View allAll Photos Tagged Introspective
Dit portret is een verkenning van stilte en innerlijke kracht. Door een sobere setting en gecontroleerde belichting ontstaat er een beeld dat ingetogen en waardig aanvoelt. De handen, het neergeslagen hoofd en de zachte contouren vertellen samen een verhaal van reflectie, rust en diepte.
Voor mij is dit een zoektocht naar hoe weinig je nodig hebt om veel te zeggen – licht, houding, en een moment van volledige aanwezigheid.
Nikon Z9 | Nikkor Z 50mm f/1.8 S
Welcome to 2012!
This is for week 1 of the Teleidoscope - the theme is New Perspective.
This is sure a new perspective for me! One big change is this is a self pic. After all the hot guys I usually show you - it's a big stretch to throw myself in the mix!
The other new perspective is this is a location shot - that's my street - that's our two cars parked to the side and our holly tree on the side of the house. It was snowing outside pretty heavily but it stopped by the time I could get outside.
So my wish for the New Year is Bold Adventure!
I hope your year is filled with belly laughter, introspective peace and tingling adventure!!!
All the best!
Michael
---------------------------
Bold New World provided by Brenda Star!
www.flickr.com/photos/brenda-starr/4482813617/in/set-7215...
----------
Join me on twitter! @taggartm
Alternate pics on my blog:
This 2013 year of Snake is meant for steady progress and attention to detail. Focus and discipline will be necessary for you to achieve what you set out to create. The Snake is the sixth sign of the Chinese Zodiac, which consists of 12 Animal Signs. It is the enigmatic, intuitive, introspective, refined and collected of the Animals Signs. Ancient Chinese wisdom says a Snake in the house is a good omen because it means that your family will not starve.
EXPLORED: Jan. 1, 2013 • © marianna armata
All Hallows' Convent and School was established in 1863 on Petrie Bight, as the first permanent site of the convent and school of the Sisters of Mercy in Queensland. The site comprises many important buildings reflecting the growth of the school. The arrangement of the site and the buildings thereon reflect the acquisition of land and the introspective nature of the planning of the school.
Following the separation of Queensland from New South Wales in 1859, a new Roman Catholic diocese separated the newly formed Diocese of Queensland from the Diocese of Newcastle. On the 14th of April 1859 James Quinn, who was residing in Ireland at the time, was appointed the first Bishop of Queensland and arrived in Brisbane on the 12th of March 1861. Between his appointment and his arrival, Quinn recruited desperately needed clergy and religious Sisters. He arrived in Brisbane with several priests and five Sisters of Mercy, under the guidance of the Mother Superior, Mother Mary Vincent Whitty.
The Sisters of Mercy were principally a teaching order, founded in Ireland by Catherine McAuley in 1831. The establishment of religious schools in the new colony was seen as a crucial need to instil and strengthen faith in the struggling community where it was said that religion is very secondary... money making seems to be the object and aim of existence. The day after Mother Vincent's arrival a deputation from Ipswich requested that the Sisters settle in their town, but accommodation was soon found for the sisters in Brisbane, where the need for them must have been greater felt.
Adderton and the Convent:
In December 1863 Bishop Quinn purchased on behalf of the Sisters of Mercy the former home of Dr George Fullerton who had been appointed to the first Legislative Council of Queensland but soon after left for Maranoa. The house, presumably built for Fullerton was known as Adderton and was sold to Quinn for £6000. The house was located on Petrie Bight, across Ann Street from the Bishop's own rented residence, Dara, and these two properties were considered two of the largest and best appointed homes in Brisbane at the time. On their arrival, the Sisters had been provided with only temporary accommodation near Saint Stephen's church. Adderton was to be used as a convent for the Sisters of Mercy, and as accommodation for a boarding school. Among the chief concerns of the Bishop was the establishment of a Catholic education system, and this was his primary motivation for introducing to Queensland the order of sisters renowned for their teaching.
It is thought that the newly formed school was named All Hallows' by Mother Vincent after All Hallows' College, Dublin, which was in turn named to recall the seventh century parish church, All Hallows'-by-the-Tower in London. All Hallows', Brisbane was to operate in conjunction with the school at Saint Stephen's which had been established and operated by lay members of the community since 1845, but for which the Sisters assumed the management of upon their arrival in 1861. All Hallows' was established as a 'select' school, where money raised from fees could be used to finance the parish or 'poor' schools, of which the school at Saint Stephen's was an early example.
Presumably, Adderton was built in the late 1850s for Dr Fullerton after he purchased the property above Petrie Bight, which with its far reaching views of Brisbane, from Thomas Adams in 1858. Adams, with Henry Watson, acquired the original Deeds of Grant of the land in two separate deeds in July 1844 and May 1852. After its construction Adderton was located on 2 acres on what was known as Duncan's Hill but the site is now perceived, after the cutting down of Ann Street, as a cliff face to Ann Street sloping south eastward to the river.
