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Primo giorno di scuola, in una scuola americana, la maestra presenta alla classe un nuovo compagno arrivato in USA da pochi giorni: Sakiro Suzuki (figlio di un alto dirigente della Sony).
Inizia la lezione e la maestra dice alla classe: “Adesso facciamo una prova di cultura. Vediamo se conoscete bene la storia americana. Chi disse: “Datemi la liberta o datemi la morte”? La classe tace, ma Suzuki alza la mano. “Davvero lo sai, Suzuki? Allora dillo tu ai tuoi compagni!”
“Fu Patrick Henry nel 1775 a Philadelphia!”
“Molto bene, bravo Suzuki!” “E chi disse: Il governo è il popolo, il popolo non deve scomparire nel nulla ?”
Di nuovo Suzuki in piedi: “Abraham Lincoln nel 1863 a Washington!”
La maestra stupita allora si rivolge alla classe: “Ragazzi, vergognatevi, Suzuki è giapponese, è appena arrivato nel nostro paese e conosce meglio la nostra storia di voi che ci siete nati!” Si sente una voce bassa bassa: “Vaffanculo a ’sti bastardi giapponesi!!!”
“Chi l’ha detto?” chiede indispettita la maestra.
Suzuki alza la mano e, senza attendere, risponde: “Il generale Mac Arthur nel 1942 presso il Canale di Panama e Lee Iacocca nel 1982 alla riunione del Consiglio di Amministrazione della General Motors a Detroit.” La classe ammutolisce, ma si sente una voce dal fondo dire: “Mi viene da vomitare!”
“Voglio sapere chi è stato a dire questo!!” urla la maestra. Suzuki risponde al volo: “George Bush Senior rivolgendosi al Primo ministro Giapponese Tanaka durante il pranzo in suo onore nella residenza imperiale a Tokyo nel 1991.”
Uno dei ragazzi allora si alza ed esclama scazzato: “Succhiamelo!”
“Adesso basta! Chi è stato a dire questo?” urla inviperita la maestra. Suzuki risponde impeterrito: “Bill Clinton a Monica Lewinsky nel 1997, a Washington, nello studio ovale della Casa Bianca.”
Un altro ragazzo si alza e urla: “Suzuki del cazzo!”
“Valentino Rossi rivolgendosi a Ryo al Gran Premio del Sudafrica nel Febbraio 2005.” La classe esplode in urla di isteria, la maestra sviene.
Si spalanca la porta ed entra il preside: “Cazzo, non ho mai visto un casino simile!”
“Silvio Berlusconi, luglio 2008, nella sua villa Certosa in Sardegna.”
Forever love: www.youtube.com/watch?v=cSKIjUCwXlA
Created this mesh ring when listening to this song <3
"Deep In Thought", or so it looks like it is!
To my friends/contacts, sorry I haven't been around much, commenting recently. Haven't been all that well for quite while (the same old story, spine problems).
Also, I'm leaving this coming Thursday to go back to Cyprus, where i'm originally from, to visit family, and to relax in the sun! Hopefully the change of climate will do me some good. Odds are I won't be on Flickr too much, so I'll catch up with you all when i return.
Hope you all are enjoying the summer (or winter depending on where you are!!)..
After the bad new of the first fawn not surviving (from the bad weather i'm guessing), i was happy to find new 2 fawns about a week later..
I sat down bout 50ft away. At first, it didn't like me being so close. It got up and left. I sat there, and bout 10mins later it came back. Was a bit curious.
It sat down, after 5 mins, got up again, walked towards me, sat down again. Was about 20-25 feet away by that point i'd guess. There were few bucks bout 50yards away laying in the shade (it was a hot day).
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In honor of everyone who has suffered with MS, thanks to all my Flickr friends who supported me in the MS Bike Tour Down To The Sound. With your help, I raised $500 for the National MS Society!
Next year, I swear I really will move on to one of the longer routes!
Highest position on Explore: #48!
Something drew me back to the piano. It's not lost on me that I sat down and decided to learn to play, Lean on Me.
Excerpt of lyrics by Bill Withers:
"... Sometimes in our lives
We all have pain
We all have sorrow
But if we are wise
We know that there's always tomorrow
Lean on me
When you're not strong
And I'll be your friend
I'll help you carry on...
