View allAll Photos Tagged Executed
The Treasure hunt is executed in sick now.
Cyber suits that I wear now can be gotten by collecting 10 mystery man's masks.
to 6th Sep.
secondlife://sick/234/129/28/
This picture was made on the top floor of an abandoned 12th century monastery (build around 1190). A small part of the building was caught by a fire 50 years ago. For almost 40 years there were, and still are plans to renovate the monastery as a retirement home, but never got executed. The cost of this project are estimated around 10 million euro (or approximately 11.889.000$)....
It was pretty easy to explore this abandoned monastery. But when a shepherd arrived to let his sheep on the green courtyard... He locked it all up, very diligent so none of them could escape... And so were we... locked up inside...
Photographie sur verre
Exposé sur le parvis de l'église. Il faisait soleil, le bleu : un coin de ciel parisien.
Expo "HAPPYCALLYPSE", église de la Madeleine.
L’artiste Chayan Khoi, photographe et peintre, est né en 1963 à Téhéran. Citoyen du monde, Chayan Khoï vit et travaille entre Paris, Téhéran & Marrakech. Plus de 100 œuvres de l'artiste (photos et peintures) sont exposées à la Madeleine. Elles sont exécutées sur divers supports : toile, bois ou verre. Certaines comportent des collages : perles, bijoux, masques, tissages, plumes, ornements "ethniques", etc... Son art dit "cyberéaliste" restitue la circulation d’énergie d’une force permanente et invisible. Chayan Khoi nous communique un "message". Pour lui, la condition humaine est universelle. Et toutes les quêtes visent le même sommet. Reflets du profane et du sacré, du mystère de la vie, de la condition tragique de l’homme, du particulier et de l’universel, du conscient et l’inconscient, du rêve et la réalité, du temps présent et de l’intemporel.
Site officiel de l'artiste : chayankhoi.fr/
En raison des attaques BRUTALES et SANGLANTES exécutés à Paris dans les dernières heures, je décide de supprimer le TITRE, la MUSIQUE, et le TEXT précédent de cette image.
Mon PLUS FORTE et ABSOLUE condamnation de ce nouvel acte de l'HORREUR et de la BARBARIE. Et mon profonde et plus sincère ESTIME et RESPECT pour toutes les victimes, leurs familles et amis, et pour tous le Peuple Français.
Alors que je suis écrivant ces lignes, Paris est encore sous le feu et la méchanceté de ceux qui ne connaissent pas la langue plus que la VIOLENCE et la TERREUR.
Nous sommes tous Paris, nous sommes tous La France.
Debido a los BRUTALES y SANGRIENTOS atentados llevados a cabo en París en las últimas horas, he decidido eliminar el TITULO, la MÚSICA y el TEXTO anterior de esta imagen.
Mi más ENÉRGICA y ABSOLUTA condena ante esta nueva muestra de HORROR y BARBARIE. Y mi más profundo y sincero RESPECTO para todas las víctimas, sus familias y amigos, y para todo el Pueblo Francés.
Mientras escribo estas líneas, París sigue bajo el fuego y la maldad de aquellos que no conocen más lenguaje que la VIOLENCIA y el TERROR.
Todos somos París, todos somos Francia.
Due to the BRUTAL and BLOODY attacks carried out in Paris in the last few hours, I decided to delete the TITLE, MUSIC and previous TEXT of this image.
My most STRONGEST and ABSOLUTE condemnation of this new act of HORROR and BARBARISM. And my deepest and most sincere RESPECT to the victims, their families and friends, and for all the French People.
As I write these lines, Paris is yet under the fire and the wickedness of those who do not know more language than the VIOLENCE and TERROR.
We are all Paris, we are all France.
Kilmainham Gaol (Irish: Príosún Chill Mhaighneann) is a former prison in Kilmainham, Dublin, Ireland. It is now a museum run by the Office of Public Works, an agency of the Government of Ireland. Many Irish revolutionaries, including the leaders of the 1916 Easter Rising, were imprisoned and executed in the prison by the orders of the UK Government.When it was first built in 1796, Kilmainham Gaol was called the "New Gaol" to distinguish it from the old prison it was intended to replace – a noisome dungeon, just a few hundred metres from the present site. It was officially called the County of Dublin Gaol, and was originally run by the Grand Jury for County Dublin.
Originally, public hangings took place at the front of the prison. However, from the 1820s onward very few hangings, public or private, took place at Kilmainham. A small hanging cell was built in the prison in 1891. It is located on the first floor, between the west wing and the east wing.
There was no segregation of prisoners; men, women and children were incarcerated up to 5 in each cell, with only a single candle for light and heat. Most of their time was spent in the cold and the dark, and each candle had to last for two weeks. Its cells were roughly 28 square metres in area.
Children were sometimes arrested for petty theft, the youngest said to be a seven-year-old child, while many of the adult prisoners were transported to Australia.
At Kilmainham, the poor conditions in which women prisoners were kept provided the spur for the next stage of development. As early as 1809, in his report, the Inspector had observed that male prisoners were supplied with iron bedsteads while females "lay on straw on the flags in the cells and common halls". Half a century later there was little improvement. The women's section, located in the west wing, remained overcrowded. In an attempt to relieve the overcrowding, 30 female cells were added to the Gaol in 1840. These improvements had not been made long before the Great Famine occurred, and Kilmainham was overwhelmed with the increase of prisoners.
