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These colors were created by forming an emulsion of cooking oil and water drops on the shiny side of a CD, and then shining a bright light on to the mixture. I used my 60 mm macro lens focused as closely as possible. The colors can be changed by partially blocking the light, and also by using a mirror to change where the light goes. This is fun stuff to play with. This is straight photography (whatever that is), and not created on a computer, although I used Photoshop to adjust contrast, saturation and remove tiny bubbles and specks of dust. It's not possible to go to the Canadian Rockies or Baja California every day.
More of these photographs of colorful emulsions are in my pretentiously titled Emulsion Art album.
Looking upward on the way through to Barangaroo - colour, form and geometry making an ordinary concrete underpass an art form.
La basílica de San Apolinar el Nuevo (en italiano: Basilica di Sant'Apollinare Nuovo) es un templo cristiano de la ciudad italiana de Rávena. Inicialmente, se consagró para el culto arriano, al ser construido por orden del rey ostrogodo Teodorico el Grande en 505; tras la conquista bizantina (540) fue habilitada para el culto católico (en la época no se había producido aún la separación de las iglesias oriental y occidental). Forma parte del conjunto monumental de ocho estructuras de Rávena inscritas en la lista del Patrimonio de la Humanidad en 1996.
Como todas las iglesias de Rávena segundo del periodo imperial (hasta 476), ostrogodo (hasta 540) y bizantino (después de esa fecha), también San Apolinar el Nuevo cuenta con unos singulares mosaicos. Sin embargo, no pertenecen a la misma época: los hay del periodo de Teodorico y otros pertenecientes a la reestructuración ordenada por el obispo Agnello, cuando se consagró el edificio al culto cristiano católico.
Las paredes de la nave central están divididas en tres zonas bien diferenciadas por su decoración. La parte más alta está decorada con una serie de recuadros alternados con el motivo alegórico de un pabellón con dos palomas. Los recuadros presentan escenas de la vida de Cristo con especial cuidado de los detalles, a pesar de que antiguamente estaban aún más elevados, por lo que su visión era bastante limitada. Algunas escenas evidencian la evolución en el arte del mosaico en la época de Teodorico.
La parte inferior, la de mayor tamaño, es también la más conocida. En los muros de la derecha (según se mira al altar), se representa el famoso Palacio de Teodorico, reconocible por la inscripción latina PALATIVM (Palacio) en la parte baja del tímpano. Los edificios interiores representados están mostrados en perspectiva resaltada. Eso significa que lo que se ve corresponde a tres lados del peristilo, dispuestos en un plano único. Entre las columnas hay telas blancas decoradas con oro, que cubren las sombras de antiguas figuras humanas que permanecieron después de que una parte del mosaico fuera condenada a ser destruida: por una especie de damnatio memoriae todas las figuras humanas (casi con toda seguridad el propio Teodorico y miembros de su corte) fueron eliminadas y aún se notan amplias partes de color ligeramente distinto (debidas a una restauración llevada a cabo en otro momento) y las evidentes marcas en las columnas blancas, en las que aparecen por diversos lugares marcas de manos.
Más allá del Palacio se descubren algunos edificios basilicales o de planta central cuya función es representar de modo sintético la ciudad de Rávena.
Las procesiones contrapuestas de los Santos Mártires y las Santas Vírgenes, también en la parte inferior, se realizaron durante el dominio bizantino (cuando Rávena era un Exarcado dependiente de Constantinopla) y evidencian algunos caracteres propios del arte del Imperio de Oriente como la repetición de los gestos, el preciosismo de la indumentaria, la falta de volumen (con el consiguiente aplanamiento o bidimensionalidad de las figuras) y también la absoluta frontalidad, la fijeza de las miradas, la práctica monocromía de los fondos dorados, el uso de elementos vegetales con fines ornamentales y de relleno, la falta de un plano de apoyo para las figuras que, por esa razón, aparecen como suspendidas y flotando en el mundo.
es.wikipedia.org/wiki/Bas%C3%ADlica_de_San_Apolinar_el_Nuevo
The Basilica of Sant'Apollinare Nuovo is a basilica church in Ravenna, Italy. It was erected by the Ostrogothic king Theodoric the Great as his palace chapel during the first quarter of the 6th century (as attested to in the Liber Pontificalis). This Arian church was originally dedicated in 504 AD to "Christ the Redeemer".