For it won't be long
Till I'm gonna need somebody [something.piano] to lean on ..."
[square brackets is my addition] :-)
My photo journal: www.dianeschuller.com
Jilong/Keelung/基隆市
Taiwan/中華民國
2013
Life in and around public transport
Nikon D7100 + 35mm 1.8
Latest blogpost: thecovertphotographer.wordpress.com
This image highlights the location of the galaxy JADES-GS-z6 in a portion of an area of the sky known as GOODS-South, which was observed as part of the JWST Advanced Deep Extragalactic Survey, or JADES.
More + high resolution image: www.esa.int/Science_Exploration/Space_Science/Webb/Webb_s...
This galaxy, along with others in this region, were part of a Webb study by an international team of astronomers, who observed the chemical signature of carbon-rich dust grains at redshift ~7. This is roughly equivalent to one billion years after the birth of the Universe. Similar observational signatures have been observed in the much more recent Universe, attributed to complex, carbon-based molecules known as polycyclic aromatic hydrocarbons (PAHs). It is not thought likely, however, that PAHs would have developed within the first billion years of cosmic time. Therefore, this observation suggests the exciting possibility that Webb may have observed a different species of carbon-based molecule: possibly minuscule graphite- or diamond-like grains produced by the earliest stars or supernovae. This observation suggests exciting avenues of investigation into both the production of cosmic dust and the earliest stellar populations in our Universe, and was made possible by Webb’s unprecedented sensitivity.
The team’s research indicates that this particular galaxy showed significant dust obscuration and has undergone substantial metal enrichment relative to galaxies with similar mass at the same redshift. The team also believes the galaxy's visible colour gradient may indicate a peculiar geometrical alignment of stars and dust.
In this image, blue, green, and red were assigned to Webb’s NIRCam (Near-Infrared Camera) data at 0.9, 1.15, and 1.5 microns; 2.0, 2.77, and 3.55 microns; and 3.56, 4.1, and 4.44 microns (F090W, F115W, and F150W; F200W, F277W, and F335M; and F356W, F410M, and F444W), respectively.
The galaxy is shown zoomed in on a region measuring roughly 1x1 arcseconds, which is a measure of angular distance on the sky. One arcsecond is equal to 1/3600 of one degree of arc (the full Moon has an angular diameter of about 0.5 degrees). The actual size of an object that covers one arcsecond on the sky depends on its distance from the telescope.
Image credit: ESA/Webb, NASA, ESA, CSA, B. Robertson (UC Santa Cruz), B. Johnson (Center for Astrophysics, Harvard & Smithsonian), S. Tacchella (University of Cambridge, M. Rieke (Univ. of Arizona), D. Eisenstein (Center for Astrophysics, Harvard & Smithsonian), A. Pagan (STScI)
[Image description: The image shows a deep galaxy field, featuring thousands of galaxies of various shapes and sizes. A cutout indicates a particular galaxy, known as JADES-GS-z6, which was a research target for this result. It appears as a blurry smudge of blue, red and green.]
Right in the centre of Edinburgh, on top of the museum, is a roof garden with amazing views of the city. On the left is Edinburgh Castle.
The Hague
March 2013
Candid shots in and around Public Transport
Ricoh GR Digital IV
Latest Blogpost: thecovertphotographer.wordpress.com/2013/03/18/and-then-t...
The corporate deckchairs are optimistically lined up in front of LNER’s Azuma 800113 at Rail Live 2019 Long Marston, but the English summer has other ideas! The LNER livery does look particularly good on these units.
So delighted to be featured in the “In the spotlight” section of the Outdoor Photography Magazine, Issue March 2018. Many thanks to Steve Watkins for suggesting to do it and to Nick Smith who made the interview all very easy. It was an exciting experience!
There is a definite line of separation between day and night, light and dark. Why then do we get so upset when we see the dark? Can't we remember that there will always be light, too? If you are experiencing darkness in your life right now.....remember that your day of light is coming! :-)
NOTE: Thank you so very much for your visits, kind comments, and invites. Have a great "day", and enjoy all the little miracles that come your way!
GWR 4-6-0 5952 Cogan Hall and LMS 2-8-0 48624 wait for better times at Dai Woodham's Scrapyard at Barry in May 1982
5952 was built in December 1935 and withdrawn in June 1964. Owned by the Betton Grange Society and I believe at the Llangollen Railway and stored without a tender. Some other minor parts used on the 'new build' 6880 Betton Grange.