Kilmainham Gaol was decommissioned as a prison by the Irish Free State government in 1924. Seen principally as a site of oppression and suffering, there was at this time no declared interest in its preservation as a monument to the struggle for national independence. The jail's potential function as a location of national memory was also undercut and complicated by the fact that the first four Republican prisoners executed by the Free State government during the Irish Civil War were shot in the prison yard.
The Irish Prison Board contemplated reopening it as a prison during the 1920s but all such plans were finally abandoned in 1929. In 1936 the government considered the demolition of the prison but the price of this undertaking was seen as prohibitive. Republican interest in the site began to develop from the late 1930s, most notably with the proposal by the National Graves Association, a Republican organisation, to preserve the site as both a museum and memorial to the 1916 Easter Rising. This proposal received no objections from the Commissioners of Public Works, who costed it at £600, and negotiations were entered into with the Department of Education about the possibility of relocating artefacts relating to the 1916 Rising housed in the National Museum to a new museum at the Kilmainham Gaol site. The Department of Education rejected this proposal seeing the site as unsuitable for this purpose and suggested instead that paintings of nationalist leaders could be installed in appropriate prison cells. However, with the advent of the Emergency the proposal was shelved for the duration of the war.
An architectural survey commissioned by the Office of Public Works after World War II revealed that the prison was in a ruinous condition. With the Department of Education still intransigent to the site's conversion to a nationalist museum and with no other apparent function for the building, the Commissioners of Public Works proposed only the prison yard and those cell blocks deemed to be of national importance should be preserved and that the rest of the site should be demolished. This proposal was not acted upon.
In 1953 the Department of the Taoiseach, as part of a scheme to generate employment, re-considered the proposal of the National Graves Association to restore the prison and establish a museum at the site. However, no advance was made and the material condition of the prison continued to deteriorate.
From the late 1950s, a grassroots movement for the preservation of Kilmainham Gaol began to develop. Provoked by reports that the Office of Public Works was accepting tenders for the demolition of the building, Lorcan C.G. Leonard, a young engineer from the north side of Dublin, along with a small number of like-minded nationalists, formed the Kilmainham Gaol Restoration Society in 1958. In order to offset any potential division among its members, the society agreed that they should not address any of the events connected with the Civil War period in relation to the restoration project. Instead, a narrative of the unified national struggle was to be articulated. A scheme was then devised that the prison should be restored and a museum built using voluntary labour and donated materials.
With momentum for the project growing, the Irish Congress of Trade Unions informed the society that they would not oppose their plan and the Building Trades Council gave it their support. It is also likely that Dublin Corporation, which had shown an interest in the preservation of the prison, supported the proposal. At this time the Irish government was coming under increasing pressure from the National Graves Association and the Old IRA Literary and Debating Society to take action to preserve the site. Thus, when the society submitted their plan in late 1958 the government looked favourably on a proposal that would achieve this goal without occasioning any significant financial commitment from the state.
In February 1960 the society's detailed plan for the restoration project, which notably also envisioned the site's development as a tourist attraction, received the approval of the notoriously parsimonious Department of Finance. The formal handing over of prison keys to a board of trustees, composed of five members nominated by the society and two by the government, occurred in May 1960. The trustees were charged a nominal rent of one penny rent per annum to extend for a period of five years at which point it was envisaged that the restored prison would be permanently transferred to the trustees' custodial care.
Commencing with a workforce of sixty volunteers in May 1960, the society set about clearing the overgrown vegetation, trees, fallen masonry and bird droppings from the site. By 1962 the symbolically important prison yard where the leaders of the 1916 Rising were executed had been cleared of rubble and weeds and the restoration of the Victorian section of the prison was nearing completion. It opened to the public on 10 April 1966. The final restoration of the site was completed in 1971 when Kilmainham Gaol chapel was re-opened to the public having been reroofed and re-floored and with its altar reconstructed. The Magill family acted as residential caretakers, in particular, Joe Magill who worked on the restoration of the gaol from the start until the Gaol was handed over to the Office of Public works.
It now houses a museum on the history of Irish nationalism and offers guided tours of the building. An art gallery on the top floor exhibits paintings, sculptures and jewellery of prisoners incarcerated in prisons all over contemporary Ireland.
Kilmainham Gaol is one of the biggest unoccupied prisons in Europe. Now empty of prisoners, it is filled with history.
In 2013, Kilmainham courthouse located beside the prison, which had remained in operation as a seat of the Dublin District court until 2008 was handed over to the OPW for refurbishment as part of a broader redevelopment of the Gaol and the surrounding Kilmainham Plaza in advance of the 100th anniversary of the 1916 Rising. The courthouse opened in 2015 as the attached visitor's centre for the Gaol.
Des peintures ont été exécutées sur le mur entourant le chœur entre les années 1316 et 1324. Elles ont été badigeonnées à la fin du XVIIIe siècle. Elles représentaient la lapidation et ensevelissement de saint Étienne, le baptême du préfet Dioscorus par saint Genoulph, l'Adoration des Mages, le Couronnement de la Vierge, la consécration de l'autel de la Vierge de Rocamadour par saint Martial et le martyre de sainte Valérie. Elles ont été redécouvertes en 1872 par le peintre et sculpteur de Cahors, Cyprien Calmon. Il en a commencé la restauration en 1873. Si cette restauration reste modérée sur le panneau du couronnement de la Vierge, les panneaux représentant la lapidation de saint Étienne sur le piédroit de l'arc-doubleau du côté nord et l'Adoration des Mages sont entièrement repeints. Les autres panneaux sont des compositions de Cyprien Calmon (1837-1901) qui les a signés.
