A 12-meter antenna with some 7-meter antennas in the background observing at night in the Chajnantor Plateau.

Event: Weston Park Classic Show

Location: Weston Park, Weston-under-Lizard, Nr Shifnall, Shropshire

Camera: Pentax ME Super

Lens(s): SMC Pentax-M 40mm f/2.8

Film: Agfa Vista 200 - expired 2017

Shot ISO: 200

Light Meter: Camera

Lighting: Mixed

Mounting: Hand-held

Firing: Shutter button

Developer: Digibase C-41

Scanner: Epson V800

Post: Adobe Lightroom & Photoshop (dust removal)

OMAHA, USA

Electricity meter, Buchanan, Michigan.

I saw this group of meters one afternoon when I was taking a walk. I often just ignore them but since my work is involved in the utility industry I actually see meters quite often. Perhaps you've heard of AMI meters or smart meters. Soon these old ones will be replaced by those.

Happy Slider's Sunday. I processed this using a preset I got from one of you (I cannot remember). I got lazy.

43 meter polar-aligned radio telescope peeking over the trees at the Green Bank Observatory looks almost otherworldly.

Part of a recent blog post on the National Radio Astronomy Observatory facility in Green Bank

sanitary flow meter :www.kunlunsensors.com/newspage.php?nid=165

beer flow meter :www.youtube.com/watch?v=5bPmzjVibZ0

The Louvre, is the world's most-visited museum, and a historic landmark in Paris, France. It is the home of some of the best-known works of art, including the Mona Lisa and the Venus de Milo. A central landmark of the city, it is located on the Right Bank of the Seine in the city's 1st arrondissement (district or ward). Approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square meters. , Attendance in 2021 was 2.8 million, the lowest since 1986, due to the COVID-19 pandemic. The museum was closed for 150 days in 2020, and attendance plunged by 72 percent to 2.7 million. Nonetheless, the Louvre still topped the list of most-visited art museums in the world in 2020.

The museum is housed in the Louvre Palace, originally built in the late 12th to 13th century under Philip II. Remnants of the Medieval Louvre fortress are visible in the basement of the museum. Due to urban expansion, the fortress eventually lost its defensive function, and in 1546 Francis I converted it into the primary residence of the French Kings. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces.

The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon's abdication, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic. The collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.

The Musée du Louvre contains more than 380,000 objects and displays 35,000 works of art in eight curatorial departments with more than 60,600 square metres dedicated to the permanent collection. The Louvre exhibits sculptures, objets d'art, paintings, drawings, and archaeological finds.

The Louvre Palace, which houses the museum, was begun by King Philip II in the late 12th century to protect the city from the attack from the West, as the Kingdom of England still held Normandy at the time. Remnants of the Medieval Louvre are still visible in the crypt.  Whether this was the first building on that spot is not known, and it is possible that Philip modified an existing tower.

The origins of the name "Louvre" are somewhat disputed. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den (via Latin: lupus, lower Empire: lupara). In the 7th century, Burgundofara (also known as Saint Fare), abbess in Meaux, is said to have gifted part of her "Villa called Luvra situated in the region of Paris" to a monastery, even though it is doubtful that this land corresponded exactly to the present site of the Louvre.

The Louvre Palace changed a lot over the centuries. In the 14th century, Charles V converted the building from its military role into a residence. In 1546, Francis I started its rebuilding in French Renaissance style. After Louis XIV chose Versailles as his residence in 1682, construction works slowed to a halt. The royal move away from Paris resulted in the Louvre being used as a residence for artists, under Royal patronage.

Meanwhile, the collections of the Louvre originated in the acquisitions of paintings and other artworks by the monarchs of the House of France. Francis acquired what would become the nucleus of the Louvre's holdings, his acquisitions including Leonardo da Vinci's Mona Lisa. At the Palace of Fontainebleau, Francis collected art that would later be part of the Louvre's art collections, including Leonardo da Vinci's Mona Lisa.

The Cabinet du Roi consisted of seven rooms west of the Galerie d'Apollon on the upper floor of the remodeled Petite Galerie. Many of the king's paintings were placed in these rooms in 1673, when it became an art gallery, accessible to certain art lovers as a kind of museum. In 1681, after the court moved to Versailles, 26 of the paintings were transferred there, somewhat diminishing the collection, but it is mentioned in Paris guide books from 1684 on, and was shown to ambassadors from Siam in 1686.

By the mid-18th century there were an increasing number of proposals to create a public gallery in the Louvre. Art critic Étienne La Font de Saint-Yenne in 1747 published a call for a display of the royal collection. On 14 October 1750, Louis XV decided on a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. A hall was opened by Le Normant de Tournehem and the Marquis de Marigny for public viewing of the "king's paintings" (Tableaux du Roy) on Wednesdays and Saturdays. The Luxembourg gallery included Andrea del Sarto's Charity and works by Raphael; Titian; Veronese; Rembrandt; Poussin or Van Dyck. It closed in 1780 as a result of the royal gift of the Luxembourg palace to the Count of Provence (the future king, Louis XVIII) by the king in 1778. Under Louis XVI, the idea of a royal museum in the Louvre came closer to fruition. The comte d'Angiviller broadened the collection and in 1776 proposed to convert the Grande Galerie of the Louvre – which at that time contained the plans-reliefs or 3D models of key fortified sites in and around France – into the "French Museum". Many design proposals were offered for the Louvre's renovation into a museum, without a final decision being made on them. Hence the museum remained incomplete until the French Revolution.

The Louvre finally became a public museum during the French Revolution. In May 1791, the National Constituent Assembly declared that the Louvre would be "a place for bringing together monuments of all the sciences and arts". On 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property. Because of fear of vandalism or theft, on 19 August, the National Assembly pronounced the museum's preparation as urgent. In October, a committee to "preserve the national memory" began assembling the collection for display.

