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by Mischa Badasyan
"I exist in the relations. Others create me and I am a reflection of others. I wanna be part of you - your body, your moment, your story, and your life. Once I met him. This encounter is still a memorable moment of something that moves me forward, let me dance and spin around. His body stucked to mine and we were breathing together. I have been embraced from inside, I became part of him. We were together, once and for ever."
Cynful Sparkle Dress FLF Special 1 50L. Breathe Mayumi Heels (nude) Truth Soiree VIP GG 0L (group is 350L) Cae Pearl Headband 0L GG (group is 0L to join) Cae Simplicity Pearls necklace & earring. Cae North Star Bracelet GG 0L. Cynful Upperclass necklace (part of an outfit lucky board) 0L. Alaskametro My Nudes lipstick. Sim ZOZ sim.
Agoriad Swyddogol Coed Ffos Las /
These pictures may be used by the media to illustrate the story below so long as they are credited WTML/Terry Morris.
Cymraeg isod.
The Princess Royal officially opens Wales First World War Centenary Wood, Coed Ffos Las
It’s been four years in the making, with many hundreds of local people including children helping to plant the trees, and Her Royal Highness The Princess Royal has now formally opened Coed Ffos Las, Wales’ First World War Centenary Wood, in the Gwendraeth Valley in Carmarthenshire. As the Woodland Trust’s (Coed Cadw’s) most recently planted wood in Wales, it's part of the The First World War Centenary Woods project which is helping to plant millions of native trees to commemorate the First World War.
The Princess Royal was joined by around 40 invited guests on 2 July, who saw demonstrations highlighting the hugely important role that woods and trees played in the First World War. There was horse ploughing, greenwood working and a working blacksmith. The 157 Royal Logistics Corp were also present, a company created as a result of the First World War, who have helped plant the trees at Coed Ffos Las and who are proud to have The Princess Royal as their Patron.
Her Royal Highness then formally unveiled a plaque displaying the name of the life-sized War Horse Sculpture which forms a special Commemorative Feature of the site. Created out of Corten steel by the designer Steve Tomlinson, the statue was named Yr Arwr / Hero, after the poem which won Hedd Wyn the Chair at the 1917 National Eisteddfod. The name was chosen by Jane Hutt, formerly Leader of the House at the National Assembly for Wales, from ideas suggested in a public competition for names organised last summer in which nearly one hundred people took part.
Natalie Buttriss, Director of Wales for the Woodland Trust (Coed Cadw) said: “I’m delighted to be able to welcome The Princess Royal to Coed Ffos Las. Working with the local community and with the support of our members and sponsors we have created a beautiful, poignant new woodland which incorporates 90,000 native trees. There is also an orchard, bee hives, a pond, an area of woodland which can be coppiced, open areas for enjoying the panoramic views, as well as the amazing war horse sculpture as a commemorative feature.
“Coed Ffos Las is a unique woodland in Wales which we are using to tell the story of wood, woodland, workers and soldiers in the First World War. A huge percentage of Wales’ ancient woodland was felled for a wide range of uses in the Great War. Ammunition cases, vehicle bodies, gun carriages, matches, pit props, even hazel hurdles were used to build the walls of trenches. Wales is, in many ways, still feeling the environmental impact of a war that wreaked havoc on soldiers’ and communities’ lives.”
“The creation of the Coed Ffos Las has cost around £1.2m in total. The Woodland Trust is hugely grateful to everyone who supported our fundraising appeal for the site, to our lead partner in the project, Sainsbury’s, to Welsh Government’s Plant! initiative and the players of the National Lottery, through the Heritage Lottery Fund, all of which have generously supported different aspects of the project.”
The First World War Centenary Woods project is supported by the Trust’s lead partner Sainsbury's, helping to plant millions of native trees to commemorate the First World War. Mike Coupe, the company’s CEO, said: “We’re pleased to support such a fitting memorial to those affected by the First World War. It’s important to our customers and colleagues, and commemorative to the colleagues who fell during World War One.