Adderton forms the central section of the present day convent, and was originally a two storeyed house with a basement which was designed and constructed by early Brisbane builder, Andrew Petrie. Petrie was principally a building contractor, but was able to provide designs for local buildings until the influx of architects to Brisbane in the 1860s. Petrie was also responsible for the design and construction of the 1853 Adelaide House, later known as the Deanery, for Dr William Hobbs.
An early photograph of Adderton reveals it as a simple stone building of Georgian proportion and detail; a centrally located doorway with an elliptical fanlight above, flanked by timber shuttered windows and with chimney stacks protruding from each end of a simple gabled roof. Many of the features of the early house including a geometric stair, entrance door and light, windows and shutters, fireplaces along with the general planning of the interior are extant within what has become a much larger convent.
On the 1st of November 1863 the Sisters and some boarders from Saint Stephen's school transferred to Adderton. Classrooms were established in the reception and dining rooms on the ground floor, the study to the rear of these was used as a chapel and the floor above became sleeping quarters. Thus began the school and convent of All Hallows' which continues today as the head convent of the Sisters of Mercy in Queensland and from where the Sisters rapidly expanded their network of educational and social welfare institutions.
The education offered by the Sisters for the young women of Queensland was of a high standard, and sought after by members of all religious denominations from regional centres all over Queensland and northern New South Wales. Indeed the number of non-catholic enrolments exceeded that of the catholic enrolments for many years until the 1880s, and remained equal to them until the turn of the century. This ecumenical spirit persisted despite the establishment of the Girls Grammar School in 1875. 1879 saw All Hallows' produce its first candidate for the Sydney University Junior Public Examinations, being the first female candidate from a convent school in Australia. The Sisters were able to provide a comprehensive education including music, domestic science, as well as more academic pursuits where specialist teachers of this sort were not introduced into State Schools until the 1940s.
Adderton remained unaltered as the head convent for the Sisters of Mercy in Queensland until 1890, when major alterations were planned which saw the former two storeyed house engulfed in a much larger complex involving another storey, an extension of fifty feet in the length of the house and the addition of transverse wings. These alterations were planned by local architects Hunter and Corrie and executed in 1892, by contractors Messrs Woollam and Norman for upwards of £13,000. A descriptive report of the nearly completed building was carried in the national architectural periodical, The Building and Engineering Journal of February the 27th, 1892.
The basement of the new convent contained accommodation for 'House of Refuge' girls, work rooms, bathrooms, and storage areas. The ground floor housed various reception room and offices, a nuns' sacristy and halls for the building's three main staircases, along with the sisters' dining room and a chapel in the south-western wing. The chapel featured an apsidal chancel, floored with encaustic tiles and accessed via wide marble stairs; fine pine joinery and panelling stained to a light cedar colour; and a memorial stained glass window from Munich. Seating accommodation in the chapel was divided such that the Sisters sat on the ground floor and the boarders at the convent were seated in a gallery above the entrance of the chapel. Verandahs were added to the front and rear of the ground and first floors of the central section of the building at this time. The cement rendered brick extensions were erected on concrete foundations, and with a slate roof.
With this 1892 extension a walkway was constructed which connected the convent to the school building erected in 1884. Incorporated as part of the walkway was a bell tower in which was placed an Angelus bell brought with the Sisters from Ireland in 1861 and dedicated to Saint Charles Borromeo, which to this day chimes daily at noon.
Along with education, the Sisters of Mercy at All Hallows' provided many other social programmes, including the care and concern for the welfare of those considered less fortunate. Bishop Quinn approved the establishment of a House of Mercy (occasionally also referred to as the previously mentioned House of Refuge) at All Hallows' on February the 11th, 1875 with the aim of the protection of poor Women of good character, and in fact, providing accommodation for women including unwed mothers, inebriates, and former goalees in return for domestic work of various types. Later, parents or the police were able to send young girls to the House as a preventative measure against further trouble. A separate building was constructed as the House of Mercy at All Hallows' in 1878 between the rear of the convent and the Ann Street boundary. This building had a U-shaped plan, forming an enclosed courtyard with the convent. A large laundry was built in the vicinity in 1897, and this was one of the principal workshops of the inhabitants of the House of Mercy.
The north-eastern wing of the convent was extended toward Ann Street in 1913 to house further dining, library, and bedroom facilities. In 1921 the chapel, in the other wing, was almost tripled in size, removing the apsidal chancel and extending the whole wing toward the Ann Street perimeter of the school, and adding a transept toward the south-west. This extension, designed by local architects, Hall and Prentice was not designed to emulate the earlier Victorian building, rather a stripped classical architectural language was employed. The chapel was re-furbished in 1968 in line with the recently produced guidelines for changes of Roman Catholic services determined by Vatican II Council. The centrally facing dark stained timber pews were replaced with light pine seating facing the new, more centrally located altar.