The museum opened on 10 August 1793, the first anniversary of the monarchy's demise, as Muséum central des arts de la République. The public was given free accessibility on three days per week, which was "perceived as a major accomplishment and was generally appreciated". The collection showcased 537 paintings and 184 objects of art. Three quarters were derived from the royal collections, the remainder from confiscated émigrés and Church property (biens nationaux).  To expand and organize the collection, the Republic dedicated 100,000 livres per year. In 1794, France's revolutionary armies began bringing pieces from Northern Europe, augmented after the Treaty of Tolentino (1797) by works from the Vatican, such as the Laocoön and Apollo Belvedere, to establish the Louvre as a museum and as a "sign of popular sovereignty".

The early days were hectic. Privileged artists continued to live in residence, and the unlabeled paintings hung "frame to frame from floor to ceiling". The structure itself closed in May 1796 due to structural deficiencies. It reopened on 14 July 1801, arranged chronologically and with new lighting and columns. On 15 August 1797, the Galerie d'Apollon was opened with an exhibition of drawings. Meanwhile, the Louvre's gallery of Antiquity sculpture (musée des Antiques), with artefacts brought from Florence and the Vatican, had opened in November 1800 in Anne of Austria's former summer apartment, located on the ground floor just below the Galerie d'Apollon.

On 19 November 1802, Napoleon appointed Dominique Vivant Denon, a scholar and polymath who had participated in the Egyptian campaign of 1798–1801, as the museum's first director, in preference to alternative contenders such as antiquarian Ennio Quirino Visconti, painter Jacques-Louis David, sculptor Antonio Canova and architects Léon Dufourny or Pierre Fontaine. On Denon's suggestion in July 1803, the museum itself was renamed Musée Napoléon.

The collection grew through successful military campaigns.  Acquisitions were made of Spanish, Austrian, Dutch, and Italian works, either as the result of war looting or formalized by treaties such as the Treaty of Tolentino. At the end of Napoleon's First Italian Campaign in 1797, the Treaty of Campo Formio was signed with Count Philipp von Cobenzl of the Austrian Monarchy. This treaty marked the completion of Napoleon's conquest of Italy and the end of the first phase of the French Revolutionary Wars. It compelled Italian cities to contribute pieces of art and heritage to Napoleon's "parades of spoils" through Paris before being put into the Louvre Museum. The Horses of Saint Mark, which had adorned the basilica of San Marco in Venice after the sack of Constantinople in 1204, were brought to Paris where they were placed atop Napoleon's Arc de Triomphe du Carrousel in 1797. Under the Treaty of Tolentino, the two statues of the Nile and Tiber were taken to Paris from the Vatican in 1797, and were both kept in the Louvre until 1815. (The Nile was later returned to Rome, where the Tiber has remained in the Louvre to this day.) The despoilment of Italian churches and palaces outraged the Italians and their artistic and cultural sensibilities.

After the French defeat at Waterloo, the looted works' former owners sought their return. The Louvre's administrator Denon was loath to comply in absence of a treaty of restitution. In response, foreign states sent emissaries to London to seek help, and many pieces were returned, though far from all. In 1815 Louis XVIII finally concluded agreements with the Austrian government for the keeping of works such as Veronese's Wedding at Cana which was exchanged for a large Le Brun or the repurchase of the Albani collection.

For most of the 19th century, from Napoleon's time to the Second Empire, the Louvre and other national museums were managed under the monarch's civil list and thus depended much on the ruler's personal involvement. Whereas the most iconic collection remained that of paintings in the Grande Galerie, a number of other initiatives mushroomed in the vast building, named as if they were separate museums even though they were generally managed under the same administrative umbrella. Correspondingly, the museum complex was often referred to in the plural ("les musées du Louvre") rather than singular.

During the Bourbon Restoration (1814–1830), Louis XVIII and Charles X added to the collections. The Greek and Roman sculpture gallery on the ground floor of the southwestern side of the Cour Carrée was completed on designs by Percier and Fontaine. In 1819 an exhibition of manufactured products was opened in the first floor of the Cour Carrée's southern wing and would stay there until the mid-1820s.  Charles X in 1826 created the Musée Égyptien and in 1827 included it in his broader Musée Charles X, a new section of the museum complex located in a suite of lavishly decorated rooms on the first floor of the South Wing of the Cour Carrée. The Egyptian collection, initially curated by Jean-François Champollion, formed the basis for what is now the Louvre's Department of Egyptian Antiquities. It was formed from the purchased collections of Edmé-Antoine Durand, Henry Salt and the second collection of Bernardino Drovetti (the first one having been purchased by Victor Emmanuel I of Sardinia to form the core of the present Museo Egizio in Turin). The Restoration period also saw the opening in 1824 of the Galerie d'Angoulême, a section of largely French sculptures on the ground floor of the Northwestern side of the Cour Carrée, many of whose artefacts came from the Palace of Versailles and from Alexandre Lenoir's Musée des Monuments Français following its closure in 1816. Meanwhile, the French Navy created an exhibition of ship models in the Louvre in December 1827, initially named musée dauphin in honor of Dauphin Louis Antoine, building on an 18th-century initiative of Henri-Louis Duhamel du Monceau. This collection, renamed musée naval in 1833 and later to develop into the Musée national de la Marine, was initially located on the first floor of the Cour Carrée's North Wing, and in 1838 moved up one level to the 2nd-floor attic, where it remained for more than a century.