Y Dywysoges Frenhinol yn agor Coed Ffos Las, Coedwig Canmlwyddiant y Rhyfel Byd Cyntaf yng Nghymru, heddiw
Mae hi wedi cymryd pedair blynedd o waith caled. Mae cannoedd lawer o bobl leol gan gynnwys plant wedi plannu'r coed. Yn awr mae ei Huchelder Brenhinol, y Dywysoges Frenhinol wedi agor Coed Ffos Las yn ffurfiol. Dyma Goedwig Canmlwyddiant y Rhyfel Byd Cyntaf yng Nghymru, yng Nghwm Gwendraeth yn Sir Gaerfyrddin. Hon yw’r goedwig fwyaf newydd y mae Coed Cadw (Woodland Trust) wedi ei phlannu yng Nghymru mae’n rhan o brosiect Coed Canmlwyddiant y Rhyfel Byd Cyntaf sydd â’i fryd ar blannu miliynnau o goed brodorol i goffau’r Rhyfel Byd Cyntaf.
Fe ymunodd oddeutu 40 o westeion â’r Dywysoges Frenhinol ar 2 Gorffennaf. Fe welson nhw arddangosfeydd oedd wedi cael eu trefnu i amlygu rôl hollbwysig coetir a choed yn y Rhyfel Byd Cyntaf. Fe fu ceffylau gwedd yn aredig y tir, fe fu bobl yn gwneud gwaith coed gwyrdd ac fe fu gof yn gweithio. Roedd y 157 Royal Logistics Corp yn bresennol hefyd. Cwmni yw hwn a grëwyd o ganlyniad i'r Rhyfel Byd Cyntaf. Maen nhw wedi helpu plannu'r coed yng Nghoed Ffos Las ac maen nhw’n falch fod y Dywysoges Frenhinol noddwr iddyn nhw.
Wedyn, fe wnaeth ei Huchelder Frenhinol ddatgluddio plac sy’n dwyn enw'r cerflun ceffyl rhyfel, sy'n ffurfio nodwedd goffaol ar y safle. Wedi'i greu o ddur Corten gan y dylunydd Steve Tomlinson, fe gafodd y cerflun ei fedyddio Yr Arwr / Hero, ar ôl y gerdd a enillodd y Gadair i Hedd Wyn yn Eisteddfod Genedlaethol 1917. Dewiswyd yr enw gan Jane Hutt, a oedd gynt yn Arweinydd y Tŷ yng Nghynulliad Cenedlaethol Cymru, o syniadau a awgrymwyd mewn cystadleuaeth gyhoeddus a drefnwyd yr haf diwethaf, y cymerodd bron i gant o bobl ran ynddi hi.
Dywedodd Natalie Buttriss, Cyfarwyddwr Cymru Coed Cadw: "Rwy'n falch iawn i groesawu'r Dywysoges Frenhinol i Goed Ffos Las. Gan weithio gyda'r gymuned leol a chyda chefnogaeth ein haelodau a'n noddwyr, rydym wedi creu coetir newydd sy’n hardd ac yn ingol, sy'n cynnwys 90,000 o goed brodorol. Mae yna berllan hefyd, cychod gwenyn, pwll dwr, ardal o goetir y gellir ei brysgoedio, mannau agored i fwynhau'r golygfeydd panoramig yn ogystal â'r cerflun ceffyl rhyfel fel nodwedd goffaol.
"Coedwig unigryw yng Nghymru yw Coed Ffos Las. Rydym yn ei defnyddio i adrodd stori coed, coetir, gweithwyr a milwyr yn y Rhyfel Byd Cyntaf. Torrwyd canran enfawr o goetir hynafol Cymru ar gyfer ystod eang o ddefnyddiau yn y Rhyfel Mawr. Defnyddiwyd coed i wneud bocsys ar gyfer bwledi, cyrff cerbydau, cerbydau gwn, matsys, pyst pyllau a hyd yn oed clwydi cyll i adeiladu waliau'r ffosydd. Mae Cymru, mewn sawl ffordd, yn dal i deimlo effaith amgylcheddol y rhyfel, a gododd aflonyddwch ar fywydau milwyr a chymunedau."
"Fe gostiodd tua £1.2m i greu Coed Ffos Las. Mae Coed Cadw’n hynod ddiolchgar i bawb a gefnogodd ein hapêl codi arian ar gyfer y safle, i'n prif bartner yn y prosiect Sainsbury's, i brosiect Plant! gan Lywodraeth Cymru, a chwaraewyr y Loteri Genedlaethol, trwy Gronfa Dreftadaeth y Loteri. Mae pob un ohonynt wedi cefnogi gwahanol agweddau o'r prosiect, a hynny’n hael."
