View allAll Photos Tagged Equivalent
Vintage Olympus Digicam - (31 images) - Olympus Camedia 38-380mm (35mm equivalent) C-750 Ultra Zoom (2003) - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
Together We Walk - 8 (of 10) - Sony Cybershot (2007) DSC-H9 (15X Superzoom 31-465mm equivalent) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
Vintage Olympus Camedia Digicam - 12 (of 16) - Olympus Camedia 38-380mm (35mm equivalent) C-750 Ultra Zoom (2003) - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
Together We Walk - 7 (of 10) - Sony Cybershot (2007) DSC-H9 (15X Superzoom 31-465mm equivalent) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
Sky writing. Words of wisdom from the great beyond... Or maybe they are just clouds.
Exposure: 1/2000 sec
Aperture: f/4.50
Focal length: 14 mm
ISO Speed: 100
White balance: automatic
C-750 Test Run - 10 (of 14) - Olympus Camedia 38-380mm (35mm equivalent) C-750 Ultra Zoom (2003) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
Moody Harbour Stroll: HDR (AEB) - 4 (of 13) - Sony Cybershot (2007) DSC-H9 (15X Superzoom 31-465mm equivalent) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
L'équivalent de notre cabane à patate, la cabane à tacos. On y sert des tortillas au poisson et aux crevettes panées, des ceviches de gravette et d'espadon fumée et des soupes de fruit de mer. Je veux la même chose chez nous, por favor!
A steel frame three speed cruiser. I did a 60km ride on this thing and destroyed my knees for the next month.
14 Ago 2023 . Coordinación de Seguridad . Clausura del curso de formación inicial equivalente para policía preventivo municipal.
Firelei Báez, Born Santiago de los Caballeros, Dominican Republic 1981
Untitled (Premiere Carte Pour L'Introduction A L'Histoire De Monde), 2022, oil and acrylic on archival printed canvas, 76 × 97 × 1 1⁄4 in.
What do you see in Firelei Báez's plumes of orange, red, and blue? Her painting might evoke the eye of a hurricane, an exploding supernova, or consuming flames.
Beneath the swirling streams of paint lies an image of the Atlas Historique, a map created in 1718 to document the recently conquered European colonies. Charting the farthest reaches of human knowledge at that time, the Atlas joined the earth, the solar system, and the constellations into one view.
Originally from the Dominican Republic, Báez thinks about the ways her own life has been shaped by the legacies of colonialism. She sees her art as a conversation with this earlier period, opening up space for questions and alternative histories. Here, she might be imagining the world represented by the Atlas ending in dramatic fires and floods. Or she could be continuing its traditions: her own imagery was inspired by the fantastical pictures of outer space transmitted by the James Webb Space Telescope in 2021--today's equivalent of the eighteenth-century star map.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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Two Year PG Diploma in Operations Management is a correspondence course equivalent to Distance MBA in Operations. This operations management course enables professionals to build their knowledge on latest operational management concepts and leadership aspects
Olympus E-410 Objectif Olympus Zuiko Digital ED 40-150mm Focale : 150mm (équivalent 300mm) Ouverture : F8 Vitesse : 1/500" Iso : 100 Mode : priorité ouverture
Ces photos ont été prises près de la maison de Hesbaye
La Maison de Hesbaye à Waremme
En Hesbaye et plus particulièrement dans la région de Waremme, l’asbl Environnement et Progrès initie depuis plus de 20 ans des activités « nature - environnement ». Depuis l’inauguration en mars 2006 de la Maison de Hesbaye, bâtiment polyvalent, et du sentier écologique (7,5 ha aménagés et balisés) en mars 2007, des outils performants de découverte de la nature sont à disposition du plus grand nombre.
L’objectif de l’asbl Environnement et Progrès est de valoriser de manière optimale ces investissements matériels en pérennisant un centre d’initiation à l’Environnement en Hesbaye et plus particulièrement dans une zone géographique où un manque réel est ressenti. Ce projet est l’aboutissement du projet de mise en valeur du patrimoine naturel constitué de la zone naturelle traversée par le Geer, le bois du Wachnet et les étangs du même nom. La superficie totale est d’environ 20 ha et des atouts supplémentaires sont présents sur le site : un ancien bâtiment de pisciculture à aménager pour des activités didactiques, des partenaires agricoles privés potentiels visant à développer des animations de types pédagogiques.
