived in the 3rd century, she belonged to a rich patrician family of Catania, since she was young she had embraced the cult of the Christian religion, the governor Quinziano (or Quintiliano) fell in love with her, Agata to escape him hid in his house in Palermo, Quinziano managed to find out where she was hiding, so he had her taken to Catania, here his attempts to bend Agata's will and make her give in to his flattery were in vain, after her umpteenth refusal he changed his intentions, accused her of being of the Christian religion, condemned her to death, not without first having led her to martyrdom, he amputated her by tearing off both her breasts, in this way in addition to the torment of physical pain, the psychological one was added, humiliating the girl in her femininity, then he gave her death by dragging her on burning coals, Agata was 20 years old. After her death, the cult of her began to spread, even the pagans began to venerate her figure, there is news about her origins starting from 252, the year after her death: the inhabitants of Catania were proud of this young woman who rebelled against the will of the dictator. The feast of Saint Agatha begins on February 3, there is the procession "for the offering of wax", the two eighteenth-century carriages of the senate pulled by horses come out along the streets of the city, "the candelore" make their appearance; on February 4th the celebration begins with the “Mass of Dawn” which is celebrated in the cathedral, after the reliquary bust of the Saint and the silver casket, they are placed on the “vara” (or “fercolo”), to be carried in procession in its “external tour”, the procession begins by crossing the “Porta Uzeda” and thus reaching the arches of the marina, the procession then circumscribes the historic center of the city, going to the places where Agatha’s martyrdom took place; : On February 5th the “Pontifical Mass” is celebrated, on this occasion by lining up in the cathedral, you can go and see the reliquary bust of the Saint, as evening comes, the bust and the casket are placed back on the heavy float for the last procession, which goes along the “internal tour” (or “noble tour”), which crosses the historic center of Catania, a procession preceded by the passage of lit candles carried on the shoulders of devotees (of various weights and sizes, some reach exceptional dimensions and weight, historically these candles illuminated, when electricity did not exist, the passage of the Saint), then the “candelore” pass, they are gigantic and heavy wooden “candelabra”, in baroque style, painted in gold, each one represents an ancient corporation (butchers, fishmongers, bakers, pork butchers, greengrocers, etc.), finally the float with Saint Agatha passes, the long-awaited moment, with the reliquary bust that it contains inside some parts of her body, the other parts of her body are inside the casket, so, with both on the float, Agata's entire body can travel the streets of the city of Catania. The float is pulled by hand, by the many devotees who wish to participate spontaneously in this very particular rite, using two large cords more than 200 meters long, to the end of which are connected four handles. The photographs were taken on February 4 and 5, 2024 and 2025, they are not organized in series taking into account either the year or the days; I obtained a "bilocation effect" by using different shooting points in the two years, visible especially when the float passes through the Porta Uzeda; I made portraits of the devotees, posed and not, in particular the portrait of a devotee who seemed almost enraptured in ecstasy at the passage of Sant'Agata (and perhaps she really was), it represented for me the absolute, profound and concrete synthesis of the attachment of the "citizens" (synonym of "devotees") of Catania towards this young martyr, who has become a symbol of those who oppose violence against women, and protector of women suffering from breast cancer. I photographed two beautiful and sweet models who embodied the "two ages of Agata", with the aim of raising awareness among women in the prevention of breast cancer (the ceramic decorations corresponding to the breasts are the work of "Nenè sculptures of art by Nancy Coco); I captured in some images, the custom of some devotees, to carry with them images of loved ones who passed away too soon (photos placed on candles or printed on the characteristic white habit, called "sacco", which is part of the characteristic way of dressing of the devotees); finally I thank the owner of the Beniamin Art Gallery, in via Umberto, an artist himself, for giving me the opportunity to photograph the Pop icon exhibited in his gallery entitled "Aga Pop".
…………………………………………………….