The Global Super Tanker returned to Pinal Air Park today from Sacramento, CA where it had been fighting the wildfires.. She made 3 low passes prior to landing and executed a water drop on the third low pass.
Marana, AZ.
12-8-18.
Photo by: Ned Harris
Thanks to Paul Larson for the heads up.
Colonnade Arch glows from within (Gary Clendening conceived and executed the lighting) under the colder glow of the Milky Way.
The lights of Moab create the glow on the horizon. Colonnade Arch is near Keg Knoll and on the western rim of the Green River Canyon. The Andromeda Galaxy is very close to third, smallest window.
Colonnade Arch, also known as Five Hole Arch, is described by geologists as a buttressed alcove, and has three windows looking to the south and two windows looking up--it is a fascinating structure with just one approach. It sits on the edge of a precipitous drop into Two Mile Canyon to the south and a view of the Green River to the southeast.
Gary Clendening and I checked the route during the day, recording GPS waypoints, and then walked returned on a moonless night at 2 AM, walking across slickrock for more than a mile. Quite an adventure.
Claus Schenk Graf von Stauffenberg, 1907 - 1944
Resistance fighter against Adolf Hitler, executed July 21, 1944
Widerstandskämpfer gegen Adolf Hitler, hingerichtet am 21.07.1944
Laid out in 1896 to mark the thousandth anniversary of Hungary, Heroes' Square (Hősök tere) is the largest and most impressive square of Budapest.
The Millennium Monument in the middle of the square was erected to commemorate the 1000-year-old history of the Magyars. Archangel Gabriel stands on top of the center pillar, holding the holy crown and the double cross of Christianity. The seven chieftains who led the Magyar tribes to Hungary can be seen on the stand below. Statues of kings and other important historical figures stand on top of the colonnades on either side of the center pillar.
When the monument was originally constructed, Hungary was part of the Austro-Hungarian Empire and thus the last five spaces for statues on the left of the colonnade were reserved for members of the ruling Habsburg dynasty. The Habsburg emperors were replaced with Hungarian freedom fighters when the monument was rebuilt after World War II.
In 1989 a crowd of 250,000 gathered at the square for the reburial of Imre Nagy, former Prime Minister of Hungary, who was executed in 1958. (from visitbudapest.travel/)
Normally I don't post many images of a bird or an animal without the face or eyes being present, but sometimes I make an exception, like in this case. This kestrel came flying in and prepared for touchdown in its landing, but first ... wings up, tail fanned, feathers spread, and talons out as it navigates the grab. I just love watching them.
Happy Friday everyone!
© Debbie Tubridy Photography
MISS YOU...↓
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MY OUTFIT↓
MESH HEAD: CATWA HDPRO Qυeeɴ
MESH BODY: BELLEZA Freyα
SHAPE: PERSONAL SHAPE EхeCυтe Sтore
SKIN: *YS&YS* - Dαĸoтα Toɴe 03
EYES: [NoRυѕн] Heαrт Eyeѕ
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ACCESSOIRES...↓
NAILS: YSORAL Lυхe Nαιlѕ Mercυre
TATTOO: ARABIC TATTOO Bυттerғly Coɴғυѕed
COLLAR: FAKEICON / Mαry Geмѕ Collαr
FACE & BODY PIERCINGS: YSORAL
RINGS: YSORAL Lυхe Seт Rιɴɢѕ Alyѕѕα
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CLOTHING... ↓
HAIR: DOUX Toхιc нαιrѕтyle
PANTIES: EхeCυтe Avα Tнoɴɢ
BOOTS: EMPIRE Pαυlα
The modernist shed halls of the dyeing works (Färberei), Verseidag Krefeld (architect Ludwig Mies van der Rohe, 1930/31)
Part of the only industrial architecture project planned and executed by Mies van der Rohe.
Today Mies van der Rohe Business Park.
The building will be kept in a basic state of preservation until the marketing has been completed, i.e. permanent tenants have been found and further financing for a monument-compliant expansion has been secured.
taken 26.03.2020
uploaded 06.12.2020
photo in Explore 07.12.2020
Apollo and Daphne is a life-sized marble sculpture by the Italian artist Gian Lorenzo Bernini, which was executed between 1622 and 1625. It is regarded as one of the artistic marvels of the Baroque age. The statue is housed in the Galleria Borghese in Rome, along with several other examples of the artist's most important early works. The sculpture depicts the climax of the story of Apollo and Daphne (Phoebus and Daphne), as written in Ovid's Metamorphoses, wherein the nymph Daphne escapes Apollo's advances by transforming into a laurel tree.
Apollo and Daphne was the last of a number of important works commissioned by Cardinal Scipione Borghese from Gian Lorenzo Bernini that helped to define Baroque sculpture. Thereafter, Bernini served a succession of popes. Apollo and Daphne was commissioned after Borghese had given an important work of his patronage, Bernini's The Rape of Proserpina (1621-22), to Cardinal Ludovico Ludovisi. Through this generous gesture, Borghese hoped to ingratiate himself to the favored nephew of the new pope, Gregory XV.