Restoration to commence following the completion of 6880!!?
48624 buit at Ashford Works in Dec 1943 withdrawn in July 1965. Resides at the Great Central Railway currently stored awaiting overhaul. The only surviving Southern-built example. Restored to working order in 2009 by Peak Rail in fictional LMS Crimson Lake livery as 8624, now based at the Great Central Railway as British Railways 48624 in black. Boiler certificate expired in July 2019.
My 'IN THE TUB' Photography Book is now available to pre-order at Indiegogo igg.me/at/tub2/x/16588418>; All my profits got to Breast Cancer Research. 160 Actors, Recording Artists and Models posed. Please check it out and order one. The book is top quality and 17"x11". This is what I have spent the last 3 years shooting.
Anneliese - Pullip MIO Full Custo
Dress By Poppy Box www.facebook.com/poppyboxfr/
Little Doll by La petite deco www.facebook.com/profile.php?id=100044365334106
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In photography it is also good that you do not know how you did it !!!
A fotózásban az is jó, hogy nem tudod hogy csináltad !!!
Drove around aimlessly this cloudy morning before finally deciding to return "the old standby" at which point Mother Nature decided to offer me a little help... my work doesn't do her's justice
Where were you on September 11th, 2001?
I was at work, huddled around the TV in the lounge with all my co-workers. We watched the towers fall. The world seemed dark and confusing...like a bad dream.
I am an American and a Christian. I have many Muslim friends around the world. I have no hatred towards those of the Islamic faith. They are a kind and generous people. A few evil men do not define an entire entire religion.
As I remember the events that took place 9 years ago, I pray for all my brothers and sisters around the world, regardless of race, nationality or religion. I also pray for justice. May God pour out his love on all those who promote peace and freedom, and may He pour out his wrath on all those who promote violence and terror.
God bless!
--flickr Explore #24--
Incoming students and parents bring materials for move-in day on August 16, 2021 in Eagle Hallf at South Village. President Mike Martin handed out water bottles to students and parents waiting in line outside the residence building.
As I've said before, one of my goals in photographing birds was to get this particular resident species, the Oak Titmouse. (Second on the list was the White-crowned Sparrow in breeding plumage.) My first two cameras didn't have the range for avian photography of any kind ... well, with the first exception when an Oak Titmouse popped up on a newly planted five foot orange tree right in front of me.
Still, I persisted, and I think I have 15 pretty good images of this titmouse. One in particular was my prize and was the first image I hung on my wall. (flic.kr/p/ufUbT1) That's not the reason that I never posted this image. The reason for that was that I wasn't on SmugMug or later Flickr, and so I just printed this, put it in an album, and there it stayed until this morning.
I was in the archives again, and I must say I really like this shot. The way the tail just clears and follows the curve of the piece of rotten oak which was also used as a granary for Acorn Woodpeckers (which is why I was there taking pictures that day in March). More than that, there appeared to me that there was movement in this pose. He actually had just landed, and was already about to take off again. 1/640th was my go to prep speed, and it worked very well here. The light was good, too. And that's why I'm starting off the week for you (I can look at it any time) with one 3 gram Oak titmouse on a Live Oak (that's the name, not the description).
I've described this bird many times. Let's just let it go with this: The Oak titmouse (Baeolophus inornatus) is a passerine bird in the tit family Paridae. The American Ornithologists' Union split the plain titmouse into the oak titmouse and the juniper titmouse in 1996, due to distinct differences in song, preferred habitat, and genetic makeup. It sleeps in deep cavities, and what better place than a woodpecker hole in an oak or yucca. We are surrounded by thousands of acres of three of the twenty species of oak in California: valley oak, interior live oak, or blue oak. The Valley Oak is the largest oak in the state, and we have 30+ heritage oaks within a quarter mile of my front door. (Heritage oaks are huge, some with canopies 100 feet or more across, 70 feet tall, and with trunks about 25 feet in diameter. How can you tell if one is a "heritage oak?" Easy: every heritage oak is numbered with a metal tag about 8 feet off the ground ... and that's all I'll say. They are also between 200 and 350 years old. And every one has an Oak titmouse in it! I just made that up, but it's where I'd start to photograph these little flitters.)