Cefnogir prosiect Coed y Canmlwyddiant gan gwmni Sainsbury's, prif bartner Coed Cadw. Mae hyn wedi golygu plannu miliynau o goed brodorol i goffáu'r Rhyfel Byd Cyntaf. Dywed Mike Coupe, Prif Swyddog Gweithredol y cwmni: "Rydym yn falch o gefnogi cofeb mor addas i'r rhai yr effeithiwyd arnynt gan y Rhyfel Byd Cyntaf. Mae'n bwysig i'n cwsmeriaid a'n cydweithwyr, ac mae’n coffáu i'n cydweithwyr a syrthiodd yn yr Ryfel Byd Cyntaf. "
Cambodian lady explaining how she boils down about 3 gallons of raw palm juice to make about a cup of palm sugar (in the displayed containers), which she sells for a dollar.
Rodaje de Teaser por Proyecto Ganador de UNCUBARTE.
DIRECCIÓN: Francesca Franchini.
ASISTENTE DE DIRECCIÓN: Carolina Dagach.
PRODUCCIÓN: Francesca Franchini & Carolina Dagach.
DIRECCIÓN DE FOTO: Felipe Alvarez.
CÁMARA: Felipe Alvarez.
DIRECCIÓN DE ARTE: Martin Arriagada.
ASISTENTE DE FOTO Y CÁMARA: Cristián Copaja.
ASISTENTES DE ARTE: Mara & Matias Medina.
GUIÓN: Carolina Dagach.
MAKING OF EN VIDEO: Carola Bravo.
MAKING OF EN FOTO FIJA: Carolina Dagach.
St Peter, Boughton Monchelsea, is one of a series of parish churches built on a sandstone ridge overlooking the Kentish Weald. It is one of them which was closed on my last visit to the area, so on Heritage Weekend I returned, and found it open and very friendly.
A volunteer had cleared some of the vegetation in the churchyard, and was making busy with a bonfire, whose smoke lazily crept through the boughs of ancient trees down the slope of the down.
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A church whose interior does not quite deliver all its picturesque exterior promises. The situation on the end of the sandstone ridge with far-ranging views is wonderful - and the lychgate is one of the oldest in the county, probably dating from the fifteenth century. Inside the results of a serious fire in 1832 and subsequent rebuildings are all too obvious. The plaster has been stripped from the walls and the rubble stonework disastrously repointed, whilst the poor quality mid-nineteenth-century glass installed by Hardman's studio is not typical of the usual high quality of that firm's output. However, the stone and alabaster reredos is just the right scale for the chancel, and compliments the medieval aumbry, piscina and sedilia. There is also a good range of eighteenth- and nineteenth-century memorials including a large piece at the west end by Scheemakers to commemorate Sir Christopher Powell (d. 1742).
www.kentchurches.info/church.asp?p=Boughton+Monchelsea
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BOUGHTON MONCHENSIE
LIES the next parish northward from Hedcorne. It is written in Domesday, Boltone; in later records, Bocton, and sometimes West Bocton; and now usually Boughton. It has the addition of Monchensie, (commonly pronounced Monchelsea) to it from the family of that name, antiently possessors of it, and to distinguish it from the other parishes of the same name within this county; and it is sometimes called, in the neighbourhood of it, Boughton Quarry, from the large quarries of stone within it.