It was reconsecrated in 561 AD, under the rule of the Byzantine emperor Justinian I, under the new name "Sanctus Martinus in Coelo Aureo" ("Saint Martin in Golden Heaven"). Suppressing the Arian church, the church was dedicated to Saint Martin of Tours, a foe of Arianism. According to legend, Pope Gregory the Great ordered that the mosaics in the church be blackened, as their golden glory distracted worshipers from their prayers. The basilica was renamed again in 856 AD when relics of Saint Apollinaris were transferred from the Basilica of Sant'Apollinare in Classe because of the threat posed by frequent raids of pirates from the Adriatic Sea.
On the upper band of the left lateral wall are 13 small mosaics, depicting Jesus' miracles and parables; and on the right wall are 13 mosaics depicting the Passion and Resurrection. However, the flagellation and crucifixion are lacking. They describe the parts of the Bible that were read aloud in the church during Lent under the rule of Theodoric the Great. On the left, Jesus is always depicted as young, beardless man, dressed as a Roman Emperor. On the right, Jesus is depicted with a beard. For the Arians, this emphasized that Jesus grew older and became a "man of sorrows", as spoken of by the prophet Isaiah. These mosaics are separated by decorative mosaic panels depicting a shell-shaped niche with a tapestry, cross, and two doves. These mosaics were executed by at least two artists.
Der Azaleen- und Rhododendronpark Kromlau ist ein ca. 200 ha großer Landschaftspark im Ortsteil Kromlau der Gemeinde Gablenz im Landkreis Görlitz. Er gilt als die größte Rhododendren-Freilandanlage in Deutschland und ist bei freiem Eintritt immer geöffnet. 1842 erwarb der Großgrundbesitzer Friedrich Hermann Rötschke das Gut Kromlau. Ab 1844, mit den ersten Anpflanzungen einheimischer und fremdländischer Gehölze in diesem Gut, stellte Rötschke fast die Hälfte seines Besitzes zur Gestaltung des Parks zur Verfügung. Es wurden Basaltsteine mit Ochsenkarren aus verschiedenen Steinbrüchen der Sächsischen Schweiz und Böhmen herbeigeholt. Aus den sechskantigen Basaltstelen entstanden Höhlen, Grotten und Pyramiden, der Richterstuhl, die Orgel, Himmel und Hölle, im Wasser und zu Lande. 1875 tauschte Friedrich Herrmann Rötschke sein Rittergut gegen Bauplätze in Wilmersdorf bei Berlin ein. Das Kromlauer Schloss hatte von hier an sieben Besitzer in vierzehn Jahren. 1889 erwarb Graf von und zu Egloffstein-Arklitten das Rittergut und beauftragte ab 1893 den Gartenbauinspektor Georg Eichler mit der Parkpflege. Dieser begann neben den bisherigen Baum- und Strauchgewächsen in größerem Umfang Rhododendren und Freiland-Azaleen anzupflanzen. Sie sollten zu einem harmonisch abgerundeten Erscheinungsbild der Parkanlage beitragen. Außerdem legten die Gartengestalter in den Moorsenken eigens zum Verkauf bestimmte Blumenzüchtungen an, die einen einträglichen Nebenverdienst erbrachten und der Entwicklung des Parks zugutekamen.
Nach dem Zweiten Weltkrieg wurde der Kromlauer Park aufgrund der Bodenreform in Volkseigentum überführt und 1948 zum Naturschutzgebiet erklärt. Erst ab 1966 begannen die zielgerichtete Pflege und Rekonstruktion des Parks. Heute ist die Gemeinde Gablenz Eigentümer des Kromlauer Parkes.