Asparagus in Coburg ham with scrambled eggs and fried new potatoes.
www.appetijt.eu/hoofdgerechten/942175_asperges-in-coburge...
"Citrominator - C3", one of the storm chasing vehicle of the team "Stormchaser Südhessen". The machine can drive into a F0 tornado and can withstand golf ball size hail :D :D :D
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If You are interested in a digital copy or a poster of the photograph (or other photographs), please just drop me an Email on b.jordan@gmx.net.
*****
"Citrominator - C3", einer der Chasingfahrzeuge des Teams "Stormchaser Südhessen". Das Auto kann einem F0 Tornado und Hagel bis zu 8cm Größe standhalten :D :D :D
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Wenn jemand Interesse an einem digitalen Abzug oder einem Poster von dem Foto hat (auch von anderen Fotos von mir), schreibt mir doch eine Email an b.jordan@gmx.
Our thoughts are with the families of the two hostage victims killed yesterday by a radical gunman in Martin Place in Sydney.
The gunman should not have been walking the streets. He came to Australia as a so called refugee and was known to Police. He was on bail for serious matters: more than 40 sexual assault charges involving seven alleged victims; and as an accessory to the murder of his former partner. He was also convicted of sending offensive letters he wrote to families of dead Australian soldiers
The current iteration of the Triumph Cinema in East Brisbane, Queensland. Wouldn't you love to see inside this building, that seems to have remained somewhat intact. Remember the days when we went to the "pitures" or flicks? I might have to have some Kung Fu lessons and get inside.
Does anyone have any Jaffas? (Older Aussies will know what I mean!)
I don't think they sell them any more. Last I saw them was a giant variety in the lollie store at Williamstown in Melbourne. Oh boy, we we sick after we ate what we bought in there that day 15 years ago or so.
From Wikipedia
Triumph Cinema is a heritage-listed former cinema at 963 Stanley Street, East Brisbane, City of Brisbane, Queensland, Australia. It was designed by Arthur Robson and built in 1927. It is also known as East Brisbane Picture Theatre, Elite Cinema, and Classic Cinema. It was added to the Queensland Heritage Register on 27 July 2001.
Location
963 Stanley Street, East Brisbane, City of Brisbane,
The site of the Triumph Cinema, East Brisbane, has been associated with film exhibition since 1921. The building itself dates to 1927, with minor modifications probably c. 1970.
The site was earlier part of a much larger parcel of land purchased from the Crown in 1855 by Joseph Darragh of Brisbane. Darragh held the land, unsubdivided, for nearly 30 years, and it was the eventual subdivision of this property into residential allotments (mostly 16 perches) in the mid-1880s, which established East Brisbane as a dormitory suburb. Prior to this, East Brisbane was semi-rural in character, with a few isolated families scattered through the bush, and a number of elite estates (such as Mowbray's and Heath's) along the riverbank.
In June 1885 Mrs Annie Elizabeth Cocks gained title to subdivisions 112 and 113 of eastern allotment 128, parish of South Brisbane, county of Stanley (32 perches - later the site of the picture theatre). Mrs Cocks owned this land for over 20 years. About 1906 she sold it to Brisbane real estate agent George Henry Blocksidge, who in 1907 transferred the property to Henry William Robinson, who established a fuel depot there.
On 1 July 1921 the property was transferred from Robinson to Frederick Carl Christian Olsen, who established an open-air picture show on the site that year. A sewerage detail plan dated 1919 shows a picture theatre, partly roofed, occupying the whole of the site. The date may be misleading. It is not unusual for alterations to be made to original detail plans, and in this instance, the theatre as shown on the site is more likely to date to between 1921 and 1927. Oral history reveals that the facade of this theatre was timber, and that about one-third of the seating area was roofed in flat galvanised iron, which on rainy days could be manually extended over about half the seating. The Olsens reputedly were very proud of this technological feat. Around the perimeter of the site were fences of flat iron.