Within the garden to the south of the chapel a small brick building was constructed in 1915 to designs of prominent local architect George Henry Male Addison, to house a life size sculpture of Jesus' crucifixion. This was erected by builder, J. Bowen whose tender price was £130. A grotto, located on the northern side of the convent, and a statue of Our Lady on the circular driveway, in the front of the convent were on the grounds by the early 1930s.
The Wall, Lodge and Gate:
The environment on Duncan's Hill gradually changed as what was formerly named High Road was renamed Ann Street, and this was cut down by 15 feet in 1865. From that time the convent at All Hallows' began to be perceived as situated at the top of a cliff-face rather than, as previously, at the apex of a gentle hill. Ann Street was subject to three more cuts, in 1876, 1886, and finally in 1927, when it took its present form.
The cutting down of Ann Street in 1876 necessitated the rebuilding of the original 1865 wall, which saw it extended along Ann Street. In 1879, three years after the reconstruction of the wall a stone gatekeepers lodge and entrance gateway were constructed to designs of Reverend Joseph Augustine Canali, an architect and engineer who arrived from Italy at the behest of Quinn in 1872 with the intention of joining the priesthood in Queensland which he did in 1879. The builders for the project were O'Keefe, Masterson and Martin who constructed the lodge and gateway for a cost of £3473/8/1. The gatehouse, which seems to have replaced an earlier structure built with Adderton, served as the convent almonry for many years after its construction.
Another cutting of Ann Street took place in 1886 and the final cutting in 1927 saw the wall increased in length, extending around into Kemp Place. At this time a base was added to the gatehouse making it level with the new road and the gate was lowered.
The Main Building:
As the school and convent increased in size and the Sisters of Mercy became wealthier, incentive arose to acquire the entire block on which the convent stood, bordered by Ann Street, Kemp Place, Ivory Street, and Boundary Street. In December 1879 land on the Ivory Street side of the site was purchased from James Ivory for £2173, for the construction of a separate school building, overlooking the Brisbane River.
Bishop Quinn laid the foundation stone of the building on January the 2nd 1881. The architect for the project was Andrea Giovanni Stombuco, a Florentine who moved to Australia in 1851 and to Brisbane in 1875. Upon his arrival in the country, Stombuco worked variously as a monumental mason, sculptor, and builder, before becoming an architect, a profession for which he claims he was self-taught. As an artisan, Stombuco undertook much work for the Catholic Church and the church was to become his primary patron when he began practice as an architect. On advice from the church Stombuco moved to Brisbane and may have taken up a position offered by Quinn as Diocesan architect. Among the buildings he designed for the Catholic Church were Saint Joseph's Christian Brothers Schools at both Gregory Terrace (1875 - 1876) and Nudgee (1889 - 1890); Rathbawn (1875 - 1878), a home for Quinn at Nudgee; several churches including Laidley (1878), Pine Mountain (1878), Sacred Heart at Sandgate (1880 - 1881), Church of the Holy Cross, Wooloowin (1886) and Saint Joseph's at Kangaroo Point (1887 - 1888).
The All Hallows' school building, which has become known as the Main Building, was constructed by Edward Vallely and completed in late 1882 at a cost of £8899/2/-. The original building was a substantial three storeyed structure, with a central tower dividing two symmetrically arranged wings featuring open arcaded loggias to the lower two storeys. The central tower which appeared on the south eastern side of the building was planned by Bishop Quinn as his own office, where he could oversee the development and management of the school curriculum. However, before the building was completed Quinn died and Robert Dunne was appointed his successor.
The Main Building housed classrooms, boarders' accommodation, and a concert hall. A separate two storeyed building to the north-east of the Main Building was constructed at this time to house music practice rooms.
By 1901 space in the Main Building was insufficient and a further wing was planned for the Main Building to designs of local architects, Hall and Dods, a partnership of Francis Richard Hall and Robert Smith Dods and the extension was constructed by John Watson. This wing, which extended toward the north-west, was very similar in detail to the original building, continuing the arcading, roofline, and detailing. The extension included a boarders' dining room, an extension of the concert hall, another stairhall fitted with a fine timber stair and additional boarding accommodation.
Thomas Ramsay Hall, a local architect and half-brother of Francis Hall, designed a further extension wing to the Main Building in 1919, perpendicular to the existing building and incorporating the building housing the early music practice rooms. Two further additions were made to this wing of the Main Building, extending it north west, to designs of architects Prentice and Atkinson in 1934 and in 1940. These later additions continued the arcading on the south-western facade and extended it along to disguise the early music practice rooms. Prentice and Atkinson were also responsible for the addition of a lavatory and bathroom block on the north east of the building in 1933. With the phasing out of the boarders from All Hallows' from 1969 changes were made to the Main Building, turning former accommodation quarters into classrooms.