Zu den interessantesten Bauwerken im Kromlauer Park zählen das Kromlauer Schloss und die von 1863 bis 1882 aus Basalt- und Feldsteinen errichtete Rakotzbrücke (Rakotz = Sorbisch für Krebs, denn Kromlau liegt im Siedlungsgebiet der Sorben), die im Volksmund auch Teufelsbrücke genannt wird. Mit einer Spannweite von 35 m quert sie den Rakotzsee, kann jedoch nicht betreten werden. Ihr Halbkreis spiegelt sich im See und bildet so optisch einen vollständigen Kreis. Die im See angeordneten Basaltsäulen werden „Orgel“ genannt. Eine Reihe von Wanderwegen erschließt den Park und die weiteren Sehenswürdigkeiten.
de.wikipedia.org/wiki/Azaleen-_und_Rhododendronpark_Kromlau
Kromlau Azalea and Rhododendron Park is a landscaped park covering around 200 hectares in the village of Kromlau, part of of the municipality of Gablenz in the district of Görlitz in east Saxony. It is considered the largest open-air rhododendron park in Germany and is always open with free admission. The large landowner Friedrich Hermann Rötschke acquired the Kromlau estate in 1842. From 1844, with the first plantings of native and non-native trees and shrubs on the estate, Rötschke allocated almost half of his property to the creation of the park. Basalt stones were brought in with ox carts from various quarries in Saxon Switzerland and Bohemia. Caves, grottos and pyramids, the Judge's Seat, the Organ, Heaven and Hell, in water and on land, were created from the hexagonal basalt steles. In 1875, Friedrich Herrmann Rötschke exchanged his estate for building plots in Wilmersdorf near Berlin. From then on, Kromlau Castle had seven owners in fourteen years. In 1889, Count von und zu Egloffstein-Arklitten acquired the manor and from 1893 commissioned the horticultural inspector Georg Eichler to maintain the park. He began planting rhododendrons and azaleas on a large scale alongside the existing trees and shrubs. They were to contribute to the harmonious appearance of the park. In addition, the garden designers planted flower cultivars in the bog depressions specifically for sale, which generated a lucrative side income and benefited the development of the park.
After the Second World War, the Kromlau Park was transferred to public ownership as a result of the land reform and declared a nature reserve in 1948. It was not until 1966 that targeted maintenance and reconstruction of the park began. Today, the municipality of Gablenz is the owner of Kromlau Park.
The most interesting buildings in Kromlau Park include Kromlau Manor and the Rakotz Bridge (Rakotz = Sorbian for crab - Kromlau is part of the settlement area of the recognised slavic minority of the Sorbs), which was built between 1863 and 1882 from basalt and fieldstone and is also known locally as the Devil's Bridge. With a span of 35 metres, it crosses Lake Rakotz, but can not be walked on. Its semi-circle is reflected in the lake and thus visually forms a complete circle. The basalt columns arranged in the lake are called ‘organs’. A series of hiking trails provide access to the park and the other sights.
de.wikipedia.org/wiki/Azaleen-_und_Rhododendronpark_Kroml...
No idea why but I always have liked the look of Shrewsbury Sixth Forms rooftops, shapes, textures, colours - nice buildings too.
Photographed in NYC 1/5/2015
Best viewed large size
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I got this little "wire" dress form in a little local shabby chic store. I though it was so cute and want to dress it up a little with some ribbon and flowers. Its about 18" tall and aqua blue. yum
Formas / Forms
Isto é um poster A4 para imprimir e pendurar na parede.
Arte, desvaneio, impulso e formas.
That is a A4 poster to print. Enjoy!
Art, impulse and forms.
Felipe Luiz Fatarelli
ps.: Desculpem o errinho de português! é ..."Modificam"... e não "modifica".
to build a blockade and defende it with violence, is not retreat (i ging 35) it makes impossible every kind of progress (i ging 33) it is a kind of violence and force - it leaves everything unsolved.