Following the July Revolution, King Louis Philippe focused his interest on the repurposing of the Palace of Versailles into a Museum of French History conceived as a project of national reconciliation, and the Louvre was kept in comparative neglect. Louis-Philippe did, however, sponsor the creation of the musée assyrien to host the monumental Assyrian sculpture works brought to Paris by Paul-Émile Botta, in the ground-floor gallery north of the eastern entrance of the Cour Carrée. The Assyrian Museum opened on 1 May 1847. Separately, Louis-Philippe had his Spanish gallery displayed in the Louvre from 7 January 1838, in five rooms on the first floor of the Cour Carrée's East (Colonnade) Wing, but the collection remained his personal property. As a consequence, the works were removed after Louis-Philippe was deposed in 1848, and were eventually auctioned away in 1853.

The short-lived Second Republic had more ambitions for the Louvre. It initiated repair work, the completion of the Galerie d'Apollon and of the salle des sept-cheminées, and the overhaul of the Salon Carré (former site of the iconic yearly Salon) and of the Grande Galerie.  In 1848, the Naval Museum in the Cour Carrée's attic was brought under the common Louvre Museum management, a change which was again reversed in 1920. In 1850 under the leadership of curator Adrien de Longpérier, the musée mexicain opened within the Louvre as the first European museum dedicated to pre-Columbian art.

The rule of Napoleon III was transformational for the Louvre, both the building and the museum. In 1852, he created the Musée des Souverains in the Colonnade Wing, an ideological project aimed at buttressing his personal legitimacy. In 1861, he bought 11,835 artworks including 641 paintings, Greek gold and other antiquities of the Campana collection. For its display, he created another new section within the Louvre named Musée Napoléon III, occupying a number of rooms in various parts of the building. Between 1852 and 1870, the museum added 20,000 new artefacts to its collections.

The main change of that period was to the building itself. In the 1850s architects Louis Visconti and Hector Lefuel created massive new spaces around what is now called the Cour Napoléon, some of which (in the South Wing, now Aile Denon) went to the museum.  In the 1860s, Lefuel also led the creation of the pavillon des Sessions with a new Salle des Etats closer to Napoleon III's residence in the Tuileries Palace, with the effect of shortening the Grande Galerie by about a third of its previous length. A smaller but significant Second Empire project was the decoration of the salle des Empereurs below the Salon carré.

The Louvre narrowly escaped serious damage during the suppression of the Paris Commune. On 23 May 1871, as the French Army advanced into Paris, a force of Communards led by Jules Bergeret set fire to the adjoining Tuileries Palace. The fire burned for forty-eight hours, entirely destroying the interior of the Tuileries and spreading to the north west wing of the museum next to it. The emperor's Louvre library (Bibliothèque du Louvre) and some of the adjoining halls, in what is now the Richelieu Wing, were separately destroyed. But the museum was saved by the efforts of Paris firemen and museum employees led by curator Henry Barbet de Jouy

Following the end of the monarchy, several spaces in the Louvre's South Wing went to the museum. The Salle du Manège was transferred to the museum in 1879, and in 1928 became its main entrance lobby. The large Salle des Etats that had been created by Lefuel between the Grande Galerie and Pavillon Denon was redecorated in 1886 by Edmond Guillaume, Lefuel's successor as architect of the Louvre, and opened as a spacious exhibition room. Edomond Guillaume also decorated the first-floor room at the northwest corner of the Cour Carrée, on the ceiling of which he placed in 1890 a monumental painting by Carolus-Duran, The Triumph of Marie de' Medici originally created in 1879 for the Luxembourg Palace.

Meanwhile, during the Third Republic (1870–1940) the Louvre acquired new artefacts mainly via donations, gifts, and sharing arrangements on excavations abroad. The 583-item Collection La Caze, donated in 1869 by Louis La Caze, included works by Chardin; Fragonard, Rembrandt and Watteau.  In 1883, the Winged Victory of Samothrace, which had been found in the Aegean Sea in 1863, was prominently displayed as the focal point of the Escalier Daru.  Major artifacts excavated at Susa in Iran, including the massive Apadana capital and glazed brick decoration from the Palace of Darius there, accrued to the Oriental (Near Eastern) Antiquities Department in the 1880s. The Société des amis du Louvre was established in 1897 and donated prominent works, such as the Pietà of Villeneuve-lès-Avignon. The expansion of the museum and its collections slowed after World War I, however, despite some prominent acquisitions such as Georges de La Tour's Saint Thomas and Baron Edmond de Rothschild's 1935 donation of 4,000 prints, 3,000 drawings, and 500 illustrated books.

From the late 19th century, the Louvre gradually veered away from its mid-century ambition of universality to become a more focused museum of French, Western and Near Eastern art, covering a space ranging from Iran to the Atlantic. The collections of the Louvre's musée mexicain were transferred to the Musée d'Ethnographie du Trocadéro in 1887. As the Musée de Marine was increasingly constrained to display its core naval-themed collections in the limited space it had in the second-floor attic of the northern half of the Cour Carrée, many of its significant holdings of non-Western artefacts were transferred in 1905 to the Trocadéro ethnography museum, the National Antiquities Museum in Saint-Germain-en-Laye, and the Chinese Museum in the Palace of Fontainebleau. The Musée de Marine itself was relocated to the Palais de Chaillot in 1943. The Louvre's extensive collections of Asian art were moved to the Guimet Museum in 1945. Nevertheless, the Louvre's first gallery of Islamic art opened in 1922.

In the late 1920s, Louvre Director Henri Verne devised a master plan for the rationalization of the museum's exhibitions, which was partly implemented in the following decade. In 1932–1934, Louvre architects Camille Lefèvre and Albert Ferran redesigned the Escalier Daru to its current appearance. The Cour du Sphinx in the South Wing was covered by a glass roof in 1934. Decorative arts exhibits were expanded in the first floor of the North Wing of the Cour Carrée, including some of France's first Period Room displays. In the late 1930s, The La Caze donation was moved to a remodeled Salle La Caze above the salle des Caryatides, with reduced height to create more rooms on the second floor and a sober interior design by Albert Ferran.