Saint Ann's Industrial School:
The gold rush period of the 1850s and 1860s in Australia saw more concern and governmental involvement with the care of homeless children. Officials were given powers to place neglected and delinquent children in institutions often offering religious as well as technical training, modelled on the English district union schools.
Following the Industrial and Reformatory Schools Act of 1865, which regulated the detention of neglected and criminal children, the Sisters established an industrial school in 1868 in rented cottages adjacent to All Hallows'. Saint Ann's Industrial School, as it became known, was concerned with the full-time education of young girls in domestic arts and sciences, including cooking, dressmaking, and needlework. The Sisters established the Industrial School to continue the training of young girls leaving Saint Vincent's Orphanage at Nudgee, in an attempt to prolong their entry in the workforce, where the state age for discharge could be as low as ten years. However, Saint Ann's was soon accepting full fee paying students. Work produced at the school was exhibited nationally and the institute became a highly regarded training centre.
In 1876 the school's Liquidation Committee approved the construction of a new building to house the Industrial School and land previously rented by the Sisters was purchased from the estate of George Poole for £3000. This land faced Ann Street to the south west of the main entrance.
Andrea Stombuco, the designer of the Main Building at All Hallows', called tenders for the construction of an Industrial School in the early 1880s, but financial constraints delayed the construction of the building. Tenders were again called in 1893, to revised designs of FDG Stanley and Son, and the contractors Woollam and Norman who had only recently finished the construction of the extensions to the All Hallows' Convent, were commissioned as builders for the project. Messrs Leach and Son were the decorators employed. Saint Ann's was completed for a cost of about £7000 and officially opened by the Governor, Sir Henry Wylie Norman on July the 15th, 1894. A newspaper report of the opening in The Age gave the following account of the nature of the school:
"As it is well-known the institution is largely self-supporting, being the abode of dress-makers, lace and fancy needle workers. Saint Ann's has gradually grown until now it assumes the position of an important destroyer of the nonsensical fallacies of free-trade which have blighted colonial youth in the past. We hope the children will grow in goodness and usefulness, and that a kindred institution will, in the early future, be established for boys where they may acquire useful trades."
An Industrial School for boys was, indeed, established by Archbishop Dunne in the printing offices of the Catholic newspaper, The Australian.
Changes in the education system saw the partial closure of Saint Ann's in the 1940s, when the building became used as a boarding house for young women studying at university or working in the city. In 1964 an extensive refurbishment of the building was undertaken which converted the lower floors of the building into classrooms, anticipating the future growth of the school.
Other Buildings:
All Hallows' School and Convent have seen many periods of concentrated growth; the 1880s and early 1890s saw the construction of the Main Building, and the first major extension of the convent. During the 1920s and 1930s the convent was again extended, the Main Building was extended twice and several small buildings were constructed including the chaplains residency, Saint Brigids, and an art studio.
The art studio was constructed between the north eastern wing of the Main Building and the Convent in 1922 to designs of local architects, Hall and Prentice at a cost of £1437. This small one storeyed masonry structure was designed to maximise natural lighting, with large windows and skylighting and an open plan. A similar art studio was constructed at Lourdes Hill School in 1923.
Hall and Prentice, or the later firm of Hall and Phillips which formed with the dissolution of the previous partnership in 1929, are thought to have designed two other buildings on the campus, as well as the before mentioned extension of the chapel in 1921. These are a chaplain's residence constructed in 1936, abutting the gatekeeper's lodge above the Ann Street wall and Saint Brigids, a classroom block, built in 1924. These two buildings have similar classical detailing to that found on Hall and Phillips' extension of the nearby chapel.
Adjacent to Saint Brigids is a small octagonal building of one storey, with a high pitched pyramidal roof which was apparently constructed as an aviary, but is now used for classroom and meeting space.
Later buildings extant on the site include McCauley Hall which was constructed as the first catholic teachers' college in Queensland in 1958; Aquinas Hall a four storeyed building containing language, history, and science laboratories, designed by Frank Cullen and Partners and opened in 1964 to which a science and library wing were added in 1972 and extended in 1978; and, most recently, Loreto Hall, a gymnasium complex, incorporating a large auditorium and art rooms designed by Graeme Thiedeke and opened in 1985. Loreto Hall replaced one of the very few buildings on the site known to have been demolished, a small one storeyed building known as Nazereth. This was constructed in 1952 for use by the lower primary school, and with the closing of the primary school in 1981, Nazereth was used for art rooms until its demolition.
In 1913 All Hallows' became the home of one of the first school swimming pools in Queensland, which was replaced in 1960 by the extant pool and associated buildings.
Source: Queensland Heritage Register.
That ^^^ means no flashy logos or daft graphics please!!
A little more Ella for you.