Much of the early work on Apollo and Daphne was done in 1622–23, but Bernini's work on his sculpture of David (1623-24) interrupted its completion. Bernini finished Apollo and Daphne in 1625, and it was moved to the Cardinal's Villa Borghese in September of that year. Bernini did not execute the sculpture entirely by his own hand. As was the common practice at that time, he had help from his workshop. Giuliano Finelli, who was a very gifted sculptor, undertook the finer details that show Daphne's conversion from human to tree, such as the twigs and leafs springing from her hands, and her windswept hair. Some art historians, however, discount the importance of Finelli's contribution, since he was merely realizing Bernini's creative vision. Apollo and Daphne's enthusiastic reception began as soon as the work was unveiled.
crafted and executed by the Official Replica, Regalia and Dressmakers of the Basilica Minore del Sto. Nino de Cebu, Mr. Juanito Zafra, Mr. Orlando Abellanosa, and the Asilo dela Medalla Milagrosa.
Des peintures ont été exécutées sur le mur entourant le chœur entre les années 1316 et 1324. Elles ont été badigeonnées à la fin du XVIIIe siècle. Elles représentaient la lapidation et ensevelissement de saint Étienne, le baptême du préfet Dioscorus par saint Genoulph, l'Adoration des Mages, le Couronnement de la Vierge, la consécration de l'autel de la Vierge de Rocamadour par saint Martial et le martyre de sainte Valérie. Elles ont été redécouvertes en 1872 par le peintre et sculpteur de Cahors, Cyprien Calmon. Il en a commencé la restauration en 1873. Si cette restauration reste modérée sur le panneau du couronnement de la Vierge, les panneaux représentant la lapidation de saint Étienne sur le piédroit de l'arc-doubleau du côté nord et l'Adoration des Mages sont entièrement repeints. Les autres panneaux sont des compositions de Cyprien Calmon (1837-1901) qui les a signés.
Putting images next to each other. In pairs. Sometimes not. On pages, virtual pages. This poorly executed one not among them although it could have been, had there been less rush. There always seems to be rush. Rush is good for nothing, not even groceries.
The church is renowned for its 12th century mosaics executed by craftsmen working in the Byzantine style. The mosaics show many iconographic and formal similarities to the roughly contemporary programs in the Cappella Palatina, in Monreale Cathedral, and in Cefalù Cathedral, although they were probably executed by a distinct atelier.[16]
The walls display two mosaics taken from the original Norman façade, depicting King Roger II, George of Antioch's lord, receiving the crown of Sicily from Jesus, and, on the northern side of the aisle, George himself, at the feet of the Virgin. The depiction of Roger was highly significant in terms of its iconography. In Western Christian tradition, kings were customarily crowned by the Pope or his representatives; however, Roger is shown in Byzantine dress being crowned by Jesus in the Byzantine fashion. Roger was renowned for presenting himself as an emperor during his reign, being addressed as basileus ("king" in koine Greek). The mosaic of the crowning of Roger carries a Latin inscription written in koine Greek characters (Rogerios Rex ΡΟΓΕΡΙΟΣ ΡΗΞ "king Roger").
The nave dome is occupied by the traditional byzantine image of Christ Pantokrator surrounded by the archangel saints: Michael, Gabriel, Raphael, and Uriel. The register below depicts the eight prophets of the Old Testament and, in the pendentives, the four evangelists of the New Testament. The nave vault depicts the Nativity and the Death of the Virgin.
c/o Wikipedia
Salle exécutée par Giulio Romano (Jules Romain, Rome, 1492-Mantoue, 1546) et Francesco Primaticcio (Le Primatice, Bologne, 1503-Paris, 1570), son élève le plus brillant.
"Commander, the time has come. Execute Order Sixty-Six."
"We must move quickly. The Jedi are relentless. If they are not all destroyed, it will be civil war without end."
"Do not hesitate. Show no mercy"
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Honestly Order 66 is the saddest part of Star Wars. There was a special bond between the Clone Troopers and their Jedi Generals and they were forced to unwillingly slaughter their brothers in arms.
I was feeling a Star Wars build and this just kinda happened. I wanted to explore new color combos, and I really like the olive green foliage and the dark orange soil. And while I was at it I decided to make this my application to Dark Times.
As previously stated, this is my final build of 2019; my final build of the decade!
This image has been in my ‘edited folder’, for some time now. This ‘edited folder’ acts as a stopgap between, leaving the raw file in the original folder, (never to see the light of my laptop again) and deciding to do something with it, postproces and show to you guys. I like to have this middle ground as a reflective space, kind of giving myself some time to digest the images merits. Ironically, leaving the image there for a short time helps distance me from the initial passion that I’ve experienced when making the image, so I’m able to objectively see, (in the cold light of day) if the image transfers the same set of emotive attributes, (that initially brought me to visualise then execute it) are still present when you take ‘me’ out of the equation. This process is a way of attempting to empathically see the image from the viewer’s perspective, to discern if the image in its self, removed from my immediate perception, will catalyse the same emotions I felt for the real experience.
The process of reflection inevitably means that some images, that I consider to be interesting in some way, don’t make it past this self initiated quality control filter. By quality control, I don’t mean technical issues, (they are sifted out when I first view the raw files) but conceptual, compositional, unusual, dramatic, mystical, subtle, merit (I could go on but I won’t).