Frederick Olsen died in January 1926. The Stanley Street East property passed to his widow, Maria Gustava Olsen, a year later, and then to Vigo Gustav Olsen (her son) in June 1927. Around the same time Vigo Olsen raised a mortgage on the property from Ernest Adolph Burmester, which is likely to have financed the construction of a new picture theatre to cost £2,000, for which Vigo Olsen already had permission from the Brisbane City Council to erect. Olsen, who lived nearby at Didsbury Street, East Brisbane, had let the contract to construct the theatre to Corinda contractor and architect Arthur Robson. It is highly likely Robson also prepared the design. He had worked for the Workers' Dwellings Board in Townsville as an inspector and as an architect in Rockhampton in the early 1920s. From 1923 he was resident in Corinda and practised as an architect and builder in Brisbane and other centres throughout Queensland. Robson both constructed and/or designed picture theatres throughout Queensland in the 1920s, including the Indooroopilly Picture Theatre (later the El Dorado), and the Paragon Theatre at Childers. By August 1928, he had erected 23 picture theatres in Queensland.
The picture theatre at Stanley Street East is listed as the Triumph in 1927 licensing records, but there is some suggestion that the place was known initially as the East Brisbane Picture Theatre. It is possible that the name was changed when the new picture theatre was built in 1927, and this is the name which still appears in relief on the facade of the building.
Vigo Olsen died in August 1929, and the property passed to his widow, Ida Elizabeth Olsen, in April 1931. Around this time Mrs Olsen raised a further mortgage on the property from EA Burmester, possibly to purchase sound equipment for the theatre. Sound movies were introduced in 1927 with Warner Brothers' production of The Jazz Singer, and over the next few years motion picture exhibitors either converted their theatres to sound or went out of business, as demand for the "talkies" swept the world.
In mid-1934 title to the property was transferred to accountant Albert Frederick Stoddart of East Brisbane, and Alma Jones, wife of Sylvester Stephen Jones of Mount Gravatt, as tenants in common. The Jones were related to the Olsens. Gordon Jones took over the management of the Triumph in 1934, when he was only 17 years old. In 1943, AF Stoddart transferred his interest in the property to Gordon, who managed the theatre until c. 1970, exhibiting (from at least 1938, and likely earlier) as the Triumph Theatre Company.
A 1940 photograph of the theatre shows a facade remarkably similar to that which survives today. The foyer was reached via concrete steps from the street, but had not yet been enclosed with glass doors. Folding iron gates still secured the foyer, and these were at the front of the building, on the footpath. The interior of the foyer was lined with fibrous sheeting and dark-stained timber cover-strips; there was a centrally located ticket-box at the back of the foyer; and doors to the auditorium were located either side of the ticket box. The terrazzo flooring in the present entrance is likely to date to 1927.
In the 1930s, there were approximately 200 picture theatres operating in Queensland, of which about 25% were located in Brisbane. This was the period when most Brisbane suburbs had at least one picture theatre, if not more, and encouraged local allegiances. Theatre staff - owners, management and other employees (such as projectionists, organ or piano players, ticket sellers and ushers) - generally lived in the district, and the theatre offered a local community focus and sense of local identity. Competition for audiences was strong. The Triumph's closest contemporary competitors were the Broadway at the Woolloongabba Fiveways; the Mowbray Park Picture Theatre on Shafston Road; the Alhambra at Stones Corner; the Roxy (Gaiety) at Coorparoo; and the Norman Park Picture Theatre near the Norman Park railway station. Of these, only the Triumph survives.
Following the introduction of television to Brisbane in the late 1950s, Brisbane cinema audiences declined rapidly. Suburban cinemas struggled to continue screening films and in the 1960s and 1970s many closed, the buildings converted into alternative uses or the sites redeveloped. By the 1980s, only a handful of single-screen interwar suburban cinemas survived in Brisbane.
In 1960-61 the Triumph had a seating capacity of 800, suggesting that some seating refurbishment had occurred since 1938, when the theatre seated 950.
By January 1970 the property had been acquired by Roy Arthur Chesterman and Merle Audrey Chesterman, and was transferred in February 1970 to Eric Dare, who owned the place for over three decades. The changes in ownership c. 1970 correspond with a transformation of the theatre. By 1970 the Triumph had been renamed the Capri East Brisbane and was operated by the Capri Theatre Company, which screened mostly R-rated sex films. In 1971 the capacity of the theatre was listed as 510, indicating that seating and/or possibly foyer refurbishment had taken place.