Ever feel, as the day goes by, and the world swirls around, that things get more and more insistant in your brain, and yet, because of the ingress, they become mixed with eachother and less and less of a priority, the pressure becoming equal? Your day at work seems more logical when there's a few important things to be done, as opposed to four million and ten other jobs, all important, but the definiton loses its way.
My head spins from it. And when my head spins it takes a step back and tries to let it all go a little. And it's at that point one of two things happen, sometimes both. You fall back into a safety net, resorting psychologically or physically to something you know, the familiar. It's like your safety net as you fall. Or you begin to remember there's an ephasis on one thing more than anything else, the stuff you try and forget and hide, the stuff that's really troubling you. So the world screams by at a thousand miles an hour, and you retreat and obsess over something important you'd rather hide from, and fall back to a place of familiarity.
And that's not so good. Nothing good ever comes out of familiarity. It's just shit scary to break out properly.
And so you fall back, or sit nervously on the edge. And the to-ing and fro-ing eats at you.
French postcard by Sonis, no. C. 322. Photo: Columbia Pictures. Keanu Reeves, Michaela Bercu, Monica Bellucci and Florina Kendrick in Dracula (Francis Coppola, 1992).
Keanu Reeves (1964) is a Canadian actor, producer, director and musician. Though Reeves often faced criticism for his deadpan delivery and perceived limited range as an actor, he nonetheless took on roles in a variety of genres, doing everything from introspective art-house fare to action-packed thrillers. His films include My Own Private Idaho (1991), the European drama Little Buddha (1993), Speed (1994), The Matrix (1999) and John Wick (2014).
Keanu Charles Reeves was born in 1964, in Beirut, Lebanon. His first name means ‘cool breeze over the mountains’ in Hawaiian. His father, Samuel Nowlin Reeves, Jr., was a geologist of Chinese-Hawaiian heritage, and his mother, Patricia Bond (née Taylor), was a British showgirl and later a costume designer for rock stars such as Alice Cooper. Reeves's mother was working in Beirut when she met his father. Upon his parents’ split in 1966, Keanu moved with his mother and younger sister Kim Reeves to Sydney, to New York and then to Toronto. As a child, he lived with various stepfathers, including stage and film director Paul Aaron. Keanu developed an ardor for hockey, though he would eventually turn to acting. At 15, he played Mercutio in a stage production of Romeo and Juliet at the Leah Posluns Theatre. Reeves dropped out of high school when he was 17. His film debut was the Canadian feature One Step Away (Robert Fortier, 1985). After a part in the teen movie Youngblood (Peter Markle, 1986), starring Rob Lowe, he obtained a green card through stepfather Paul Aaron and moved to Los Angeles. After a few minor roles, he gained attention for his performance in the dark drama River's Edge (Tim Hunter, 1986), which depicted how a murder affected a group of adolescents. Reeves landed a supporting role in the Oscar-nominated period drama Dangerous Liaisons (Stephen Frears, 1988), starring Glenn Close and John Malkovich. Reeves joined the casts of Ron Howard's comedy Parenthood (1989), and Lawrence Kasdan's I Love You to Death (1990). Unexpectedly successful was the wacky comedy Bill & Ted's Excellent Adventure (Stephen Herek, 1989) which followed two high school students (Reeves and Alex Winter) and their time-traveling high jinks. The success lead to a TV series and a sequel, Bill & Ted's Bogus Journey (Pete Hewitt, 1991). From then on, audiences often confused Reeves's real-life persona with that of his doofy on-screen counterpart.
In the following years, Keanu Reeves tried to shake the Ted stigma. He developed an eclectic film roster that included high-budget action films like the surf thriller Point Break (Kathryn Bigelow, 1991) for which he won MTV's ‘Most Desirable Male’ award in 1992, but also lower-budget art-house films. My Own Private Idaho (1991), directed by Gus Van Sant and co-starring River Phoenix, chronicled the lives of two young hustlers living on the streets. In Francis Ford Coppola’s adaptation of Bram Stoker’s Dracula (1992), Reeves embodied the calm resolute lawyer Jonathan Harker who stumbles into the lair of Gary Oldman’s Count Dracula. In Europe, he played prince Siddharta who becomes the Buddha in Bernardo Bertolucci’s Italian-French-British drama Little Buddha (1993). His career reached a new high when he starred opposite Sandra Bullock in the hit action film Speed (Jan de Bont, 1994). It was followed by the romantic drama A Walk in the Clouds (Alfonso Arau, 1995) and the supernatural thriller Devil’s Advocate (Taylor Hackford, 1997), co-starring Al Pacino and Charlize Theron. At the close of the decade, Reeves starred in a Sci-fi film that would become a genre game changer, The Matrix (Andy and Lana Wachowski, 1999). Reeves played the prophetic figure Neo, slated to lead humanity to freedom from an all-consuming simulated world. Known for its innovative fight sequences, avant-garde special effects and gorgeous fashion, The Matrix was an international hit. Two sequels, The Matrix Reloaded (Andy and Lana Wachowski, 1999) and The Matrix Revolutions (Andy and Lana Wachowski, 1999) followed and The Matrix Reloaded was even a bigger financial blockbuster than its predecessor.