La devozione religiosa, a volte, in Sicilia sembra assumere il volto delle donne, come quello delle due sante siciliane Agata e Lucia lungo la fascia Ionica della costa sicula, od il volto di Rosalia, sul versante opposto, in quel di Palermo. Le vite di Agata e Lucia sono tra loro legate in maniera strettamente indissolubile, pur non essendosi mai conosciute, Agata morì martirizzata nel 251, Lucia non era ancora nata, nascerà 32 anni dopo, il 5 febbraio del 301 si recherà a Catania a pregare sul sepolcro di Agata per invocare la sua intercessione sperando così di ottenere la guarigione di sua madre, gravemente malata, Agata le appare in sogno, le conferma la guarigione di sua madre (sua madre ebbe la guarigione), ma anche, le confida, che per lei ci sarà il martirio a causa della sua fede in Cristo: Lucia fu martirizzata il 13 dicembre del 304, durante le persecuzioni di Diocleziano. Quanto detto come incipit del racconto fotografico che qui presento, realizzato in occasione della festa che Catania dedica alla sua Santa Patrona Agata, descritta come la più importante festa religiosa di Catania, considerata anche la terza festa religiosa cattolica al mondo (prime la “Semana Santa” di Siviglia, ed il “Corpus Domini” di Cuzco in Perù), graduatoria che tiene conto del grandissimo numero di persone ogni anno vi partecipano. La festa di Santa’Agata si svolge in più date, dal 3 al 6 febbraio, il 12 febbraio ed il 17 agosto: la ricorrenza di febbraio è legata al suo martirio, quella di Agosto rievoca il ritorno a Catania delle sue spoglie mortali, portate inizialmente a Costantinopoli come bottino di guerra dal generale bizantino Maniace, e li rimaste per 86 anni. La giovane Agata visse nel 3° secolo, apparteneva ad una ricca famiglia patrizia di Catania, sin dalla giovane età aveva abbracciato il culto per la religione cristiana, di lei si invaghì il governatore Quinziano (o Quintiliano), Agata per sfuggirgli si nascose in una sua casa a Palermo, Quinziano riuscì a sapere dove si nascondeva, quindi la fece condurre a Catania, qui i suoi tentativi di piegare la volontà di Agata e farla cedere alle sue lusinghe furono vani, all’ennesimo suo rifiuto egli mutò i suoi propositi, la accusò di essere di religione cristiana, la condannò a morte, non senza averla prima condotta al martirio, le amputò strappandole entrambi i seni, in tal modo oltre allo strazio del dolore fisico, si aggiungeva quello psicologico, umiliando la ragazza nella sua femminilità, poi le diede la morte trascinandola sui carboni ardenti, Agata aveva 20 anni. Dopo la sua morte si iniziò a diffondere il culto verso di lei, anche i pagani iniziarono a venerare la sua figura, si hanno notizie sulle sue origini già a partire dal 252, anno successivo alla sua morte: gli abitanti di Catania erano orgogliosi di questa giovane donna che si ribellò al volere del dittatore. La festa per Sant’Agata inizia il 3 febbraio, si ha la processione “per l’offerta della cera”, escono lungo le vie della città le due settecentesche carrozze del senato trainate da cavalli, fanno la loro comparsa “le candelore”; il 4 febbraio la festa inizia con la “Messa dell’Aurora” che si celebra nella cattedrale, dopo il busto reliquiario della Santa e lo scrigno d’argento, vengono messi sulla “vara” (o “fercolo”), per essere portati in processione nel suo “giro esterno”, la processione inizia attraversando la "Porta Uzeda" e giungendo così agli archi della marina, la processione quindi circoscrive il centro storico della città, recandosi nei luoghi ove avvenne il martirio di Agata; il 5 febbraio si celebra la “Messa Pontificale”, in questa occasione mettendosi in fila nella cattedrale, si può andare a vedere il busto reliquiario della Santa, col sopraggiungere della sera, busto e scrigno, vengono nuovamente messi sulla pesante vara per l’ultima processione, che percorre il “giro interno” (o “giro nobile”), che attraversa il centro storico di Catania, processione preceduta dal passaggio dei ceri accesi portati in spalla dai devoti (di vario peso e dimensioni, alcuni raggiungono dimensioni e peso eccezionali, storicamente questi ceri illuminavano, quando non esisteva l’energia elettrica, il passaggio della Santa), poi passano le “candelore”, sono dei giganteschi e pesanti "candelabri" in legno, in stile barocco, dipinti in oro, ognuna rappresenta una antica corporazione (macellai, pescivendoli, panettieri, pizzicagnoli, fruttivendoli, ecc.), infine passa la vara con Sant’Agata, il momento tanto atteso, col busto reliquiario che racchiude al suo interno alcune parti del suo corpo, le altre parti del corpo si trovano all’interno dello scrigno, in tal modo, con entrambi sulla vara, tutto il corpo di Agata può percorrere le strade della città di Catania. La vara è trainata a mano, dai tantissimi devoti che desiderano partecipare spontaneamente a questo rito così particolare, tramite due grossi cordoni lunghi più di 200 metri, al cui capo sono collegate quattro maniglie. Le fotografie sono state realizzate il 