THIS PARISH lies upon the lower or southern ridge, commonly called the Quarry hills, which cross it, the summit of them being the northern boundary of the Weald, so much therefore of this parish as is below it is within that district. The church stands about half way down of the hill southward, and close to the churchyard is the antient mansion of Boughton-place, pleasantly situated, having an extensive prospect southward over the Weald, in a park well wooded and watered; from hence the parish extends into the Weald, towards that branch of the Medway which flows from Hedcorne towards Style-bridge and Yalding, over a low deep country, where the soil is a stiff clay like that of Hedcorne before-described. Northward from Boughtonplace, above the hill, the parish extends over Cocksheath, part of which is within its bounds, on the further side of it is a hamlet called Boughton-green, and beyond it the seat of Boughton-mount, the grounds of which are watered by the stream, which rises near Langley park, and having lost itself under ground, rises again in the quarries here, and flowing on through Lose, to which this parish joins here, joins the Medway a little above Maidstone. These large and noted quarries, usually known by the name of Boughton quarries, are of the Kentish rag-stone, of which the soil of all this part of the parish, as far as the hills above-mentioned consists, being covered over with a fertile loam, of no great depth. At the end of Cocksheath eastward is the hamlet of Cock-street, usually called, from a public-house in it, Boughton Cock, when the soil becomes a red earth, much mixed with rotten flints; a little to the southward of which, at the edge of the heath is the parsonage, with some coppice wood adjoining, and on the brow of the hill, at the eastern bounds of the parish, the seat of Wiarton, having an extensive prospect over the Weald.
THIS PARISH was part of those possessions given by William the Conqueror, on his accession to the crown of England, to his half-brother Odo, bishop of Baieux, whom he likewise made earl of Kent, under the general title of whose lands it is thus entered in the survey of Domesday, taken about the year 1080:
Hugh, grandson of Herbert, holds of the bishop of Baieux Boltone. It was taxed at one suling. The arable land is two carucates. In demesne there is nothing. But five villeins have five carucates there, and two acres of meadow. Wood for the pannage of twenty hogs. There is a church. In the time of king Edward the Consessor, and afterwards, it was worth eight pounds, now six pounds. Alunin held it of earl Goduine.
Four years after the taking the above-mentioned survey, the bishop of Baieux was disgraced, and all his possessions were consiscated to the crown.
After which, this manor came into the possession of the family of Montchensie, called in Latin records, De Monte Canisio, the principal seat of which was at Swanscombe, in this county. (fn. 1) William, son of William de Montchensie, who died anno 6 king John, was possessed of this manor, and it appears that he survived his father but a few years, for Warine de Montchensie, probably his uncle, succeeded to his whole inheritance in the 15th year of that reign. Soon after which this manor passed into the possession of the family of Hougham, of Hougham, in this county.
OUGHTON MONCHENSIE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church, which is dedicated to St. Peter, is a small building, having a handsome square tower at the west end.
This church was given to the priory of Leeds, soon after the foundation of it by Henry de Bocton, and was afterwards appropriated to it, with the licence of the archbishop, before the reign of king Richard II. at which time the parsonage of it was valued at ten pounds, and the vicarage of it at four pounds yearly income, (fn. 4) both which remained part of the possessions of the priory till the dissolution of it in the reign of king Henry VIII. when it came, with the rest of the possessions of that house, into the king's hands, who by his dotation-charter in his 33d year, settled both the parsonage and advowson of the church of Bocton on his new-erected dean and chapter of Rochester, part of whose possessions they now remain.
The lessee of the parsonage is Mrs. Eliz. Smith; but the presentation to the vicarage, the dean and chapter reserve to themselves.
¶On the abolition of deans and chapters, after the death of king Charles I. this parsonage was surveyed by order of the state in 1649, when it was returned, that it consisted of the scite, which, with the tithes, was worth 56l. 3s. 4d. that the glebe land of twenty-nine acres and two roods was worth 8l. 16s. 8d. per annum, both improved rents; which premises were let anno 14 Charles I. to Sir Edward Hales, knight and baronet, by the dean and chapter, for twenty one years, at the yearly rent of 13l. 10s. The lessee to repair the chancel of the parish church, and the advowson was excepted by the dean and chapter out of the lease.
The vicarage is valued in the king's books at 7l. 13s. 4d. and the yearly tenths at 15s. 4d. per annum. In 1640 it was valued at sixty pounds per annum. Communicants, 177. In 1649 it was surveyed, with the parsonage, by order of the state, and valued at thirty pounds per annum, clear yearly income. (fn. 5)
The vicar of this church in 1584, but his name I have not found, was deprived for non-conformity; though he was so acceptable to the parishioners, that they, to the number of fifty-seven, made a petition to the lord treasurer, to restore their minister to them.
Taken from lying position on bridge, did get quite a few stares from passer-bys. All in the name of photography....