Now a major, bonafide box office star, Keanu Reeves continued to work in different genres and both in bid-budget as in small independent films. He played an abusive man in the supernatural thriller The Gift (Sam Raimi, 2000), starring Cate Blanchett, a smitten doctor in the romantic comedy Something’s Gotta Give (Nancy Meyers, 2003) opposite Diane Keaton, and a Brit demon hunter in American-German occult detective action film Constantine (Francis Lawrence, 2005). His appearance in the animated science fiction thriller A Scanner Darkly (Richard Linklater, 2006), based on the novel by Philip K. Dick, received favourable reviews, and The Lake House (Alejandro Agresti, 2006) , his romantic outing with Sandra Bullock, was a success at the box office. Reeves returned to Sci-fi as alien Klaatu in The Day the Earth Stood Still (Scott Derrickson, 2008), the remake of the 1951 classic. Then he played a supporting part in Rebecca Miller's The Private Life of Pippa Lee (2009), which starred Robin Wright and premiered at the 59th Berlin International Film Festival. Reeves co-founded a production company, Company Films. The company helped produce Henry's Crime (Malcolm Venville, 2010), in which Reeves also starred. The actor made his directorial debut with the Chinese-American Martial arts film Man of Tai Chi (2013), partly inspired by the life of Reeves' friend, stuntman Tiger Chen. Martial arts–based themes continued in Reeves's next feature, 47 Ronin (Carl Rinsch, 2013), about a real-life group of masterless samurai in 18th-century Japan who avenged the death of their lord. Variety magazine listed 47 Ronin as one of "Hollywood's biggest box office bombs of 2013". Reeves returned as a retired hitman in the neo-noir action thriller John Wick (Chad Stahelski, David Leitch, 2014). The film opened to positive reviews and performed well at the box office. There were two sequels, John Wick: Chapter Two2 (Chad Stahelski, 2017) with Riccardo Scamarcio, and John Wick: Chapter 3 - Parabellum (Chad Stahelski, 2019) with Halle Berry. He could also be seen in the psychological horror film The Neon Demon is (Nicolas Winding Refn, 2016), the romantic horror-thriller Bad Batch (Ana Lily Amirpour, 2016) and Bill & Ted Face the Music (Dean Parisot, 2020), in which he reunited with Alex Winter. Reeves’ artistic aspirations are not limited to film. In the early 1990s, he co-founded the grunge band Dogstar, which released two albums. He later played bass for a band called Becky. Reeves is also a longtime motorcycle enthusiast. After asking designer Gard Hollinger to create a custom-built bike for him, the two went into business together with the formation of Arch Motorcycle Company LLC in 2011. Reported to be one of the more generous actors in Hollywood, Reeves helped care for his sister during her lengthy battle with leukemia, and has supported such organizations as Stand Up To Cancer and PETA. In January 2000, Reeves's girlfriend, Jennifer Syme, gave birth eight months into her pregnancy to Ava Archer Syme-Reeves, who was stillborn. The strain put on their relationship by their grief resulted in Reeves and Syme's breakup several weeks later. In 2001, Syme died after a car accident.
Sources: Biography.com, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
I've often thought that life consists primarily of rhythms - in and out, up and down, tension and release. Our hearts and lungs expand/contract. As do our intestines. All our muscles... voluntary and involuntary... are engaged in this repetitive and necessary dance. So too the tides, and the seasons... even trends. Hemlines going up and down... waistlines on our jeans... as though the human-made commercial world can't help but go along with the larger set of rhythms that defines our Earth.
I think about this as I post this pic of my friend Blackbyrd because he's on the verge of a whole new thing. Like all of us, he's been through his share of ups and downs... and lately, he's spent a bit of time in the middle... in that space between breaths... where all the bad stuff is exhaled... the lungs and the belly are contracted... and the body is about to take a good deep swig of clean, refreshing, rejuvenating air.
Apart from all his many other noteworthy traits, Blackbyrd is the one who introduced me to Flickr. For that I'm immensely grateful... more than I can ever say.
Thank you, Blackbyrd. I can't wait to see where your new-grown wings will take you.
Yellow Dog Trio is a powerful and creative trio which combines their meditative, introspective compositions with open improvisations, using intelligent structures with elegant, inventive language and stimulating content committed to invention.
Together they present music full of detail, energy and color, combined with a solid concept.
B. Strauch - piano
G. Almeida - double bass
F. v. Wijck - drums
yellow-dog-trio.bandcamp.com/releases
www.seeds-rotterdam.blogspot.nl/
Crooswijk - Rotterdam
Created for We're here visiting Introspective Portraits
Sigmund Freud (6 May 1856 – 23 September 1939) was an Austrian neurologist, now known as the father of psychoanalysis.
