View allAll Photos Tagged FIVE
taken @ Five Star Cubao Terminal
*una ko tong nakita sa may EDSA, nung nasa Alps pa ko, tapos dun sa garage nila sa New York-Cubao, then last, dito sa terminal nila.. hehe
Edge of Towns Waterfall Inn
Sister Bay, Door County, Wisconsin 45.209684, -87.115416
July 11, 2022
COPYRIGHT 2022 by JimFrazier All Rights Reserved. This may NOT be used for ANY reason without written consent from Jim Frazier.
220710to12c-86661600
Sunrise sees a black five crossing the Roche viaduct on the way to Heywood on the East Lancashire Railway. Taken in January 2012
Shichi-go-san (the seven-five-three festival) is a traditional Japanese event to celebrate children's growth and pray for their future health and well-being.
Parents with boys of five, girls of seven and either boys or girls of three dress their children in best clothes and take them to shrines where they pray for their children's future.
The Seven-Five-Three Festival
七五三のお参り
Nikon D300 / Nikon AF-S DX NIKKOR 16-85mm F3.5-5.6G ED VR
Camera: jar lid with 5 pinholes
Film: ortho photocopy, 8cm in diameter
Exposure: about 5 min, sunset
Developer: D-76
Scanner: CanoScan 9950f
I found a set of five point Mule Deer antlers while hiking a few years ago and put them under the bird feeder for the small birds to land on and check for cats before landing on the ground. This Junco seemed to enjoy them.
It was heavily overcast so I tried setting the ISO to 3200 to test the D800's performance.
December 2000 and Ian Riley's black five 45407 running as 45157 is seen at Burrs country park on the East Lancashire Railway in superb winter light
This photo was taken for Booking.com (in agreement between 21st August-7th September 2015), and Booking.com agrees to the display of the Pictures in the Photographer’s portfolio for informational purposes only.
From the garden this morning. I don't know the name of this flower.
Lighting: I first placed the flower on a piece of black Perspex. Lit with a Yongnuo flash in a 24 inch gridded soft box at camera left. Fill light came from a mirror at camera right. I used side lighting because it creates the shadows that reveal texture and shapes. The flash and my tripod mounted camera were triggered by a Yongnuo RF-603N.
I've photographed a lot of plants and flowers, because they're all around us, work cheap, and never complain. I have an album of these images with over 1000 pictures, and for each one, I have described how I lit them, in case you're interested in that kind of thing.
Best: View On Black
Five baby roseate spoonbills share this nursery. Actually, there was a sixth baby about two feet to left of these. I'm sure they were a mix from two nests. It seemed that the birds were all getting fed. The adults came in regularly and I couldn't tell one adult from another, because I didn't know the individual birds. There is one fairly easy way to ID individual birds. That is the coloration of the black band/area on their head.....each has a different pattern that is unique to each bird. This is a very early morning shot with fairly low light.
ODC-Five
I wasn't sure what I could use for this, I don't have too many things in the amount of five so dug into my purse found these.
We took a drive out in the country yesterday to the village of Radway to photograph an old grain elevator. In a field just across the road were these five old granaries used to hold the seasons crop after it was taken off the field. I love old finds like this as they remind me of the years when my grandparents farmed.
I have been enjoying the sight of the legacy left by great Pallavas since the selection of the site to chiseling and creating this heritage monuments.
Though I am in a long distace above am frequently disturbed by the hide and seek game of your rain carrying clouds today.
The early memories flourish in my mind to refresh how active this horbour town with loud noise of trade activitiiies of Chinese and Romanians with local traders. Their bargaining voice and chiseling sound in Mamallai brought the greatness of the town.
My admiration is not abated as witnessed the recent lighting by the Government during the visit of informal summit by our Prime Minister Modiji with Chinese President Xi Jinping here.
Hotel Forty Five, a 94-room historic boutique hotel in downtown Macon, GA. It showcases two event venues and three dining outlets; Loom, a signature chef-driven restaurant; Hightales Rooftop Bar, a sixth-floor lounge; and Reckon Coffee & Wine Bar. For guests hosting a special event in Macon, the hotel is home to indoor and outdoor function spaces ideal for any gathering. You'll be minutes away from the best attractions, including the Macon City Auditorium, Georgia Sports Hall of Fame and tributes to music legends.
