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What a great day! I finally figured out how to make a collage! I had a little visit from my daughter who walked me through it.
Leo Margulies (editor) - Mike Shayne's Torrid Twelve
Dell Books K109, 1961
Cover Artist: Robert McGinnis
Contains:
Brett Halliday - Death Dives Deep
Franklin Gregory - The Toy-Head Man
D.E. Forbes - The Fifth One
Hal Ellson - The Rites of Death
Frank Kane - The Patsy
Robert Bloch - Water's Edge
Hope Field - Moonflower
Richard Deming - A Hood is Born
Henry Slesar - The Right Kind of a House
Kenneth Fearing - Three Wives Too Many
Jonathan Craig - Sunday's Slaughter
Helen Kasson - The Musical Doll
My own texture plus Smart Photo Editor plus www.ipernity.com/doc/mara-earthlight/33890381 with thanks - finished in PicMonkey
Found on my photowalk this morning.... for all of the pictures I took with my fancy-schmancy Canon, it was the 2 that I needed the lens on my Android phone for that I loved the most.
Editor's note: This is a detail from this posting, which contains the full text for these images: www.flickr.com/photos/28634332@N05/5170498292/
Something a little different than my usual posts, too good not to share. It's a fascinating concept that compares astronomy images from NASA's Chandra X-ray Observatory to various Earth images, drawing parallels of composition and color. The series is called "From the Earth to the Heavens." Please view in large to get the best view of images and clear text.
_____________________________________________________________________
From the back of the postcard, supplementing the text in the graphic:
On the right, the images of the cosmos are from NASA's Chandra X-ray Observatory. Chandra's X-ray images reveal the regions of the Universe where highly energetic and violent phenomena shine. Images on the left are aerial photographs taken of our home planet as part of Yann Arthus-Bertrand's "The Earth from Above" project.
Image Copyright, Yann Arthus-Bertrand "Earth From Above" publisher Abrams www.yannarthusbertrand.org and www.goodplanet.org.
A huge thank- you to the Harvard-Smithsonian Center for Astrophysics, a NASA partner, for creating these gorgeous cards and making them available to us.
Read more about Chandra:
p.s. You can see all of our Chandra photos in the Chandra Group in Flickr at: www.flickr.com/groups/chandranasa/ We'd love to have you as a member!
One of my immediate thoughts for this first redress of Darius (I refuse to call him Gus, he should never have had his name stolen) was to create a tribute to Edward Enninful, Ghanaian-British Editor-in-Chief of British Vogue. I was completely charmed by him when I heard him interviewed on Radio 4's Desert Island Discs. Edward started out as a model before becoming fashion director for the magazine i-D - he was the youngest ever fashion director for an international publication at the age of 18. He is a huge promoter and supporter of diversity both in his editorial team and between the pages of the magazine.
Unfortunately I only had an edition of Spanish Vogue to use for this photoshoot 😅 Maybe Edward is going to take it over?
_DSC0057 (2)S
One of my immediate thoughts for this first redress of Darius (I refuse to call him Gus, he should never have had his name stolen) was to create a tribute to Edward Enninful, Ghanaian-British Editor-in-Chief of British Vogue. I was completely charmed by him when I heard him interviewed on Radio 4's Desert Island Discs. Edward started out as a model before becoming fashion director for the magazine i-D - he was the youngest ever fashion director for an international publication at the age of 18. He is a huge promoter and supporter of diversity both in his editorial team and between the pages of the magazine.
Unfortunately I only had an edition of Spanish Vogue to use for this photoshoot 😅 Maybe Edward is going to take it over?
_DSC0067 (2)S
Editors
Unaltrofestival Day 2
Circolo Magnolia Segrate Milan, Italy IT
02 september 2016
This image is copyright © Roberto Finizio. All right reserved. This photo must not be used under ANY circumstances without written consent.
for info and photos visit my website www.robertofinizio.it
Questa immagine è protetta da copyright © Roberto Finizio. Tutti i diritti sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
per info e materiale fotografico visita il mio sito www.robertofinizio.it
I installed a different open source raw converter/editor and it's workin miracles...
It's called RawTherapee and it's free, I'd definitely recommend it
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live @ Colos Saal, Aschaffenburg (Germany), 2009-06-27
more photos and review (in German): www.laxmag.de/laxlive/1020-editors-aschaffenburg
Shot with the Leica Q-P.
Camera files settings - RAW and JPEGS (B/W).
Straight out of Camera (S.O.O.C.) JPEGS, tweaked in Apple Photos Editor.
Governess: *screaming* NNNNIIIIIGGGEEELLLL!!!!! This child has brought yet another dead animal into this house and this time she has dressed them all in her doll clothes!!!! Beatrix! How will we ever marry you into a good family!?!
So silliness aside I have always been a huge fan of Beatrix Potter and I remember hearing as a child that she practiced sketching from dead animals she had found. Not sure about that but thought it would make a funny pic. But I Wiki-ed her today and found the most interesting fact about her:
From Wiki:
Scientific illustrations and work in mycology[edit]
Beatrix Potter's parents did not discourage higher education. As was common in the Victorian era, women of her class were privately educated and rarely went to university.[22]
Beatrix Potter was interested in every branch of natural science save astronomy.[23] Botany was a passion for most Victorians and nature study was a popular enthusiasm. Potter was eclectic in her tastes: collecting fossils,[24] studying archeological artefacts from London excavations, and interested in entomology. In all these areas she drew and painted her specimens with increasing skill. By the 1890s her scientific interests centred on mycology. First drawn to fungi because of their colours and evanescence in nature and her delight in painting them, her interest deepened after meeting Charles McIntosh, a revered naturalist and mycologist, during a summer holiday in Dunkeld in Perthshire in 1892. He helped improve the accuracy of her illustrations, taught her taxonomy, and supplied her with live specimens to paint during the winter. Curious as to how fungi reproduced, Potter began microscopic drawings of fungus spores (the agarics) and in 1895 developed a theory of their germination.[25] Through the connections of her uncle Sir Henry Enfield Roscoe, a chemist and vice-chancellor of the University of London, she consulted with botanists at Kew Gardens, convincing George Massee of her ability to germinate spores and her theory of hybridisation.[26] She did not believe in the theory of symbiosis proposed by Simon Schwendener, the German mycologist, as previously thought; rather she proposed a more independent process of reproduction.[27]
Rebuffed by William Thiselton-Dyer, the Director at Kew, because of her gender and her amateur status, Beatrix wrote up her conclusions and submitted a paper, On the Germination of the Spores of the Agaricineae, to the Linnean Society in 1897. It was introduced by Massee because, as a female, Potter could not attend proceedings or read her paper. She subsequently withdrew it, realising that some of her samples were contaminated, but continued her microscopic studies for several more years. Her paper has only recently been rediscovered, along with the rich, artistic illustrations and drawings that accompanied it. Her work is only now being properly evaluated.[28][29][30] Potter later gave her other mycological and scientific drawings to the Armitt Museum and Library in Ambleside, where mycologists still refer to them to identify fungi. There is also a collection of her fungus paintings at the Perth Museum and Art Gallery in Perth, Scotland donated by Charles McIntosh. In 1967 the mycologist W.P.K. Findlay included many of Potter's beautifully accurate fungus drawings in his Wayside & Woodland Fungi, thereby fulfilling her desire to one day have her fungus drawings published in a book.[31] In 1997 the Linnean Society issued a posthumous apology to Potter for the sexism displayed in its handling of her research.[32]