Now sadly this process, like my mind, is not totally organised, (I do hope I haven’t given a misleading impression of that here). I generally use my gut feeling to guide these exceptionally difficult editing choices, but sometimes for reason it’s often hard to put those choices into words and some images in this folder I’m just not sure about. Now I could just make another folder that is in-between the ‘edited folder’ and call it ‘almost sure this is what I want to show the world, but not quite’ but that would be taking my occasional challenging indecisiveness to a new level of obsession.
now this might not seem like a big problem to some of you out there, and its only myself imposed desire to present a personal vision on the world that is extra special to me, that keeps me worrying about this type of thing, ho yes let’s not forget the rewards from the fascinating learning process I encounter as a pleasant by-product. But I suppose what I’m trying to do here, is attempt to analyse, then organise my own thought processes in order to make stronger emotive photographs.
Some of you may think that I write so much in accompaniment to the imagery I present, because I want to offer my views, or help others learn from my mistakes, or to initiate debate, (and you’d be partly correct). But a significant part of the reason for writing this text is to try and illuminate my own thought processes in order to hone them. I’m attempting to reflect in order to develop. (On a side note I’ve long taken the piss out of people who say they are trying to find themselves, but it appears that I’m now one of those people, so joke away!)
This complex set of personal, often subconscious filters, from where to soot, what time of day, how to compose, what subjects we choose, what equipment, what environment, what season, to what we decide to edit, how we edit, how when then present it and what text goes along with it, (to name a few), all ensure that we present only the imagery that fits our current artistic vision.
Furthermore by analysing this process in depth, I feel that I’m able to feed the reflected ideas back into the subconscious decisions I take whilst on location, to make the subconscious coconscious and artistic vision constructively directed.
Anyway this image was taken at Sandsend a few weeks ago. The conditions were perfect, (for my current artistic vision), as it was very stormy and the low light and heavy clouds, offered a wonderfully dramatic setting. Now as you can imagine I was excited to explore this photographically and quickly began working before the fast moving circumstances changed. Then unusually for this beach, I happened on another photographer, who began to set up his large format camera in my profiroll vision. now because the conditions were so special, I didn’t go over and talk to him, as I usually would have, but continued working and told myself that when the rainbow disappears id go over and reflect on the amazing circumstances. Now as this conflict was working its way thought my mind, it began to rain. I didn’t care, as I was enjoying myself so much that I didn’t want to end the experience, but secondly, I was already wet through from being just that bit too deep in the sea, for the waves to stay beneath my wellies. Anyway when it began spitting, the for mentioned large format photographer, packed up and disappeared before I could break off and have a chat.
Now I respect that camera equipment and water don’t mix, especially sea water, and that due to the very dark clouds, there may have been good reason to assume that the heavens were about to open. So I understand the other photographer’s decision to make for his car, but I don’t understand that in such fantastic conditions, an obviously committed large format photographer (well so I assumed from the size of his expensive gear), not wanting to seize the moment. I wish I could have had a chance to talk to that guy, and who knows it might be you, but if it is, you missed a great opportunity to feel the rawness of nature. Anyway I wonder what you thought of me on that day? Maybe I will one day find out (o:
This meticulously executed preparatory drawing documents the initial conception of a dramatic and monumental composition, now at the Louvre, that would become a seminal work in the artist’s oeuvre. Although Girodet would go on to produce numerous figurative studies, the Gallery’s recently rediscovered sheet is one of three compositional sketches for this painting and, as far as we know, the only preparatory work for A Deluge Scene outside of France.
Though mankind spreads a thousand fold
No mortal may escape my hold
My hunt is endless and my thrill
is executing god's own will
They call me reaper as my scythe
shall end their plague of love and life
In time all men shall find me there
and cry out in their own despair
Those who seek me shall soon find
I come to men of every kind
I follow sickness, pain and age
I transcribe names upon the page
I follow war, and pestilence
and ride with them in excellence
When the end comes I will be there
to claim all men within my snare
No person may escape the pain
in time all peoples shall be slain
I send men to their last judgement
as they cry out in their lament
I came in Egypt as a plague
my purpose true, my methods vague
With gods command I will be there
my forces beyond all compare
In time all of mankind is shown
the journey they must take alone
the trip from the world they call home
to lands where the spirit may roam
I drag them to the other side
no one can run, no one can hide
I rob their lungs of breath and air
Kings and paupers must beware
The truth is no one has control
of their time or of their own soul
Their days are numbered I must be
the voice that screams their elegy
I stalk all folk, I'm just behind
the darkness which shall rend you blind
I never left I'm always there
There's no one here that death shall spare
Upon my pale horse I must ride
To bring men to the other side
my task brings sorrow, sadness, gloom
my form shall set forth hate and doom
All cultures see me as the norm
though no man yet has guessed my form
my task a burden I must bare
only I am trusted to its care
Dogs signal my entrance howling
old prophets may sense me scowling
Plagues and famines are revealing
purpose needs no more concealing
I the butcher of all slaughter
I who steal your sons and daughters
Young men flee, old men beware
Victories brief, escape is rare
Dreaded queen of dark destruction
I'm the worlds last interruption
I'm the final balance shifting
Earth is the world I am lifting
From my reaping all shall falter
blood shall rain down from the altar
Soon all men shall be aware
of my cold merciless stare
-Crowknows
la Portada de la Majestad
La portada occidental, conocida como «Portada de la Majestad», es por su riqueza iconográfica y por su policromía la joya de la Colegiata. No se utiliza hoy como tal puerta de acceso, sino que se exhibe al visitante en el marco de un recinto museístico que forma el atrio, luego cerrado, que la precede.