During World War II, the Louvre conducted an elaborate plan of evacuation of its art collection. When Germany occupied the Sudetenland, many important artworks such as the Mona Lisa were temporarily moved to the Château de Chambord. When war was formally declared a year later, most of the museum's paintings were sent there as well. Select sculptures such as Winged Victory of Samothrace and the Venus de Milo were sent to the Château de Valençay. On 27 August 1939, after two days of packing, truck convoys began to leave Paris. By 28 December, the museum was cleared of most works, except those that were too heavy and "unimportant paintings [that] were left in the basement". In early 1945, after the liberation of France, art began returning to the Louvre.

New arrangements after the war revealed the further evolution of taste away from the lavish decorative practices of the late 19th century. In 1947, Edmond Guillaume's ceiling ornaments were removed from the Salle des Etats, where the Mona Lisa was first displayed in 1966. Around 1950, Louvre architect Jean-Jacques Haffner streamlined the interior decoration of the Grande Galerie. In 1953, a new ceiling by Georges Braque was inaugurated in the Salle Henri II, next to the Salle La Caze. In the late 1960s, seats designed by Pierre Paulin were installed in the Grande Galerie. In 1972, the Salon Carré's museography was remade with lighting from a hung tubular case, designed by Louvre architect Marc Saltet with assistance from designers André Monpoix, Joseph-André Motte and Paulin.

In 1961, the Finance Ministry accepted to leave the Pavillon de Flore at the southwestern end of the Louvre building, as Verne had recommended in his 1920s plan. New exhibition spaces of sculptures (ground floor) and paintings (first floor) opened there later in the 1960s, on a design by government architect Olivier Lahalle.

In 1981, French President François Mitterrand proposed, as one of his Grands Projets, the Grand Louvre plan to relocate the Finance Ministry, until then housed in the North Wing of the Louvre, and thus devote almost the entire Louvre building (except its northwestern tip, which houses the separate Musée des Arts Décoratifs) to the museum which would be correspondingly restructured. In 1984 I. M. Pei, the architect personally selected by Mitterrand, proposed a master plan including an underground entrance space accessed through a glass pyramid in the Louvre's central Cour Napoléon.

The open spaces surrounding the pyramid were inaugurated on 15 October 1988, and its underground lobby was opened on 30 March 1989. New galleries of early modern French paintings on the 2nd floor of the Cour Carrée, for which the planning had started before the Grand Louvre, also opened in 1989. Further rooms in the same sequence, designed by Italo Rota, opened on 15 December 1992.

On 18 November 1993, Mitterrand inaugurated the next major phase of the Grand Louvre plan: the renovated North (Richelieu) Wing in the former Finance Ministry site, the museum's largest single expansion in its entire history, designed by Pei, his French associate Michel Macary, and Jean-Michel Wilmotte. Further underground spaces known as the Carrousel du Louvre, centered on the Inverted Pyramid and designed by Pei and Macary, had opened in October 1993. Other refurbished galleries, of Italian sculptures and Egyptian antiquities, opened in 1994. The third and last main phase of the plan unfolded mainly in 1997, with new renovated rooms in the Sully and Denon wings. A new entrance at the porte des Lions opened in 1998, leading on the first floor to new rooms of Spanish paintings.

As of 2002, the Louvre's visitor count had doubled from its pre-Grand-Louvre levels.

President Jacques Chirac, who had succeeded Mitterrand in 1995, insisted on the return of non-Western art to the Louvre, upon a recommendation from his friend the art collector and dealer Jacques Kerchache [fr]. On his initiative, a selection of highlights from the collections of what would become the Musée du Quai Branly – Jacques Chirac was installed on the ground floor of the Pavillon des Sessions and opened in 2000, six years ahead of the Musée du Quai Branly itself.

The main other initiative in the aftermath of the Grand Louvre project was Chirac's decision to create a new department of Islamic Art, by executive order of 1 August 2003, and to move the corresponding collections from their prior underground location in the Richelieu Wing to a more prominent site in the Denon Wing. That new section opened on 22 September 2012, together with collections from the Roman-era Eastern Mediterranean, with financial support from the Al Waleed bin Talal Foundation and on a design by Mario Bellini and Rudy Ricciotti.

In 2010, American painter Cy Twombly completed a new ceiling for the Salle des Bronzes (the former Salle La Caze), a counterpoint to that of Braque installed in 1953 in the adjacent Salle Henri II. The room's floor and walls were redesigned in 2021 by Louvre architect Michel Goutal to revert the changes made by his predecessor Albert Ferran in the late 1930s, triggering protests from the Cy Twombly Foundation on grounds that the then-deceased painter's work had been created to fit with the room's prior decoration

On 6 June 2014, the Decorative Arts section on the first floor of the Cour Carrée's northern wing opened after comprehensive refurbishment.

The Louvre, like many other museums and galleries, felt the impact of the COVID-19 pandemic on the arts and cultural heritage. It was closed for six months during French coronavirus lockdowns and saw visitor numbers plunge to 2.7 million in 2020, from 9.6 million in 2019 and 10.2 million in 2018, which was a record year.

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seen during a walk

Event: Event City Classic Show

Location: Manchester

Camera: Canon AT-1

Lens(s): 50mm f/1.8

Film: Ilford XP2 Super

Shot ISO: 400

Light Meter: Camera

Lighting: LED Hall lights

Mounting: Hand held

Developer: Digibase C-41

Scanner: Epson V800

Post: Adobe Lightroom & Photoshop (dust removal)

He sprang up right in front, about 10 meters away from where I sat.