(Blocken ist nicht Rückzug: man denke zum Beispiel an den Unterschied zwischen sich (z.B.: bei einer Party) in einen menschenleeren anderen Raum zurückziehen - jemanden hinausschmeissen)
Part of: "The Warrior" dem Krieger ins Stammbuch geschrieben, als Gedächtnisstütze und damit er was zum Sinnieren hat / blocken nicht 1 2 3 mal täglich sondern stunde um stunde minute um minute sekunde um sekunde rund um die uhr // Esoterik Entlarvung i ging 33 35 dun dsin #rückschritt #leier #leiermann #i_ging #fence #gitter #mauer #wall #blockade #gewalt #minarette #rede #speech #öffentlich #public #arbeit #work #profession #ignore #ignorieren #stille #silence #schweigen #red #rot #weiß #schwarz #black #white #leiter #ladder #rung #sprosse #tinte #ink #symmetrie #asymmetrie #entwurf #design #teppich #tapestry #tapisserie #teppichweber #letter #mailart #weaver #weben #weave #musterbogen #schnittmuster #schaubild #schrift #handschrift #vorschau #rückschau #preview #review #schriftbild #i_ging #Yì_Jing #inhalt #form #aussage #botschaft Der Krieger wird seinem Namen im vordergründigen Sinn von Frieden = peace nicht gerecht aber dem eigentlich Sinn: FRIEDE- : umfriedeter (abgegrenzt durch Mauer, Zaun, Hecke,...) Besitz -MANN: althochdeutsch "man" Krieger. Sein Elfenbeintürmchen ist ihm heilig, seine Ruhe ist ihm heilig und das Heilige dient ja immer wieder als Rechtfertigung für Gewaltanwendung verschiedenster Art, Gewaltanwendung oft sogar mit einem Lächeln im Gesicht.
This is a detail image from one of my Fluid Paintings using Acrylic paints. You can see all of my paintings in full on my website at www.markchadwick.co.uk. Thanks for viewing!
Le Puy de la Vache s'élève à 1167 mètres et s'est formé il y a 8000 ans. On dit que c'est un cratère « égueulé » car sous la pression de la lave en fusion, le sommet s'est effondré déversant une coulée de lave sur le plateau plus bas appelé Cheire d'Aydat. Elle s'étend sur près de 15 km vers le sud créant des lacs ; elle est aujourd'hui en partie recouverte par la lande.
Mais le puy de la Vache possède c'est aussi un paysage lunaire au allure parfois presque martienne et qui pourrait presque vous transporter sur la planète rouge si vous n'y prenez pas garde...Un des milles visage de l'Auvergne que je souhaite vous faire partager.
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trying to get myself back into shooting film. unfortunately everything on this roll was underexposed but still beautiful environments
Forman parejas estables y pasan unos 58 días incubando su único huevo, en turnos de entre un día o dos cada uno. Posteriormente se turnan con la misma frecuencia para dar de comer a su cría.
I took this out by our barn- the ice crystals formed underneath the gravel, forcing the rocks and leaf matter upwards. it's quite amazing, actually. I have some other photos I'll put up later.
well, it's begun. friday the twelfth marked the last day I am required to attend school until the fifth of january. (my brother says: IT'S CHRISTMAS VACATION W00T!) thank goodness for that...
I believe an apology is in order, for having ignored you all for so long. I have an excuse! thankfully, things should be relatively calm now. I only have to leave the house twice this week, and then hopefully not again until after Christmas.
so now that I'm feeling better, hello again Flickr! I've missed you. has anything earth-shattering happened in my absence?
One of those artsy-fartsy gallery things.
Copyright © 2016 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
Autumn #PolaroidWeek 🍁
Day 5 photo 1
I recently visited the Hepworth Gallery in Wakefield and really enjoyed the photographs that Henry Moore made, some in collaboration with Bill Brandt.
He celebrated his collection of found objects by making "the library of natural forms", again something that really appeals to me as I always seem to have pockets full of shells, stones or feathers.
This is a tribute to his "Series of Frames depicting a Flint in Rotating Views"
perfect in form (series III), Museum Insel Hombroich, www.inselhombroich.de/stiftung-insel-hombroichfoundation
37174 + 37092 pause at Westbury with a Theale-Merehead working on 19/09/94 formed of National Power JHA hoppers drafted in while the ARC fleet of hoppers were stood down for safety checks following the Hungerford derailment.
Excerpt from the plaque:
From Line to Form
Brian Donnelly began his artistic journey at the age of 12 with graffiti – a style of art that breaks convention. He began tagging the streets of his hometown, Jersey City, eventually branching out to Lower Manhattan and Brooklyn. This was the formative period when he developed his artist persona KAWS and several of his signature motifs. In 1993 he enrolled in Manhattan’s School of Visual Arts, where he received technical training. This salon-style hang of works reveals his love of drawing and his dedication to refining his skill.