4 ed il 5 febbraio del 2024 e del 2025, esse non sono organizzate in serie tenendo conto né dell’anno, nè delle giornate; ho ottenuto un “effetto di bilocazione” sfruttando differenti punti di ripresa nei due anni, visibile soprattutto quando la vara passa attraverso la Porta Uzeda; ho realizzato ritratti dei devoti, posati e non, in particolare il ritratto di una devota che sembrava quasi rapita in estasi al passaggio di Sant’Agata (e forse lo era veramente), ha rappresentato per me la sintesi assoluta, profonda e concreta dell’attaccamento dei “cittadini” (sinonimo di “devoti”) catanesi nei confronti di questa giovane martire, diventata simbolo di chi si oppone alla violenza sulle donne, e protettrice delle donne ammalate di cancro al seno. Ho fotografato due belle e dolci modelle che impersonavano le “due età di Agata”, con lo scopo di sensibilizzare le donne nella prevenzione delle neoplasie alla mammella (i decori in ceramica in corrispondenza dei seni, sono opera di “Nenè sculture d’arte di Nancy Coco); ho colto in alcune immagini, l’usanza di alcuni devoti, di recare con se immagini di persone care scomparse troppo presto (foto messe sui ceri o stampate sul caratteristico saio bianco, chiamato “sacco”, che fa parte del modo caratteristico di vestire dei devoti); infine ringrazio il proprietario della Beniamin Art Gallery, in via Umberto, artista egli stesso, per avermi dato la possibilità di fotografare l’icona Pop esposta nella sua galleria dal titolo “Aga Pop”.
Growing corn quickly tends to block the railroad tracks - and roads - from view. It's fast growing stuff, as just two weeks after I snapped this, the tops of the corn crop were covering up much of the wheels on passing trains. Even higher now, too! There were a few spots I would have liked to get a good distant field shot with crops growing, rather than just drab brown after harvest, but that'll have to wait till next year.
NS255 came rocketing through Sadorus after its brief slow order across the CN diamond back in Tolono. We only beat it here from Homer because of that slow order - it's tough to chase anything on the Lafy, but the RoadRailer is notoriously hard to catch up to. You really can only do so much and have to hope for some other reason for them to slow down. We were cutting it close with our daylight and cloud cover, too. 255 had been pretty late this day, so we lost our nice golden light. A bit moody of a view instead, works for me anyway.
Classic Rikstelefon photo booth from back in the day. Today a hjärtstartare. Or an Automated external defibrillator. In the Old Town in Stockholm next to the Great Church, Storkyrkan. All thanks to local politician Dennis Wedin.
A very pleasant Saturday and so an ideal day to slip into my favourite black skater skirt. It's funny how sometimes external events can effect the way you dress. I was watching a program on TV last night, and saw one of the main characters of the series I am watching wear a black skater skirt for a short time. It made up my mind to wear mine today.
An experiement shot trying with both hands holding the balloon. FYI I'm entirely in frame (a la this). I find the balloon break pattern is significantly different when held than when it's in the air.
---
Strobist: SB600 on camera left and below, gobo'd, on 1/64th power. SB800 on camera right and above, gobo'd on 1/64th. Balloon with green dyed water. Retouching / correction in Aperture.
---
EDIT: Explored #6! Thanks all for the wonderful comments.
Fraserburgh passenger railway station a few months before closure.
NBL type 2, D6142 awaits departure with the train to Aberdeen.
(Picture taken by the late Robin Barbour)
At the other end of this train is another NBL type 2, D6145. By co-incidence a few months later from when this photograph was taken, on the 15th October 1965 these 2 locos hauled the very last Royal train from Ballater to Aberdeen.
Part of a series of shots on time and its perception
The concept of time is called by concentric rings of the trunk, indices of life cycle and becoming.
Their sequence expresses the path of the lymph (life), its get cyclically that winds through the seasons.
Our perception (external) of this passing is the result of an unspoken rule that allows us to attribute the abstract concept of time even to those who do not know this concept.
Nature does not perceive time as a sequence of seconds minutes and hours, but as a single becoming through eras.
The subjective perception and attribution of time translates, in this case, the desire to measure and categorize the world around us, often with attributes that do not belong.
External-E -DSCF4434.XT
MIX. Doble Exposición color - ITPTV-MOD.
Selecc. DGV-MOV.
Gracias por compartir. Agradezco a todos su seguimiento atención, favoritas y amables comentarios….
Muchas gracias por vuestra visita .
Thank you very much for your visit and comments.
Molt agraït per la vostra visita, atencions i comentaris.
Très reconnaissant pour votre visite, l'attention et les commentaires.