Iniciada en fecha no determinada, tal vez a mediados del siglo XIII, bajo una concepción todavía románica tardía, se debió finalizar en las postrimerías de dicho siglo cuando ya las corrientes estilísticas del gótico desplazaban pujantes las caducas formas constructivas basadas en el arco de medio punto.
Sólo las columnas que habían de soportar las arquivoltas pertenecen al periodo románico, es decir, al de construcción del templo, aunque fuese en su fase final ya entrado el siglo XIII. No dejan de ser atípicas por la aparente formación de un doble orden superpuesto, si bien el inferior es más bien un alto podio cuyo paramento no es liso sino compuesto de una sucesión de semicilindros en correspondencia con las columnas. Los esperados arcos que estribarían sobre la columnata no se ejecutaron nunca y en su lugar, para alcanzar la altura del hueco adintelado, se levantaron ocho hornacinas que albergan otras tantas figuras estáticas de unos personajes cuya disposición a uno y otro lado de la portada pretende guardar una cierta simetría: así, al interior, dos reyes de Judá: Salomón a la izquierda y David a la derecha; las dos figuras centrales de ambos grupos son imágenes de profetas: Isaías y Daniel a la izquierda y Jeremías y Ezequiel a la derecha; por fin, las figuras extremas pertenecen a dos ángeles o arcángeles: el de la izquierda sin identificar y Gabriel a la derecha.
Esta maravilla está expuesta y en perfecto estado en la Colegiata de Toro, Zamora, España.
the Cover of Majesty
The western portal, known as the Cover of Majestiy, is the jewel of the Collegiate Church due to its iconographic richness and its polychromy. It is not used today as such an access door, but rather it is exhibited to the visitor within the framework of a museum enclosure that forms the atrium, later closed, that precedes it.
Started on an undetermined date, perhaps in the middle of the 13th century, under a still late Romanesque conception, it must have been finished at the end of that century when the stylistic currents of the Gothic were already moving the outdated constructive forms based on the semicircular arch. .
Only the columns that were to support the archivolts belong to the Romanesque period, that is, to the construction of the temple, although it was in its final phase well into the 13th century. They are still atypical due to the apparent formation of a double superimposed order, although the lower one is more of a high podium whose wall is not smooth but composed of a succession of semi-cylinders in correspondence with the columns. The long-awaited arches that would rest on the colonnade were never executed and instead, to reach the height of the flat lintel, eight niches were built that house as many static figures of characters whose arrangement on either side of the portal aims to keep a certain symmetry: thus, inside, two kings of Judah: Solomon on the left and David on the right; the two central figures of both groups are images of prophets: Isaiah and Daniel on the left and Jeremiah and Ezekiel on the right; Finally, the extreme figures belong to two angels or archangels: the unidentified one on the left and Gabriel on the right.
This wonder is exposed and in perfect condition in the Collegiate Church of Toro, Zamora, Spain.
Boeing 737-790(BDSF)(WL) (msn 30794/796) Seen with the right main gear touching down in a nicely executed Crosswind landing. After serving over 16 years flying passengers for Alaska , it was converted to a freighter in 2017.
Capturing a Sunrise Photo of the Esztergom Basilica
As a photographer, one of the most exciting challenges is successfully executing a pre-planned shot. My sunrise photo of the Esztergom Basilica is the result of such a project, where the rising sun is visible through the arch spanning the Basilica’s large and small towers, with the silky Danube River in the foreground and the Maria Valeria Bridge in focus.
Below, I will walk you through the preparation and execution steps so that other photographers can draw inspiration from it.
1. Preliminary Planning and Location Scouting
Visualizing the Shot:** The first step was to mentally plan the desired photo. I aimed to capture a shot where the sunrise light shines through the arch of the Basilica, with the silky Danube River reflecting in the foreground and the Maria Valeria Bridge in focus. I knew using a tripod would be necessary for the long exposure.
On-site Visit: Four days before the planned shoot, I visited the location to thoroughly scout the area. Using an app, I checked when the sun would rise precisely through the arch. The app indicated this would happen four days later, so I chose this time.
2. Technical Preparations
Setting Up the Equipment: During the on-site visit, I determined the most stable spot for the tripod. This was on larger stones, requiring one of the tripod's legs to be shorter. I had to be very cautious to ensure my safety when approaching this spot. This mindset is recommended for all photographers! After securing the camera to the tripod, I planned the angle and lens choice to position the sunrise optimally for the composition. I took some test shots and noted the settings to only need fine adjustments on the day of the shoot.
3. The Day of the Shoot
Timing and Weather:I hoped the weather would be favorable for the sunrise four days later, and fortunately, it was. I arrived about 20 minutes early to prepare and make any last-minute adjustments.
Fine-Tuning the Settings: Thanks to the pre-planned settings, I didn’t need much time to set up the technical details on-site. I quickly secured the tripod and camera, set the camera to auto mode focusing on the bridge, then switched to manual mode, turned off the stabilizer, and fine-tuned the focus using focus magnification.
4. Capturing the Photo
Exposure and Composition:** At the moment of sunrise, I took the shot, ensuring the exposure time was enough to achieve the silky effect of the Danube while the sunlight perfectly arched through. The result was a well-composed and spectacular photo that captured the envisioned scene.