Il campanile della chiesa di San Michele e, a sinistra, quello di San Paolo. Sullo sfondo le Grigne. Ma la cosa più interessante è l'edificio a destra del campanile di San Michele, cioè l'edificio della prima San Michele, utilizzata fino al 1932. Ora fa parte del Collegio "Cardinal Ferrari" delle Suore Sacramentine.
The story behind the image:
"Says Harry to June, / Ola, see you didn't come alone? // Well no, answers June / my father and my brother wanted to come along. // Asks Harry, I count five, / who is the tall one with crutches? // The neighbor, answers June, / by name of Drareg, / and he had a single ticket in supply."
Can be obtained as glycee-print in very limited edition.
Maurizio Cattelan, the great provocateur...
Five horses which want to run (jump) headfirst into the wall.
Anyone who engages with Maurizio Cattelan as an exhibition organizer never really knows what awaits them. Born in Padua in 1960 and originally a laborer, the Italian artist has made a name for himself as a rule-breaker, a provocateur, but also a player of perceptions, an intelligent art clown, and a generator of surprising and often confusing ideas.
In 1993, he provoked audiences when he rented his exhibition space at the Venice Biennale to a PR firm that was promoting a commercial product. In 2000, he surprised the audience at Zurich's Migros Museum of Contemporary Art by emptying the halls. The only perceptible work of art to be discovered was a small wax figure in a Beuysian felt suit and with Cattelan's facial features, hanging helplessly from the coat rack. And another time, he even had the door of a gallery that had announced a Cattelan exhibition bricked up.
Five Horses with Their Heads in the Wall
He wasn't quite so radical in his refusal to exhibit at the Fondation Beyeler in 2013. His works were indeed on display there in a conventional museum setting. But strictly speaking, it was originally just one work, just one horse, the sculpture "Untitled" from 2007: a taxidermied brown horse with its head stuck high up in the museum wall, its muscular body hanging helplessly and pitifully. It appears as if the horse had leaped impetuously into the wall and remained there.
Cattelan had the horse prepared in five versions (he apparently hardly ever touches it himself). Three copies are owned by various international private collections, two are exhibition copies.
Breaking the Rule
With this, Cattelan once again broke a rule in the art world, namely that exhibition copies and "originals" are never shown at the same time in the same place. This is because doing so would impair the aura of the original. Maurizio Cattelan wouldn't be himself if he adhered to this rule. The owners of his originals are aware of this, of course. And indeed, the five copies of an old work now combine to form a new, temporary group of works. However, it's difficult to say whether a single horse with its head in the wall leaves a more lasting impression than five neatly lined up next to each other.
In 2011, Maurizio Cattelan bid farewell to the art world with a large-scale retrospective entitled "All" at the Guggenheim Museum in New York. Of course, no one really believed him. But it must have been an exceptionally spectacular farewell exhibition, with 130 of his works, all hanging from the museum's ceiling like a giant mobile. Among them were Cattelan's most famous works, such as the Pope Thrown to the Ground by a Meteorite (first shown at the Kunsthalle Basel in 1999) and the equally famous praying Hitler figure.
The same work, which was first shown in this arrangement in Switzerland, is now in the Centre Pomdedou in Metz. It hangs higher here than it did at the Fondation Beyeler, making it even more spectacular, I think.
In my triptych, I show the proportion of height to the human figure. A homeless person has also been added here, which further irritates the viewer. And finally, the third painting demonstrates the banalization in the colorful context of the large space with the exposed building techniques typical of the centre and distracting colorful artworks. Biomorphic is contrasted with inorganic construction, which seems to be a recurring theme in the exhibition...
Deutsch
Maurizio Cattelan, der große Profokateur ...
Fünf Pferde, die mit dem Kopf durch die Wand wollen.
Wer sich als Ausstellungsmacher auf Maurizio Cattelan einlässt, weiss nie so richtig, was ihm letztlich blüht. Der 1960 in Padua geborene italienische Künstler, der ursrünglich Hilfsarbeiter war, hat sich einen Namen gemacht als Regelbrecher, Provokateur, aber auch Spieler mit Wahrnehmungen, intelligenter Kunstclown und Generator mit überraschenden und oftmals auch verwirrenden Ideen.