My nephew seated on my left side was watching something else unaware of the visitor right in front. Just few minutes back I have told him that I could smell elephants and being late afternoon, it was the usual time of elephant movement.

Just a glimpse of this mature heavy adult male staring at us at close quarters, sniffing the air, ears held out straight and with one leg held up, ready to charge forward; I clicked a picture, turned my head to the left with my eyes still watching his moves, whispered to my nephew, "Bison...Don't look straight...don't move". In a reflex, seeing my head turned to the left, he turned his head to the left and was searching for the bison till I made things clear in the faintest whisper possible. Finally, he understood what I meant and with his head turned to the left, watched the visitor with a sideways glance.

The bison's next move being quite unpredictable, gently placed his raised foot down and started looking down, sniffing the ground. He was at ease, munching the ripe and rotten Jamun (Syzygium cumini ) fruits scattered on the ground and didn't seem to care about our presence after that.

Indian Bison / Gaur( Bos gaurus )- Male

Hindi : Gaur

Tamil : Katterumai / Aamaa

Malayalam : Kattu pothu / Kattee

Kannada : Kadu kona

Marathi : Gawa

Toda : Emmofehr

Assamese : Methun

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© 2013 Anuj Nair. All rights reserved.

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www.anujnair.net

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© 2013 Anuj Nair. All rights reserved.

All images are the property of Anuj Nair. Using these images without permission is in violation of international copyright laws (633/41DPR19/78-Disg 154/97-L.248/2000). All materials may not be copied,reproduced,distributed,republished,downloaded, displayed, posted or transmitted in any forms or by any means, including electronic, mechanical, photocopying, recording without written permission of Anuj Nair. Every violation will be pursued penally.

I wish everybody here

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The size of a 40.000 year old tooth from the Denisova cave indicates a very tall individual, and artefacts found tell about

an unbelievable modern technology - including high speed drilling. The first kings of Egypt were called Gods, but they lived with the people and helped them to develop their civilisation. Many of the granite and basalt artefacts found in Egypt can only have been done by high speed drilling. Were these divine kings in fact Denisova hominins? Did they underestimate how fragile the eco-balance of our environment is, did they trigger a worldwide catastrophe that "capsized" the Earth and wiped them out?

Remnants of a previously unknown hominin, distinct from both early modern humans and Neanderthals,

were a few years ago found in the Denisova cave of southern Siberia: Denisova hominins. The bones and also artefacts excavated at the same level were carbon dated to around 40.000 BP. The scientists say these Denisovans had "modern technology and ornaments, including a very beautiful bracelet". Our archaic cousins the Denisova Hominins

A catastrophe in form of a flood that, according to the legends wiped out the Egyptian civilization that was developed by divine kings (Gods), shall have taken place more than 30.000 years ago. The finger bone, the large tooth and the artefacts found in the Denisova cave in the north-east Altai Mountains region are also dated to be more than 30.000 years old. The small bone belonged to a very young girl. A small bracelet of polished stone was also found, and since it was found in the same layer and dated to the same age; it might have belonged to her.

We can only speculate why the young girl was in the cave. Could it be that she was seeking shelter from a coming catastrophe, might be brought there by her mother or father? Or that she was washed into the cave by the raging wave of a tsunami - even if the cave today is 600 meters above sea level?

It seems that the first rulers of Egypt had a technology that was even more advanced than we have today; we are in fact unable to replicate many of the artefacts found. And it still is an open question how they managed to construct the Great Pyramid with its incredible precision and up to 70 ton's stones.

The archaeologists say that the ancient Egyptians used simple tools like bronze chisels and stone hammers but many of the items found, like basalt jars and also the so called sarcophagus in the Great Pyramid, cannot be made without high speed drilling with drill-bits harder than basalt and granite. The artefacts found in the Denisova cave, the bracelet with pendant, the eyed needles and other ornaments, also witness of a superior technology - and believe it or not: They had used hight speed drilling!

Not us homo sapien sapien

We do not know how the Denisova hominines looked but as mentioned: A tooth found in the cave was very large, so they might have been very tall. We know that people in the area surrounding the Altai Mountains in the 6th to 3rd centuries BC had a very advanced technology; a race of white skinned, blond, blue eyed and very tall people with Caucasian features and long skulls.

The divine kings, the "Gods", of Egypt were often depicted as white skinned, blond, blue eyed and very tall people with Caucasian features and a long skull. Were the "Gods" of the ancient Egyptian king-lists in fact Denisovans? Not us homo sapien sapien but our archaic cousins the Denisova Hominins?

We do not yet know what the Denisova hominins looked like but a Denisovan tooth found in the cave is the largest archaic homo species tooth found. Were the Denisovans the giants of the legends all over the world? Where they the first kings of Egypt - the divine Pharaohs? Did they have an advanced technology that later got lost, might be together with the Denisovans themselves, in a world wide catastrophe?

Global warming

Professor Gregory Ryskin at Northwestern University in Illinois, USA, has found that the long-term changes in the Earth's main magnetic field are possibly induced by our oceans' circulation. We know that global warming already has raised the temperatures of the oceans of the world and some scientists have proposed that this could disrupt thermohaline circulation (THC), which is a massive, worldwide system of ocean currents. We have already seen a change in some ocean currents, so a change in our Earth's magnetic field might already be happening! Might be this is why our magnetic poles are moving much more rapid than before! Scary stuff - because this could also mean a change in the Earth's gravity - and changes in gravitational forces will certainly affect the tectonic plates and with the continents on them. Might be this is the reason why we also experience more earthquakes than before?! Might be we should take Hapgood's conclusions and Heyerdahl's warning serious?

