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Inscribed on back "Mrs Broadhurst (Eliza Beveridge) and Robert H. Broadhurst"
Two photographs mounted on board with brown wooden veneer front mount
24.3 x 33 cm
Label adhered
D. Bernard & Co.
H. Goldman Proprieter
Fine Art Galleries
323-5 Bourke St
Melbourne
Reference No. (torn off)
Photos possibly taken c.1895 and reframed 1901-1920
D. Bernard and Co began business at 343 Bourke Street in 1895, moving to 323–5 in 1901. They were at 323 Bourke Street through to 1920 (Hilary Maddocks, ‘Picture Framemakers in Melbourne c. 1860–1930’ in vol. 1, Frames, Melbourne Journal of Technical Studies in Art, University of Melbourne Conservation Service, 1999, pp. 13–24).
www.ngv.vic.gov.au/explore/collection/work/76417/
Enquiries: Yarra Plenty Regional Library
Permission to use or share this image is granted provided the orignal URL link is provided along with the image and an acknowledgement to Yarra Plenty Regional Library.
Digital creations by Pidgeoncoop
I pass this railroad crossing many times a week ... I believe the downhill car has the right of way
Framed Version ... www.theboylanzone.net/Bob/FrameMaker/FramedImage.htm?stri...
Originally included on the CD “Apple Chronicle” from Apple Computer, Inc. Converted from QuickTime file format to AVI, while preserving the original video and audio data.
Copyright © 1992 Apple Computer, Inc.
Trying out techniques to increase details.
Aargh, I can't wait! The Kenko extension tubes I ordered from B&H is arriving today at my uncle's video store. I gotta get them this afternoon so I have something to play with tonight. :D
Wood selection for custom wedding frames down at Ironwood in Rozelle.
First round was for Kath - but I commissioned a local framemaker to make them. This time, I'm DIY!
Oh, and I've got some stunning Huon Pine to work with in 2013 too :)
Inscribed on back "Mrs Broadhurst (Eliza Beveridge) and Robert H. Broadhurst"
Two photographs mounted on board with brown wooden veneer front mount
24.3 x 33 cm
Label adhered
D. Bernard & Co.
H. Goldman Proprieter
Fine Art Galleries
323-5 Bourke St
Melbourne
Reference No. (torn off)
Photos possibly taken c.1895 and reframed 1901-1920
D. Bernard and Co began business at 343 Bourke Street in 1895, moving to 323–5 in 1901. They were at 323 Bourke Street through to 1920 (Hilary Maddocks, ‘Picture Framemakers in Melbourne c. 1860–1930’ in vol. 1, Frames, Melbourne Journal of Technical Studies in Art, University of Melbourne Conservation Service, 1999, pp. 13–24).
www.ngv.vic.gov.au/explore/collection/work/76417/
Enquiries: Yarra Plenty Regional Library
Permission to use or share this image is granted provided the orignal URL link is provided along with the image and an acknowledgement to Yarra Plenty Regional Library.
Digital creations by Pidgeoncoop
A youth collective from Dublin were invited to attend Framemakers and produce a zine while there about the event. Organiser Steve Valk (slightly older) to the left.
You arrive to Galway after a cross country drive and try as hard as you can to avoid the crowds. On a side street, right next to The Framemaker you find a restaurant called Kettle of Fish but the yellow blue combination captures your eyes and your camera.
Explore: September 7, 2007
ID please? I thought it was an Eastern Phoebe but the color may be wrong.
This is the frame after being primed with 6 or 8 coats of gesso, then sanded and scraped with cabinet scrapers. "Gesso" is the Italian word for plaster, but usually refers to the ground or primer material used by painters or framemakers. My gesso is a homemade concoction of rabbit skin glue, finely powdered chalk (called "french rouge whiting") and a few secret ingredients (I could tell you, but then I'd have to kill you).
Did you ever do a family tree? A while back I did one and realized soon that a 3D representation is the way to go!
Great Southern White
Ascia monuste
Another part of the Bronx Zoo that I was very fond of is the Butterfly Garden. Butterflies are colorful and delicate, they are very nice to photograph. Outside captivity, they are hard to catch, let alone find one with very nice colo
I found out that it wasn't as easy as it seems to capture these beauties. You have to find the right angle to make sure everything, the wings in particular, remain in focus. Even at f/8, 200mm, the depth of field was so narrow, you need to stay parallel to their wings.
This was indoors with, again, very limited light. Handheld, VR on, 200mm at f/5. I would have opted for f/8 but settled on f/5 because of the slow shutter speed even at ISO 800! I didn't want to bump ISO to 1600 or else I would lose the intricate details on the wings.
What would have saved me is if I had a flash with me. Unfortuately, in my quest to lighten up my load, I left an important tool that I should always have with me.. my SB-600 flash! There were couple of times where it would have been beneficial.
I surely learned a lot from this trip. I had a long list of difficulties but overall, it turned out fine. If I can get about 10 good shots out of a thousand, that is very fine with me.
My philosophy is, pick the best, then throw out the rest. I know digital made it easy for us to take millions of pictures but what counts are the very few worth keeping. Let's keep quality alive people, and strive for the best!
Could he be the famous Lincoln Karim, the Pale Male advocate? I felt bad not taking his photo but I am very sure he's the one on this photo!
Here is a Google search about him.
Thank you Danitello for making me aware of Pale Male.
Scubapup, I think I'll see you every weekends in Central Park from now on! lol!
All my currently installed tools from the Adobe Master Collection CS4 Students & Educational Edition + Adobe FrameMaker 9 Trial :P - Very handy tools and I got them for a fair price!
This is the finished frame.
After the Sienna wash dried and was sealed, I gave the frame another wash of Van Dyke Brown and another coat of shellac. Multiple washes give the frame character and complexity.
After the final sealer coat is dry, I give the frame a coat of paste wax. Wax tones down the high shine of shellac to a soft glow. It also lays more thickly in recesses.
Lastly, I dust the frame with a mixture of "rottenstone" (fine pulverized limestone) and pummice. This clings to the wax, and adds a cool, flat contrast to the warmer, richer toner coats. It also saves the frame from looking too fresh, like brand new sneakers. Nobody wants that.
This is a piece of modern art which was in the foyer of a big company in city of london and I took pictures of this art for my bosses website.
Good morning, everyone!
We had a great time in DC even though the heat was exhausting. I was able to test some equipment which I will review in my journal in the next few days. I took some videos but I'm really a still camera person so I was only able to take about 40mins worth of video ( I had no idea what to take!). I told Tina she will handle the D50 but we ended up switching gears from time to time because I couldn't resist taking shots for myself (and she was better at taking videos). I wish we had another camera body with us.
I didn't take the 70-200mm vr 2.8 with us and used my old Tamron 70-300. Boy, I sure miss VR! I didn't notice how useful it was until that day.
Have a good day, folks!
There had been a few weeks of rain in Vancouver when the sun finally came out and we headed for Granville Island for a bit of lunch.
This is the frame after the application of composition ornaments. Composition ornaments, or "Compo" is a primitive plastic material first developed in the 17th century to enable mass production of carved details for the decorative arts. If you have a victorian house with curlicues around the fireplace or newel post, for example, that's most likely compo.
Compo is made with animal hide glue, pine rosin and whiting (powdered chalk). It's soft and flexible when it's fresh, and can be heated on a steam tray to apply to most any surface. Since it's made out of glue, when steamed it becomes it's own adhesive. Over time (months or years) compo dries and hardens to a brittle hard plastic material.