I think this was taken with Roope's Sigma 50mm/f1.4 @ f1.4. Focus feels snappier than Nikon's AF-S 50mm/f1.4
Retratos visando a beleza / Portraits aimed at Beauty
Model - Brenda Aragão
Make - Carlos Secati
Acesse / Sign In:
So the Bravado I have is basically 3 pieces- the fronts that cross, the inside support and the back/side pieces. Easy! I just pinned my tracing paper on around the edges (I used ballpoint needles to protect my bra) and then traced. I added the seam allowances after
Preview of content for book of drawings 'Making A Way' released as part of Nous Vous contribution to Beach London at Pick Me Up 2013.
The boys and I decided to try our hand at puppet making. They designed them and I helped Gideon sew/assemble his and did most of Toby's. It was a learning process, but I think they came out pretty well! I sort of want to make more already.
Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo from the respective source.
Credit disclaimer: I do not own the original scanned image and believe that it is in the public domain. These images have been collected from Flickr's search results and/or collected from various internet sources. If you know the link to the original image, please kindly put it into comment section as I will update the description to give full credit to the respective owner.
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www.youtube.com/channel/UC8JtcV_EejccsUNXSK_ejcw Springs of Eden
This is the second version of my homemade paper, which has been much more successful since I changed the process. Originally I was using a wooden frame with an old t-shirt pulled taught and stapled around the edges, which I then tried my best to dip into my fiber and water mix in order to get an even spread. The first tries came out very thick, uneven and holey, but the main problem came when trying to remove them from their cloth backing as they would stick and come to pieces. The first thing I did to try to combat this was to paint a layer of glue on the outer surface in order to keep everything together once it dried, however, the problem then became the glue sticking to the frame and destroying the cloth in the patches that allowed it to seep through.
The pieces pictured are made using a simpler, although longer process, in which I just applied the wet fibers to a sheet of acetate and then spread them using a paintbrush. Using this technique I can hold the sheet up to the light in order to find any holes, the thickness of the paper in now down to around 3-5mm and is much more uniform, and best of all I can easily peel off the acetate backing once the paper is dry, or leave it on to provide extra rigidity during transport or while applying ink etc.
The paper remains very fragile, but I see this as simply a characteristic of these particular materials and this process, rather than being something negative. In fact, there is a certain preciousness to its obvious impermanence.
What is most interesting about this paper is something not evident through simple visual examination, and that is it is made entirely from horse manure. I had been thinking about the photographic process while experimenting with making my own cameras, and had in the past designed a 'natural' camera obscura using mud and other basic elements including a stone with a hole to serve as a lens. I had also searched the internet for evidence that natural 'cameras' might exist, but most of what I found were instances of unintentional camera obscuras in man-made architecture. I eventually came across a document titled “Natural Pinhole Cameras” by Frank Boring Fitzgerald in which he talks about finding rocks that are themselves pinhole cameras that have the paths of the sun's rays internally engraved in them – a naturally-formed solargraph.
So my investigation really began with my thoughts about natural forms of copying – mud imprints etc, which lead me to natural cameras, which has in turn led me to not a primitive photography, and not necessarily a minimalist one either, but as is often the case, I am looking for increased autonomy through acquiring new knowledge and skills, and the enjoyment that comes through such physical and mental exploration. I also see my work as an antidote to industrial and mass production processes.
It was during a long exposure with one of my pinhole cameras, that as I sat patiently in a field and looked down at the grass, I noticed the texture of some dried cow dung. In that moment, I realised that I didn't need to collect, cut and form a pulp from fresh grass, as there were animals who spent most of their waking lives doing so, which not only meant that a lot of the work was already being done for me, but also that the process and the materials had already proved themselves to be viable! So in a sense, I haven't made this paper, but I have given it a flatter, more uniform shape, while re-purposing it. (This is a recurring idea about how humans interact with the world)
I have collected a stash of elderberries for making an ink that could then be painted onto the paper, or applied with a stencil in a sort of screen-printing like way. With the first generation of paper I tried to make an anthotype using blackberries as pigment, but there seemed to be little change after a few days under bright sun, perhaps due to the density of the pigment.
I am also considering trying to sensitise the paper myself, either using the albumen method, or the saltprint method. Results will be posted.
Thanks to Don Juan and Cassy, because without their digestive efforts this paper wouldn't have been possible.