Did the Egyptian "capsize" the world - did they have technologies that could contribute to a sudden and rapid polar change? Might be because of and a change in the Earths gravity and/or magnetic field? Well, some say that the ancient Egyptians used the pyramids to create a unique form of energy. That they by paying special attention to celestial events, they could have used natural forces like static electricity, the Earth's magnetic field, and lightning.

Electric phenomenon

Sir William Seimens, a famous German born English inventor, travelled to Egypt and visited the Great Pyramid. While they were standing on the top, the guide remarked that when he raised his hand with his fingers spread, it caused an intense ringing noise in his ears. Sir William ventured a few tests, one by raising his arm with his index finger pointing, which he claimed caused a prickling sensation. He then drank some wine from a metallic cup which gave him a distinct shock. He was convinced he was witnessing some sort of electric phenomenon and instantly put this to the test by assembling a makeshift Leyden Jar, an apparatus for the storage of static electricity, by wrapping moistened newspaper around the wine bottle. The static charge at the peak of the pyramid was so high that sparks began to stream from the bottle. The guide was so shocked that he accused Sir William of witchcraft and tried to grab the bottle, but an electrical jolt knocked him unconscious.

A power plant?

Master craftsman and engineer Christopher Dunn argues that based on his measurements of Egyptian monuments, ancient stonecutting achieved a high-precision accuracy surpassing modern accuracy standards in building. He asked himself what was the power source that fuelled such a civilization and after twenty years of research, Dunn reveals that the Great Pyramid of Giza was actually a electrical power plant. Based on the technology of harmonic resonance, he claims that the pyramid was a large acoustical device! By its size and dimensions, this crystal edifice created a harmonic resonance with the Earth and converted Earth's vibrational energies to microwave radiation. He shows in his books and articles how the pyramid's numerous chambers and passageways were positioned with the deliberate precision to maximize its acoustical qualities.

Inventor Michael F. Praamsma partly agrees but he says that the Great Pyramid at Giza was "a sophisticated acoustical sound chamber that was used as a technique to generate natural sounds to create an elevated frequency environment confined to a single resonant physical cavity". He claims that the Great Pyramid was systematically and competently sealed, and that this was "a sign it was decommissioned and intended to be of use again at a future day, when the awakened humanity would restore it competently to its rightful function, unfortunately history went another way."

A California researcher, Peter Grandics, has shown how an antenna, modeled on the Great Pyramid of Giza, can transfer the power of atmospheric electrostatic discharge impulses into a resonant circuit that converts the random impulses into an alternating current as a potential source of renewable electric power. Thousands of terawatts of power are generated in the troposphere by thunderstorms and a pyramidal structure, with its optimal geometry and construction, can act as a suitable charge sink, capturing this electric.

A biological engineer named John Burke argues that the movement of underground water in limestone aquifers below monuments produces an electric current via friction and the rich magnetic dolomite content of the stone. Burke measured positive ground current at Silbury hill in England, an ancient pyramidal mound composed of chalk and clay that lies on top of such limestone bedrock riddled with zig zagging aquifers filled with rainwater. Such tunnels and water caverns lie beneath the Giza plateau as well. Abd'El Hakim Awyan, a native Egyptian archaeologist, attests to swimming in such tunnels during his youth on the Giza plateau.

Electric torches?

Another alternative theory is that the pyramids were wireless power plants used to generate electricity and for wireless communication. On the internet you will find a video where it is speculated that the Great Pyramid may have been powered by the Ark of the Covenant. The person behind the video is saying that murals inside tombs and temples show that the ancient Egyptians were using handheld electric torches powered by cable free power sources. It is believed that the so called sarcophagus inside the Great Pyramid has the exact dimensions, according to the Christian bible, to house the Ark of Covenant: That the pyramid with a capstone of gold and the covenant in place was a kind of super capacitor the could produce and store electric energy. It is also theorized that Moses stole the Ark of Covenant from the pyramid and took it with him out of Egypt. This should be the main reason for the downfall of the Egyptian pharaohs; without the electrics power their own power dwindled. This should have happened at the time of the pharaoh Ramses II.

Three engineers; Erica Miller, Sean Sloan and Gregg Wilson all agree on one theory: That the Great Pyramid acted as a huge nuclear breeder reactor, which produced Plutonium fuel by mediating uranium isotopes in water. Supposedly, the King's Chamber was flooded with a water pump, and the sarcophagus was packed with uranium ore.

Frenchman Antoine Bovis stumbled upon dead cats and mice that had been disposed of in the trash cans inside the Great Pyramid, and they were perfectly mummified - apparently automatically, without putrefying or giving off a stench. When Bovis returned to France he built a scale model of Khufu's monument, deposited a dead cat inside - and the Giza phenomenon repeated itself, the cat mummified without rotting. Karl Drbal of Czechoslovakia researched this further and said that this was due to the pyramid's special cavity that resonated with cosmic microwaves concentrated in the earth's magnetic field. He also hypothesized that the same concept would work for rusted shavers, and claimed the sharpness of the tools returned after lacing them in a scale model of the pyramid. Stanford Research Institute, however, carrying out experiments in the Great Pyramid, and found that biological samples deteriorated at normal rates within the structure.

Energy grid

Some researchers say that it not by chance that the Great Pyramid was built where it was. They propose that the Earth has a planetary energetic grid that operates through geometric patterns called Sacred Geometry. Grids meet at various intersecting points forming a grid or matrix. These grid points shall be found at some of the strongest power places on the planet. A planetary grid map outlined by the Russian team of Goncharov, Morozov and Makarov has an overall organization anchored to the north and south axial poles and the Great Pyramid at Giza.