In creating psychoanalysis, a clinical method for treating psychopathology through dialogue between a patient and a psychoanalyst, Freud developed therapeutic techniques such as the use of free association and discovered transference, establishing its central role in the analytic process. Freud's redefinition of sexuality to include its infantile forms led him to formulate the Oedipus complex as the central tenet of psychoanalytical theory. His analysis of dreams as wish-fulfillments provided him with models for the clinical analysis of symptom formation and the mechanisms of repression as well as for elaboration of his theory of the unconscious as an agency disruptive of conscious states of mind. Freud postulated the existence of libido, an energy with which mental processes and structures are invested and which generates erotic attachments, and a death drive, the source of repetition, hate, aggression and neurotic guilt. In his later work Freud developed a wide-ranging interpretation and critique of religion and culture.
Cela va bientôt faire un an maintenant que je travaille avec le compositeur HOENIX, autour d'un projet indépendant sur le thème de l'introspection.
Cette première réalisation inspirée de mes moments de solitude sera transcrite à travers de l’écriture et de la création pure.
Une petite équipe partageant les mêmes valeurs a été réunie et un espace touscoprod a été créé ; dans le but de donner la possibilité aux personnes partageant cette vision introspective, de financer et produire ce film.
Ce voyage spirituel sera possible en grande partie avec votre énergie.
Plus d'informations sur la production et l'équipe Introspection :
www.touscoprod.com/fr/introspection
_______
It's been almost a year now, I am working with the composer HOENIX on an independent project about the theme of introspection.
This short film inspired by my lonely quest will be organized through writing and pure creation.
A small team sharing the same values has been gathered and a "touscoprod" page has been opened to provide opportunities for people who share this vision, to finance and to produce this film.
Your energy will make real this spiritual voyage.
More information about production and Introspection team:
I have been working on some new samples featuring characters from the world of Disney. Here is my final color illustration of Pocahontas.
I aimed to capture the movie's great color palette as well as the character's beauty, spirit, and introspective qualities.
I often (almost every day) wonder how my life would have turned out if I had made different choices in my life, earlier...
XX
She did this pose without direction, truly she is a natural. I love her expression. Again this is from my archives from my first shoot with her in the summer of 2012. You can see more of her many moods and expressions in my set "Alexis". Best in lightbox. Canon 5D Mark ii taken in Hopeland Gardens Aiken South Carolina.
*366 photos for the 20's 01/06*
this year I will try to choose one photo a day for this pseudo-project, no matter the motive, style, colour or technique. encouraging myself to shoot everyday, even if I can't go outside.
Follow me: | Twitter | Tumblr |
Pro Books for models, contact with me at: Fotopunto or Fotoplatino
Complete Ruth set here.
Model: Ruth Monforte.
MUA: Lidia Gavila
Lights: Profoto + Hensel.
Camera: Canon EOS 5D Mark II.
Lens: Canon 24-105L.
Studio: Shoot 115 (Barcelona)
As I like to do, here's a colour vs. black and white image comparison. I really like this shot - it has a introspective or 'prayerful' thing going on. I knew black and white would probably work, just because the colour might distract a bit from the look and emotion but I like them both. With such lovely colours in the head scarf it's hard to remove all the saturation. Anyways, love to hear people's thoughts.
Strobist:
1x YN560 into 36" shoot-thru umbrella, above model pointing down 45 degrees. Large silver reflector on the table below the models face for fill (classic clamshell style setup). Fired by Cactus v5s
Model&Mua: Claudia Congiu
Hair&Assistant: Annamaria Saba
Photo&PP: Grazia Mele
Follow my Fb page: www.facebook.com/graziamelephoto/?ref=bookmarks
Follow my Fb page: www.facebook.com/graziamelephoto/?ref=bookmarks
and my site www.graziamele.it
@Varese
Nulla è più pericoloso per l'anima che occuparsi continuamente della propria insoddisfazione e debolezza.
(Hermann Hesse)
Well... i didn't want to see my introspective phase anymore... so i decided to create a new set with all the different versions i did of some of my old pictures... Of that serie of the Palau, i chose this one.... dunno why, but i like it the most... ;P
Bueno... no quería ver más mi fase intronspectiva, así que he decidido crear un nuevo set con las diferentes versiones de algunas de mis viejas fotos... De esta serie del Palacio de las artes me he quedado con esta, no sabría deciros porqué... ;P
ah, for a minute there, i lost myself.. have just now gone through my entire uploaded collection of self portraits, spanning the past five years. i almost edited the text in some places, but decided to leave it all, for the record. it's evident what an introspective tool photography has been for me. here i am, hello.
I finally managed to make and do my shot for the SoulPancake group. I was graciously invited to join into this 52 weeks group and accepted, only to have my head spin all week on what I got myself into. The group sets its goal to look outside our comfortzones, To act on themes in our normal lives and let those activities inspire our images.