KAWS’s time as a graffiti artist was foundational to what would become the ethos of his current practice: claiming public spaces, communicating with broad audiences, and self-promotion through creating.
Formed by the River St.Denis, the waterfalls of Chamarel (Cascade Chamarel) have a height of 83m (272ft) and are surrounded by lush vegetation of the Black River Gorges.
My website tony-murtagh.pixels.com/
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"Landgoed Staverden" , Staverden The Netherlands
History
In 1298, the Roman king Rudolph von Habsburg granted city rights to the existing Staverden court. The idea of the then count of Gelre (Reinald I) was to establish a thriving city in this place. After building a castle, a canal system and outbuildings, Reinald abandoned this idea and the city became an estate, while preserving city rights. The "hof" Staverden was then issued by the Geldersche dukes in loan.
Staverden and her residents
In the seven centuries that followed, the rich history of Staverden and its inhabitants was formed.
Landgoed Staverden
The estate has a total area of 718 ha and extends over a length of almost 7 km, from the Stakenberg in the North to almost the Uddelermeer in the South. It consists of approximately 340 hectares of forest, 310 hectares of agricultural land and 70 hectares of nature reserves, roads and buildings. Without exaggeration we may say that the great variety of deciduous and coniferous woodland, hedgerows, streams and flowery fields is one of the most beautiful nature reserves in our country.
Between all the greenery in Staverden are 18 characteristic farmhouses, the white castle, the villa and another 30 other houses and buildings. Several of these buildings have been designated as State or Municipal monument. In 2000 they are provided with a shield with a flaming peacock.
The smallest city
Staverden was officially declared the smallest city in the Benelux in 2012. It is possible that Staverden with its 52 inhabitants is even the smallest city in the world!
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Canon 70D / Sigma 18-300mm F3.5-6.3 DC Macro OS HSM C
Used Circular Polarizer Filter :
B+W Cir Pol HTC MRC Nano XS-Pro Digital 72mm Käsemann
With HDR Efex Pro2 conversion
IMG_0154_HDR
Snowflakes come in many more forms than you can imagine – including the “fuzzy caterpillar” variety! View large!
At warmer temperatures (just under the freezing point of water), snowflakes can grow into columns and needles. This type of growth is common, but many of the snowflakes are too small or distorted by the time they reach the ground, as the ground temperatures are likely warmer than the temperatures in the sky. Occasionally we see a storm that produces very long column-type snowflakes that take on a mind of their own. There are a few things happening here worth discovering!
All of the lines running off the column are plates, should show that the snowflake entered colder temperatures or higher humidity. These plates don’t just randomly start growing off the sides, though the snowflake would naturally grow one plate on either end. In the middle, these plates require a “nucleation site”, some deformation in the surface of the main column for which a new crystal structure can start to grow. In this case, the main column likely encounter some super-cooled water droplets that were still liquid, but when making contact with the column froze on impact. These little additions would be exactly what you need to start new plate-like growth at each point of impact.
That idea is further supported by the balls of ice you see along this crystal. The term here is “sleet”, or frozen water drops / pellets. This happens when the temperature of super-cooled water drops continues to decrease or some turbulence causes them to freeze solid without impacting a snowflake. Sleet isn’t that common, we saw it only twice last year. These tiny pellets of ice adorn the larger structure; many of them could probably be shaken off, but some might have begun to fuse to the crystal structure itself.
All of these conditions together are quite unusual, and with all the snowflakes I’ve photographed I’ve only seen a small handful of weather systems produce anything remotely like this. While all snowflakes are unique, some definitely fall outside of what we think is possible!
Photographing these snowflakes is quite a challenge. With so many shifts in depth and overlapping elements, I can usually add an hour to the editing process when putting one of these together. It’s worth it, however! I love sharing the curiosities of winter, and this one is certainly an enigma.
For more weird and wonderful snowflakes and how they form, check out Sky Crystals: www.skycrystals.ca/book/ - it will also detail every photographic technique I use for “regular” snowflakes, as well as these unusual skyborne creations that require a slightly different approach. It’s never been more affordable with the current US exchange rate for folks south of the 49th parallel!