It is said that the ancient people, including the Egyptians, knew that wherever the earth's energy gathered into a vortex was a sacred place. Very simular is the theory that the Earth has as net of electromagnetic lines, and that the intersecting points of the network, the knots, are influenced by underground veins of water as well as magnetic forces emanating naturally from the Earth. The ancient Egyptians are said to have been able to move and/or anchor the energy lines by pushing metal rods into the ground before they built a temple or pyramid - they shall have called it "piercing the snake".

Also what is called lay lines seems to be connected to an ancient grid of a form. According to Wikipedia; "Ley lines are hypothetical alignments of a number of places of geographical interest, such as ancient monuments and megaliths." Archaeologists have documented that the alignments are existing but it is not proved that the ley lines and their intersection points resonate a special psychic or magical energy or that they have electrical or magnetic forces as some writers claim.

Pyramid fortex using a Tesla coil

In addition to all this it is also said that we have high energy spots on the Earth called vortices - and they shall be linked ley lines. A Vortex (plural: vortices) is usually a spinning, often turbulent, flow of fluid but some also include a kind of spinning Earth energy due to its electromagnetic field. Such vortices can be volcanoes, high mountains, hot springs, mineral deposits, deep gorges, rock outcroppings and even in deserts like the Sinai. Ancient sites can also be vortices, like the pyramids of Egypt. Dr. Dee J. Nelson has taken a so called Kirlian photograph of energy spiralling out of the top of a pyramid using a Tesla Coil.

Nikola Tesla - Earthquake Machine

The Tesla Coil was invented by Serbian-American engineer Nikola Tesla (1856 - 1943), one of history's greatest scientists. His coil is an electrical resonant transformer circuit, used to produce high-voltage, low-current, and high frequency alternating-current electricity. Yes, he is best known for inventing the alternating electrical current (AC) used all over the world today, but his patents and theoretical work helped form the basis for radio comunication and many other inventions.

Nikola Tesla was an electrical genius, but he also was responsible for a number of mechanical devices. One of these was his "Earthquake Machine" also known as the Tesla Oscillator. The machine which Tesla tested was no larger than an alarm clock but it is said that when he started to twiddle the machine's frequency-controller in his lab: blocks around chaos reigned as objects fell off shelves, furniture moved across floors, windows shattered, and pipes broke. When the police arrived they found the inventor smashing the resonator to bits with a hammer: "Gentlemen, I am sorry. You are just a trifle too late to witness my experiment. I found it necessary to stop it suddenly and unexpectedly in an unusual way, he said calmly to the astonished officers.

Tesla was convinced that by finding the correct frequency, any structure can be destroyed (an obvious example is the wine glass shattered by an opera singer). He later told a friend that he could split the Earth with one of these devices: "I could set the earth's crust into such a state of vibration that it would rise and fall hundreds of feet, throwing rivers out of their beds, wrecking buildings, and practically destroying civilization".

Tesla and coils

Tesla claimed that the laws of electromagnetics were connected to gravity, and one of his patents was on a flying machine without wings or propellers but based on what he called electrogravitics. Tesla also was working on a generator that basically worked by harnessing the electricity from the air and the ground. He used the natural conductivity of limestone aquifers to generate electrical power. The power ran up the ground into the Tesla coil tower above, which in theory should channel wirelessly transmitted power over great distances. Since Telsa wanted the distribution of the energy to be free, the inventor's sponsor pulled out from funding the scientist's machine before it was completed. Tesla died a poor and disillusioned man.

His research station for transmitting power at Colorado Springs might have a link to the Great Pyramid - a notable harmonic association between the latitude positions of both sites. Coral Castle - 9-ton gate that moves with just a touch of the finger.

Edward Leedskalnin - Coral Castle

Another person that was interested in gravity and electromagnetism was Edward Leedskalnin (1887-1951) - an eccentric Latvian emigrant to the United States. He built the extraordinary monument known as Coral Castle in Florida. Leedskalnin single-handedly and secretly carved and displayed over 1,100 tons of coral rock, the heaviest stone weighing 35 tons. It is a mystery how the tiny man could move all the heavy stones. He claimed to have discovered the secrets of the pyramids, and had found out how the Egyptians and the ancient builders in Peru, Yucatan, and Asia, with only primitive tools, raised and set in place blocks of stone weighing many tons! But he did not want to show

"I have discovered the secrets of the pyramids, and have found out how the Egyptians and the ancient builders in Peru, Yucatan, and Asia, with only primitive tools, raised and set in place blocks of stone weighing many tons!"

- Edward Leedskalninanybody how it was done and worked mostly at night-time. A group of young witnesses claimed to see coral blocks floating through the air "like hydrogen balloons" and another time one of Ed's neighbours found him singing to the stones with his hands placed on their surface as if he were somehow making them lighter.

Ed Leedskalnin disputed contemporary science and believed that "all matter consists of magnets which can produce measurable phenomena, and electricity." Ed would say he had "re-discovered the laws of weight, measurement, and leverage," and that these concepts "involved the relationship of the Earth to celestial alignments."

Researchers have speculated that Ed Leedskalnin learned the secret of levitation and one theory in particular caught the imagination of many. The planetary grid hypothesis postulates that the earth is covered by an invisible web of energy which is concentrated at points of telluric power, the convergence of which create unusual phenomena. Leedskalnin moved the complex from Florida City to Homestead and some suggest this was because Ed realized he had made a mathematical error in his original positioning and moved to an area with greater telluric force.