I realized I’ve become accustomed to my way of making pics and at the end of my second 365, I felt like I was just going through the motions.
Ever since I ended my 365 I’ve felt a bit of a void not making pics everyday, but I’m not convinced a new 365 will get me further on my path, it would just keep me sitting in my comfort zone.
What I miss mostly was the feeling in the beginning of my 365 journey where I would expand and cross boundaries to get to where I am now. This project might just be able to have me expand a bit more personally, while still being able to do what I love, taking and making pictures.
So in closely examining my fingerprints I actually started to examine my steps and traces towards this point in time, and to look at what steps I’ll be taking next.
On a side note, the beautiful Grant pointed towards an awesome lightleak set which I used here
The mistake I made with Jitka was taking more than one shot. It set up me up with all kinds of dilemmas about which frame to use of ten. There's an alternative shot here, and in many ways I think that's superior - yet, less consistent in my project as a whole. I'd be really interested in people's thoughts on the two options here.
Having shot in Camden for a couple of hours, I whizzed over to Brick Lane to mix things up. Camden Market ought to be a fantastic location for street portraits, but I find it hard to spot either usable backgrounds or really interesting people. I'd had a lot of luck with two super strangers (Belle and Toby) and thought I'd quit whilst I was ahead.
Brick Lane on a Saturday turned out to be a revelation. There were maybe only 5-10% of the people at Camden, but five times the number I wanted to shoot. The street art always offers fantastic backgrounds, and changes so frequently there's always something new to use.
In fact, I shot Layla #10/100 in this exact spot - and the background has changed five or six times in the interim.
Attracted to this metal swing gate's latest zebra/sonar incarnation, I settled down to find a stranger - ideally one with stripes. I only saw Jitka's scarf, and thought it would work well on that front. When I walked up to introduce my project, she spun around and turned out to be somekind of brunette Claudia Shiffer. A crowd of 8-12 of Jitka's friends gathered to listen to the pitch. The good news was that two of them could help with the gold reflector. The bad news was that all of them were going to stand three feet out of shot and commentate!
It was kind of fun, in fact, and I'm amazed Jitka rolled with it as effortlessly as she did. It would have completely freaked me out if I was on the other side of the lens.
The group dynamic was such that we chatted across and around, so I only got a sketch. Jitka's over from Prague with friends, checking out Brick Lane's street art on an informal tour of sorts. She's shot/modelled before, and the group shot lots of their own photos. When we finished up I turned and my 1.2m reflector was neatly folded up - my volunteer assistant, it turned out, was a photographer himself.
I left with as many questions as answers, but a lot of healthy energetic chat. It's perhaps to be expected, but I find the range of encounters on this project interesting. The successful ones always have conversation and energy and interaction; but it can take many forms. Some are deep, introspective examinations, with considered language and thoughts shared. I've chatted with some people for as long as an hour. Others, like this one, are really pretty superficial in terms of what is discussed, and they're brief, but there's a shared enthusiasm, a working together to suddenly common purpose, an impromptu trust and empathy that is pretty inspiring to be part of for a moment.
Thank you Jitka for agreeing to be part of the project. I'm in awe of your poise in front of a crowd. Please pass on my thanks to the two guys that helped with the reflector! And have a fantastic end to your London trip.
This is portrait #35 of my 100 Strangers Project - check out the group page and get involved.
One of my first big trips out was to the Victoria and Albert Museum so it was nice albeit introspective to go back again recently. The first time around I was a bundle of excitement and nerves petrified I'd be burned at the stake or stoned. Was I getting it right, did anyone notice me, what happens if I open my fat gob, a million worries including why put myself through this. I was inspired and in awe at the confidence of my companions for the day - who all bar one I hadn't met before - but have plenty of times since.
This time around was different, still excited to be out with friends but just getting on with being myself. Any other worries don't belong to me anymore, they belong to others. Always the question why I don't do it more often - probably coz I'm lazy and its hard work looking vaguely presentable. C'est la vie!
Pictured on the steps of the V&A with Rachel B and Stephanie. Piccy by Pippa
1. I'd like to think I'm an introspective person and am well aware of the mechanisms underlying in my actions but at the same time, mere comprehension isn't enough and I rarely make the attempt to change based on what I understand about myself.
--
5. I often try to do the bare minimum to prevent the feeling of disappointment of giving my all and being rejected. This is observable in every walk of my life, from school to relationships with others. All this accomplishes is making me seem detached and indifferent.
6. I have so many defense mechanisms I begin to wonder if I ever act genuinely or if every choice I make is propelled by a fear of being trampled over and abandoned.
7. I constantly think about how little I understand about others and how little others understand about me and contemplate whether meaningful interactions are truly feasible or if close bonds are formed out of opportunity.
- Alex Calder