5. Post-Processing
Editing: After taking the photo, I performed some basic post-processing to enhance the colors and contrasts, further highlighting the magic of the sunrise and the beauty of the Basilica.
This process required detailed planning and precise execution, but the result was worth all the effort. I hope this summary helps other photographers in creating similar photos.
The Venetian harbour of Chania was built between 1320 and 1356. The harbour was used for commerce and also to control the Sea of Crete against pirates.
The Venetian harbour had room for 40 galleys, but it constantly silted up and was never very deep, so it kept having to be dredged, a difficult job with the equipment of the time.
On its north side the harbour is protected by a breakwater. Near the middle of this is a small bulwark like a gun emplacement and the tiny chapel of St Nicholas. This was where the Venetians and Turks executed condemned prisoners.
The Firkas Fortress at the harbour entrance and the St Nicholas bastion in the middle of the breakwater defended the harbour from raiders.
Today, the Venetian harbour offers moorage for fishing boats and other small craft, while the commercial and passenger port of Chania is seven kilometres to the east, in Souda Bay.
The lighthouse is a distinctive feature of the harbour. It was built at the harbour entrance by the Venetians and restored in its present form by the Egyptians (1830-1840). The lighthouse of the Venetian harbour of Chania always fascinates visitors and is one of the most-photographed monuments in Crete.
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Think, plan, execute and home early for home cooked Thai chicken in coconut milk.
I actually wanted cloud cover tonight so as to have an orange sky behind the tree. A clear sky was the second choice but it seemed to work OK.
Note to self.......Got to shoot more landscape orientations !
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Dunstanburgh Castle is a 14th-century fortification on the coast of Northumberland in northern England, located between the villages of Craster and Embleton. The castle was built by Earl Thomas of Lancaster between 1313 and 1322, taking advantage of the site's natural defences and the existing earthworks of a former Iron Age fort. Thomas was a leader of a baronial faction opposed to King Edward II, and probably intended Dunstanburgh to act as a secure refuge, should the political situation in southern England deteriorate. The castle also served as a statement of the earl's wealth and influence, and would have invited comparisons with the neighbouring royal castle of Bamburgh. Thomas probably only visited his new castle once, before being captured at Battle of Boroughbridge as he attempted to flee royal forces for the safety of Dunstanburgh. Thomas was executed, and the castle became the property of the Crown, before passing into the Duchy of Lancaster.
In the 21st century, the castle remains are owned by the National Trust and is managed by English Heritage. The site is a Scheduled Ancient Monument and the ruins are protected under UK law as a Grade I listed building.
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I drive past this beautiful tree-lined track every day. It’s the track to a lovely, old farm house.
On Saturday afternoon, (6/1/18), it seemed that the light was just right - low, warm and strong enough to touch most of the south-west facing branches in the near-setting sun.
A passenger, this time, I was able to execute another drive-by shooting...
South Carrick
SW Scotland
(cropped)
DARWIN, NT, Australia (April 12, 2022) - U.S. Marine Corps MV-22 Ospreys from Marine Medium Tiltrotor Squadron (VMM) 268 reinforced, Air Combat Element (ACE), Marine Rotational Force-Darwin (MRF-D) 22, execute a formation flight over Darwin, NT, Australia, during an administrative movement April 12, 2022. VMM 268 flew the Ospreys from Darwin Port to Royal Australian Air Force Base Darwin, strengthening the squadron’s support of MRF-D 22 by fully equipping and staging a capable ACE. (U.S. Marine Corps photo illustration by Cpl. Cameron Hermanet) 220412-M-YO040-2161
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Placerville, CA
In the days of 1849, when this city was called Hangtown, vigilantes executed many men for various crimes. This was the site of Hay Yard, on which stood the 'Hangman's Tree.' The stump of the tree is under the building on which the plaque is placed. Location: 305 Main St. Placerville
Placerville, in the California Gold Country, was once called Hangtown. An effigy of a man being hung is roped from the second floor of a building where the Hangman's Tree bar, an historic spot marks the spot of the town hangings. Gold was discovered in this region, and the wild west atmosphere created a dire need for laws to regulate criminals and those who took what they wanted, including lives. Hangtown was one of the first places where justice was delivered with a rope from a tree. It was initially called Dry Diggins but changed its name to Hangtown for the many hangings that meted swift justice to offenders during the mid 1800's.
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In 1612 ten people were executed on the moors about Lancaster, having been found guilty of witchcraft at Lancaster Castle. The evidence given against the so called ‘Pendle Witches’ was based on memories, hearsay and superstition and would not be considered in a modern court. But life was very different 400 years ago; religious persecution was rife and people lived in wretched fear and poverty.
Over 400 years later you have the chance to follow the journey taken by the accused witches, to learn about their lives and the trial that made British history. From the untamed moorlands of Pendle Hill to the mighty court of Lancaster, take a journey of discovery through Lancashire’s dramatic and historic past.
The Hall of the Guards is one of the oldest part of the Conciergerie from the Middle Ages. The Conciergerie is a former royal palace and prison in Paris, located on the west of the Île de la Cité, near the Cathedral of Notre-Dame. It is part of the larger complex known as the Palais de Justice, which is still used for judicial purposes. Hundreds of prisoners during the French Revolution were executed on the guillotines at La Conciergerie.
