View allAll Photos Tagged IMPOSSIBLE
My beetle again? Yes, I wasted a precious Impossible Polaroid on it. As you can see exposure is a bit on the dark side, and my beetle is definitely more red than that ;-)
Pen and ink with text, colour and editing in Photoshop.
"Impossibility" made me think of those impossible poems, like "Scarborough Fair" and John Donne's "Go and catch a falling star", and then I took "falling star" and went sideways in the colour version.
I finally tried "The Impossible Whopper" (which IS apparently possible), with a patty containing zero percent meat. To my tastes, it was *very* similar to the regular Whopper, though I haven't had a meat Whopper in a few months. Like the Whopper, it is large and has a lot of calories -- too much for one meal, if you ask me. I think it was just a little drier, but otherwise unremarkable.
Knowing that meat consumption (and related land-clearing, methane emissions, etc.) is a huge part of global warming, I'm trying to reduce my consumption of meat, especially beef, and this is a great excuse. In the future, if I ever have a hankering for a Whopper, I'll eat this option instead.
An impossible reality created with the help of Photoshop.
Sometimes you just need to get away. Ahem.
One of the windows of the south aisle depicting the Apostles. Thee strong sunlight on this side combined with the external metalwork it thus accentuated made getting successful shots of these windows virtually impossible.
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass windows, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.
Self portrait
Pulsa AQUI para leer mi blog
Para cualquier sugerencia o consulta, no dudes en ponerte en contacto conmigo - lorenasphotography@gmail.com.
tony robbins quotes - beliefs quote
(more life quotes here www.embellishedminds.com/2792/life-quotes/)
In my mind when she's not right there beside me I go crazy 'cause here isn't where I wanna be And satisfaction feels like a distant memory, And I can't help myself. All I wanna hear her say is are you mine?
A collaborative experiment inspired by the work of Goerges Rousse.
Our intentions were to create an illusion as the viewer walks through the corridor.
The image comes together as the eyes meet the perfect line of perspective, showing in this case an ‘impossible triangle’.
Ha, je l'aime d'amour mon vélo :)
Camera : Polaroid Supercolor 635
Film : Impossible PZ 600 Silver Shade UV+ Black Frame
Parallel or not? Straight or not? Edited or not?
You decide.
Another tribute to Escher, who opened my mind to the wonderful world of illusions.
This picture of Sugar was selected as one of the winners of the “PUSH yourself” photography competition.
I shot this using the Impossible Project experimental Polaroid film.
"Restaurant: Impossible" stars Tom Bury (contractor), Cheryl Torreneuva (designer) and host Robert Irvine met with volunteers during filiming at Aponte's Pizzeria in Mason on June 13, 2013. The popular Food Network show featured the Mason pizzeria in an episode that aired Aug. 25, 2013. The Enquirer/Rachel Richardson
The evening winds down with a dinner out with friends in this Berkeley, California diner. Set up in the 50's retro-fashion, the glittery seats shine under the glow of warm, incandescent lighting.
All is well as I bend down to snap the scene with my Polaroid SX-70 SLR camera. A click of the shutter, a whirl of the rollers -- and a grinding noise. The photo jams. I grab the edge, pull the crinkled sheet out and place it face down.
Several hours later, this is my result.
Conceptual impression of how some makes of shoe are for life, the memories of foot steps over the generation.
Impossible is Nothing.
Nikon D5300, 50mm 1.8 Yongnuo.
Emily got me a Polaroid SLR-680 for my birthday and some Impossible Film.
I'm not really sure what I think of the film... It's a bit like stepping back 200 years!
The originals have a very green tint (see comment). They look quite a bit better B&W.
Very good fun though. Hopefully the film will get better quick!