The cinema is believed to have closed for a short period in the 1980s, but by 1988 had re-opened as the Classic Cinema, an art-house screening alternative and revival films, and the venue for film festivals and the annual Brisbane screening of Australian Film, Television and Radio School productions. The theatre functioned as an art-house until closed in mid-2000.
In 2014 the building was being used as a martial arts studio, with a yoga studio on the upper floor.
Description
The former Triumph Cinema occupies a site at the southeast corner of Stanley Street East and Withington Street, East Brisbane. The facade fronts Stanley Street East, which is a major arterial road. The surrounding streets are mostly residential, but there is a small commercial node either side of Stanley Street East, where the cinema is located. Diagonally opposite, on the northeast corner of Stanley Street East and Didsbury Street, is the East Brisbane Hotel, erected in 1889.
The theatre is built to the street alignments and occupies the whole of the site. The front facade is two storeys in height, of rendered brick, and decorative, with strong streetscape presence. In an extraordinarily eclectic metaphorical mix typical of 1920s picture theatre architecture, the facade combines a mix of "Classical" and "Mediterranean" decorative and design elements. There are five bays, not of equal width, defined by pilasters, at the top of which are decorative concrete urns. A balustraded concrete pediment unites the two bays either side of the central bay. This middle bay is wider and taller, with a high pediment with the name TRIUMPH in rendered block lettering. Below the theatre name is a cantilevered tiled window hood above a bank of five-paned casement windows with opaque, green and amber Arctic glass. Behind these windows is the original bio-box. In the bays either side are pairs of similar casement windows, with similar window hoods above. At street level there is a centrally placed wide, low-arched entrance, defined by half pillars on each side, with concrete steps leading to what was formerly a semi-open foyer. This has been partly enclosed with later timber-framed glass doors, recessed from the arch entrance. To either side of this arched entrance is a billboard case, and in the end bays are small "porthole" windows with a square leadlight panel in each, now enclosed with timber lattice.
As was typical of suburban picture theatre construction of this period, the masonry facade returns along the sides only one narrow bay in depth. What the elegant facade was intended to obscure is that the main part of the structure, housing the auditorium, is a large, timber-framed space with a steep, gabled, galvanised iron roof. The side walls of the auditorium are clad externally with later cement sheeting. At the rear (southern) end of the main building the gable is in-filled with weatherboards and there is a lower, hipped roof extension over the stage area.
The main change to the building is that the foyer has been expanded and pushed back into the auditorium, c. 1970s. This space has a low, false ceiling of acoustic tiles, and the floor, which was formerly raked and part of the auditorium, has been raised and levelled. A ticket box and candy-bar are located on the western side of the foyer, and there are toilets on the eastern side. The auditorium is accessed from doorways at either side of the rear wall of the foyer. Above the renovated foyer is the projection booth, which is the original bio-box, accessed from steep, narrow timber stairs behind the ticket box on the western side, and near the men's toilets on the eastern side.
The auditorium remains remarkably intact and retains much of its early decorative finishes. It is a large space, with the roof supported by unboxed laminated timber arches, and has an early lattice ceiling with hessian or canvas backing which follows the curve of the arches. There are three decorative light panels in the centre of this ceiling. There is a raked timber floor, sloped more steeply at the northern end of the building. The side walls are lined internally with vertically-jointed tongue and groove timber boards to dado height, and above this have early plasterboard panels with decorative "classical" mouldings between the timber arches.
There is a small stage the southern end of the auditorium, with a proscenium arch in plasterwork with "classical" motifs. On either side of the stage, angled to direct focus to the rear wall, are large, early plasterboard panels with decorative "classical" mouldings. The rear wall is constructed of galvanised iron sheeting, on which is painted an early "screen". A later cinema screen which once filled the proscenium arch has been removed. There are two early sound horns which hang above the stage. There is off-stage space either side of the stage, which suggests that it may have been used for performance purposes as well.
Arnhem
June 2012
The Netherlands
Candid shots in and around the Public Transport in The Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
In my solitude
You haunt me
With dreadful ease
Of days gone by...
Billie Holiday
I am not a big fan of harsh sunlight. In this shot we used the reflection of the sunlight coming from a building across the street. Much softer and better for portrait work.
Have a nice and sunny sunday :)
Mamiya RB 67 Pro S, Mamiya Sekor C 180mm 4.5 @ 4.5, 1/60 sec, Kodak T-Max 100 @ 100 ISO