This is the original photo based on I executed the tea splash experiment on Kuwait Science Club (photography section)
هذه الفكرة تم تنفيذها مرة أخرى امام اكثر من 35 مصور في النادي العلمي بالكويت وتم توثيقها بكاميرات عديدة
The same idea was executed in front of more that 35 photographers and all of them captured the same moment for documentation.
حدث جدل كبير حول هذه الصورة انتهى هنا:
A lot of arguments about the photo (real/photoshop) were discussed. Thus I calrified it here:
(arabic only)
I used high speed photography techniques which do not depend on the shutter speed. instead it depends on the flash to freeze motion.
more details can be found under high speed photography category here: www.almumen.com/log (arabic only)
Also, here: www.hiviz.com (English only)
If executed properly (and of course taken way earlier) this might have made for a darn cute Christmas card. Filing this idea away for next year!
The triple reflection was executed by placing a regular glass on top of a black plexiglass. I like the results and the multi droplets design.
Thank you for your visits to my photostream and comments.
Gemma
Copyright ©Maria Gemma June, 2012, All Rights Reserved, Worldwide.
My photos are posted for your enjoyment, please do not use them in any way without my permission
Version complète du Bolero de Maurice Ravel (environ 15 minutes).
Pierre Monteux, London Symphony Orchestra.
The End.
(The colors pop a lot more when you view it on black...)
Wow. It’s finished. I don’t really know what to say so now I guess you guys get to listen as I ramble… It’s almost funny to think where I was at the start of the year. I felt pretty uncomfortable in front of the camera and kinda awkward directing people while hiding behind the lens. Besides my family and a few close friends I rarely asked people to model for me and the idea of self-portraiture was quite unfamiliar to me, besides holding a camera up next to me in a mirror to take a picture...
I despise sounding cliché but I don’t think it’s possible to get through this little journal entry without that happening. I don’t think I fully understood what I was getting into when I started the project. I didn’t think that it would consume my life quite as much as it did, but it pretty much was my entire life this past year. I would start thinking about my photo for the day as soon as I woke up, throughout the day I would focus on the logistics of collecting props and executing it, and I would fall asleep thinking of the next picture. But this project resulted in a whole lot more than just photography, I figured out a lot about myself, you know how when people are put under pressure you start to see their true character, well I think that is kinda what happens with this project… I went through a lot of transitions this year and it was nice to have something that was so constant.
I’ve had lots of people ask me if I will be doing another 365 next year and I’m perfectly fine letting them know that I need a little break... I contemplated following this with a 52 weeks project, but I know I will be taking more than one photo a week and knowing me if I was doing a 52 weeks I would probably end up waiting until the end of each week and I would only put up one photo. So I will just be posting stuff whenever I feel like it, and it will probably be fairly often… Don’t worry I’m not planning on disappearing.
There are so many people that I want to thank so you can either bear with me through this paragraph or skip on to the next one. Thank you to all the people who have been with me since the start of this project, and those who hopped onboard somewhere along the journey! Thanks to everyone who has ever commented, favorited or even looked at one of my photos, I really do appreciate the support. I don’t think I would have gotten all the way through the project if I didn’t have you guys there holding me accountable and supporting me! Thanks to John for originally sparking my interest in photography and being such an inspiring figure in my life. Thanks to Chelsea for being the one that supported and pushed me to do this project. Thanks to Cameron and Traci for bearing with me when I had first began photography and was too nervous to ask anyone else to model… Cameron for being the most supportive friend one could ask for and Traci for giving me your honest opinion when I really do need it and for keeping me in check! Thanks to my family for putting up with me as I frantically ran around the house at 11:45 trying to come up with something to photograph, for continuously trying to come up with new ideas and concepts even when I would shoot ‘em down, and for posing for all kinds of ridiculous photos! Thanks to Gina for all of your help with titles. Thanks to all my new friends in the photo program, I can’t wait to get to know you all better! And thanks to everyone who has received the “What should I do for my photo for today?!?!” text message. Thanks to Katie for being there for me and always being willing to model. Thanks to Sam for (many times) helping me choose which picture to post and for letting Cameron and I throw water balloons at your face! Thanks to Alex and Bryan for putting up with me throughout the year and all of my ridiculousness as I started out on the project. Thanks to all my George Fox people (you know who you are!) And thanks to everyone that ever modeled or assisted for me, couldn’t have done it without you! And finally thanks to all the phenomenal photographers on Flickr for providing me with a never ending amazing amount of inspiration! (I tagged you!) I’m sure I have forgotten some people… Sorry, you’ll have to forgive me!
I’ve learned to push myself to meet deadlines and I’m so very proud of the fact that I never once skipped or missed a day! To those of you thinking of starting a 365 I highly encourage it, but I think that it is something that you need to seriously consider and not just jump into… There will be days where you will hate your photo and won’t want to show it to anyone, and days that you won’t be able to come up with any worthwhile concept… But there will also be so many amazing opportunities that you never would have had and if you really apply yourself then the amount of growth can be tremendous! And you will have created a visual diary of your entire year… I can look back on every single photograph and remember something about that day!
Once again, and I really do mean it.
Thank you.
"If you wish to travel far and fast, travel light.Take off all your envies, jealousies, unforgivingness, selfishness and fears."
Flash flood today! of course all schools were closed except for mine but It gave me inspiration for a photo.
I walked like a mile to get to this spot , it was too perfect. At the end of the day I am covered in mudd and have scratches all over my legs and feet from branches but it felt so great to go on a solo adventure.
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