So provozierte er 1993, als er seine Ausstellungsfläche an der Biennale in Venedig an eine PR-Firma vermietete, die dort für ein kommerzielles Produkt warb. Im Jahr 2000 überraschte er das Publikum im Zürcher Migros Museum für Gegenwartskunst mit leergeräumten Hallen. Als wahrnehmbares Kunstwerk war lediglich eine kleine Wachsfigur im Beuys’schen Filzanzug und mit Cattelans Gesichtszügen zu entdecken, die hilflos an der Garderobe hing. Und ein anderes Mal liess er die Türe einer Galerie, in der eine Cattelan-Ausstellung angekündigt war, gar zumauern.
Fünf Pferde mit dem Kopf in der Wand
Ganz so radikal verweigerte er sich anlässlich einer Ausstellung 2013 in der Fondation Beyeler nicht. Dort waren tatsächlich Werke von ihm in einem gängigen musealen Rahmen zu sehen. Doch genau genommen war es ursprünglich nur ein Werk, nur ein Pferd, die Plastik «Untitled» aus dem Jahr 2007: Ein präpariertes braunes Pferd, das mit dem Kopf hoch oben in der Museumswand steckt und dessen muskulöser Körper hilflos und jämmerlich herunter hängt. Es scheint so, als ob das Pferd ungestüm in die Wand gesprungen und dort hängen geblieben sei.
Cattelan hat das Pferd in fünf Ausführungen präparieren lassen (selber legt er ja offenbar die Hand kaum je an). Drei Exemplare befinden sich im Besitz von verschiedenen internationalen Privatsammlungen, zwei sind Ausstellungskopien.
Bruch mit der Regel
Damit brach Cattelan einmal mehr mit einer Regel im Kunstbetrieb, nämlich dass Ausstellungskopien und «Originale» eigentlich niemals zur selben Zeit am selben Ort gezeigt werden. Dies, weil damit die Aura des Originals beeinträchtigt wird. Maurizio Cattelan wäre aber nicht er selbst, wenn er sich an diese Regel halten würde. Das wissen natürlich auch die Besitzer seiner Originale. Und tatsächlich vereinigen sich die fünf Kopien eines alten Werks nun zu einer neuen Werkgruppe auf Zeit. Dabei ist aber schwierig zu sagen, ob nun ein einzelnes Pferd mit dem Kopf in der Wand einen nachhaltigeren Eindruck hinterlässt als gleich deren fünf, sauber nebeneinander aufgereiht.
2011 hat sich Maurizio Cattelan mit einer gross angelegten Retrospektive mit dem Titel «All» im New Yorker Guggenheim-Museum vom Kunstbetrieb verabschiedet. Natürlich glaubte ihm das niemand so richtig. Aber es muss sich um eine ausgesprochen spektakuläre Abschiedsausstellung gehandelt haben mit 130 seiner Werke, die allesamt wie ein riesiges Mobile von der Decke des Museums hingen. Darunter Cattelans bekanntesten Arbeiten, wie etwa der Papst, der von einem Meteoriten zu Boden geworfen wurde (1999 erstmals in der Kunsthalle Basel zu sehen) oder die nicht weniger bekannte betende Hitlerfigur.
Das gleiche Werk, das in dieser Zuammenstellung erstmals in der Schweiz gezeigt wurde, befindet sich jetzt im Centre Pomdedou in Metz. Es hängt hier höger als es in der Fondation Beyeler hing und ist damit noch spektakulärer, finde ich.
In meinem Triptychon zeige ich die Proportion der Höhe zum Menschen. Hier ist auch noch eine Obdachlose hinzugekommen, die zusätzlich Irritaionen auslöst. Und schließlich zeigt das dritte Bild die Banalisierung im bunten Kontext des großen Raumes mit den centre-typischen, freigelegten Gebäudetechniken und ablenkenden bunten Kunstwerken. Biomorphes wird gegen anorganische Konstruktion gestellt, was mehrfach in der Ausstellung Thema zu sein scheint ...
Ihr könnt euch vorstellen, das 4 Bilder vorzubereiten und alle wichtigen Informationen dazu zusammen zu stellen viel "Arbeit" erfordert ... hoffe, es findet sich jemand, der das zu schätzen weiß ;-) ...
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25/365 - Gates to Nowhere.
It's monday! Hopefully tomorrow my Jansport Big Student backpack will be here. Then i'll be able to carry all my strobist gear with me everywhere! More mad scientist shots coming at you!