Les activités de la Maison de Hesbaye sont destinées à tout le territoire hesbignon, à la Province de Liège et à la Région wallonne, notamment par le biais d’échanges avec d’autres centres d’initiation à l’environnement. La philosophie de l’asbl Environnement et Progrès est de s’insérer dans le réseau d’intéressement à la nature initié par la Région wallonne en apportant sa contribution dans une thématique encore peu développée par les structures existantes d’initiation à l’environnement : la découverte de la diversité animale, qu’elle soit naturelle ou à vocation agricole. La situation de la Maison de Hesbaye à Waremme est intéressante à plus d’un titre. Tout d’abord, les infrastructures sont situées en Hesbaye, au cœur de la Provinces de Liège, jouxtant celles du Brabant wallon et de Namur. Cette localisation correspond à une zone actuellement dépourvue de structures d’initiation à l’environnement entre les C.R.I.E. de Liège, Modave, Namur et Villers-la-Ville. La présence du Geer sur le site et plus généralement de la coordination du contrat de rivière du même nom à la Maison de Hesbaye constitue un partenariat direct avec les 12 communes participant à ce contrat et permet de développer des activités en synergie dans le domaine de l’eau.
Graduates of the Syracuse City School District's Adult Education program received their NYS High School Equivalency diplomas during ceremonies held at Fowler H.S. This is the first year that the state has awarded the degree after replacing the G.E.D. Photos by John Berry.
Images from the rally in Stornoway protesting against the Scottish Government's cuts to the Road Equivalent Tariff (RET).
Ideal Prime: 42.5mm on MFT (85mm equivalent): Subject Guitar - Image by: Olympus OM-D E-M10 Mark II with Yi 42.5mm 1:1.8 Prime (M43 Mount) - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.
U.S. Secretary of Agriculture Tom Vilsack meeting with summer interns at the USDA from the Conference on Asian Pacific American Leadership (CAPAL), High School Equivalency Program and College Assistance Migrant Program (HEP/CAMP) and Hispanic Association of Colleges and Universities (HACU) on Thursday, July 11, 2024, in Washington D.C. (USDA photo by Tom Witham)
Images from the rally in Stornoway protesting against the Scottish Government's cuts to the Road Equivalent Tariff (RET).
I'm not sure what the equivalent part this is in Lego. Never had one in my (admittedly old) collection before.
equivalent of a Thunderbird? ready to pounce when required? this train was parked up in Oostende station
Cairo's equivalent of the Moscow Kremlin, the Citadel was home to the city's rulers for some 700 years. Built by Saladin in 1176, the fortified complex is divided into three vast enclosures, containing mosques, museums, battlements and residential buildings, dating from the 12th to the 19th centuries. This photograph shows the external wall of the courtyard of the most prominent building in the Citadel, Mohammed Ali's Mosque, built in classic Ottoman style in the mid-19th century.
Nanaimo Cemetery Cherry Tree - 6 (of 7) - Sony A200 with Soligor 1:2.8 135 mm Prime (with crop factor equivalent to 200 mm) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
Graduates of the Syracuse City School District's Adult Education program received their NYS High School Equivalency diplomas during ceremonies held at Fowler H.S. This is the first year that the state has awarded the degree after replacing the G.E.D. Photos by John Berry.
Ningbo's equivalent to the Shakespear's Globe Theatre in England.
SGT was Founded by the pioneering American actor and director Sam Wanamaker, Shakespeare's Globe is a unique international resource dedicated to the exploration of Shakespeare's work and the playhouse for which he wrote, through the connected means of performance and education.Together, the Globe Theatre Company, Shakespeare's Globe Exhibition and Globe Education seek to further the experience and international understanding of Shakespeare in performance.
What Would Steiglitz Say? I shot this sky with a Red 25A filter on my Fuji Finepix S7000 in B&W mode.
Takai Grinding and cooking system (including #4 conical stone mill, #8 pressure cooker, and #7 slurry tank new as of April 2008 US equivalent $16,820.
Cairo's equivalent of the Moscow Kremlin, the Citadel was home to the city's rulers for some 700 years. Built by Saladin in 1176, the fortified complex is divided into three vast enclosures, containing mosques, museums, battlements and residential buildings, dating from the 12th to the 19th centuries. This photograph shows the most prominent building in the Citadel, Mohammed Ali's Mosque, built in classic Ottoman style in the mid-19th century.
Graduates of the Syracuse City School District's Adult Education program received their NYS High School Equivalency diplomas during ceremonies held at Fowler H.S. This is the first year that the state has awarded the degree after replacing the G.E.D. Photos by John Berry.
Lisa Ramirez, Director U.S. Department of Agriculture Office of Partnerships and Public Engagement (OPPE) briefs summer interns at the USDA from the Conference on Asian Pacific American Leadership (CAPAL), High School Equivalency Program and College Assistance Migrant Program (HEP/CAMP) and Hispanic Association of Colleges and Universities (HACU) on Thursday, July 11, 2024, in Washington D.C. (USDA photo by Tom Witham)