The famed American psychic Edgar Cayce (1877-1945) said during his readings that the Great Pyramid "was erected by the application of those universal laws and forces of nature which cause iron to float. By the same laws, gravity may be overcome, or neutralized, and stone made to float in air. The Pyramid was thus built by levitation, abetted by song and chanting". He also said that the Great Pyramid was built was built as a hall of initiation around 10,500BC by those who originally came from the civilization of Atlantis.

Levitation by sound

Metal rods that caused the stone to levitate

The current estimates of mainstream science contends that it took a workforce of 4,000 to 5,000 men 20 years to build the Great Pyramid using ropes, pulleys, ramps, ingenuity and brute force. But the 10th century Arab historian, Abul Hasan Ali Al-Masudi had written a 30-volume history of the world and he wrote about how the great stone blocks of the pyramid were transported. First, he said, a "magic papyrus" was placed under the stone to be moved. Then the stone was struck with a metal rod that caused the stone to levitate and move along a path paved with stones and fenced on either side by metal poles. The stone would travel along the path, wrote Al-Masudi, for a distance of about 50 meters and then settle to the ground. The process would then be repeated until the builders had the stone where they wanted it.

An ancient legend tells that The Great Pyramid was built from year 10,490 to 10,390 B.C. That the god Ra made studies of the terrain and took great care in figuring the geometrical location in relation to the Sphinx and the four cardinal points of the compass. The Pyramid was then built by levitation, abetted by song and chanting.

Well, we do not have any proof that the ancient Egyptians could make the huge stones fly through the air but levitation is no longer only a party-trick by magicians with quick fingers. We have high speed trains that levitate by the help of magnetic power and in an incredible move for modern medicine; scientists are using sound waves to help levitate droplets of drugs to make them with less side effects.

A kind of Swiss knife

The Great Pyramid is very different to other pyramids, in Giza or else. Most alternative researches conclude that it was some kind of machine; most possibly a power station. We have seen that it would be impossible to use the Great Pyramid as a tomb for a pharaoh and that dating of seashell tells that it much older than the other pyramids. The nearby sphinx has been re-dated to be at least 5000 years old because of the erosion from water, but it might be much older. The same will go for the Great Pyramid. Some speculate that the Great Pyramid was a kind of Swiss knife - a gigantic multipurpose tool. The world "pyramid" means "fire in the middle" - so if it was a kind of power station with the power source situated in what is called Khufu's sarcophagus the some researches in one way might be correct when that speculate that the pyramid also was built as a gigantic ram water pump - inside the base of the pyramid. Yes, it could have been a power-station with a water cooling system! We have seen that some say that the power source was the ark of covenant from the Christian bible and some say

The King's Chamber with the stones above

King's Chamber and large stones

that Moses was the person who stole it from the pyramid. That the pharaohs' rapid decline took place because with no more energy, in form of electric power, then their advanced civilisation could no longer exist!

A gigantic Tesla coil?

Or might be the Great Pyramid was a kind of a gigantic Tesla coil? That the huge granite stones, highly polished on the underside and placed above the so called Kings chamber, made it possible to harness electricity from the ionosphere - just like Nikola Tesla wanted to do it?

About 20 minutes drive from the Great Pyramid is the site of Abu Ghurab, the "Place of Osiris". The ruined stepped pyramid once had an alabaster platform on the top and on the platform it had been standing an obelisk ("sun stick"); most likely, the total height was between fifty and seventy meters. It had looked like a pyramid with a flat top, just like Great Pyramid! Is it possible that the Great Pyramid once had an obelisk standing on it's flat top - and not a capstone? The legends says that spirit of the sun god entered the obelisks at certain periods…

Could it have been like this - an obelisk on top of the Great Pyramid?

Can it have been like this?

Tesla viewed the Earth as a negative electric pole and the sun as a positive pole of an electrode; so an obelisk standing on top of a pyramid would to him be a solar-electric diode! If the under ground part of the pyramid was a pump that brought water up to the Kings Chamber then we would have a capacitor with a very good earth ground. Yes, the Great Pyramid could have been an extremely powerful kind of solar-panel!

Might be Tesla got the idea of harnessing the ionosphere from the Egyptians? Might be they had made the strongest power station ever but that something went terribly wrong; a technical fault or a construction-fault? Or might be extra strong solar activity? Stephen A. Reynods of New Zealand has done research showing that changes in the ionosphere caused by strong solar activity can cause changes in the Earth's internal magnetic field and through telluric current induced in the Earth's crust trigger earthquakes. So might be it happened that instead of harnessing high voltage that could be stored and used, the pyramid send the current into the ground and

The God Ptah with a Djed pillar

Ptah and pillar

triggered a gigantic earthquake that literally shook the whole Earth and caused geological catastrophes worldwide? Might be the changes to the internal magnetic field was so fast and so strong that the outer crust slipped - just like professor Charles H. Hapgood once suggested (but not due to imbalance of the polar ice)?

Interesting enough; one of the oldest and most important symbols to the ancient Egyptian was the "Djed Pillar". Take a look at the image to the right of the God Ptah holding a Djed pillar. The pillar looks very simular til the set-up of the stones above the Kings Chamber - and also a homemade Tesla coil! You might also have noticed a Djed pillar in picture of what could illustrate an electric lamp in an ancient Egyptian temple, higher up in the article!

Very advanced technology

In the Palermo, Turin and Manetho king lists, there are names of eight god kings that ruled Egypt in the beginning; Ptah, Ra, Geb, Osiris, Set, Horus, Thoth and the female god Ma'at. Even if they sometimes were represented in a variety of forms on murals, often with human body and animals/birds heads, these gods seemed to be something else than imaginary gods living in a theological heaven. They lived on earth, were married with children, and had duties they performed. They also helped the ordinary people to develop. We have seen that Ptah made the Nile-delta liveable after the great flood and Thoth is credited as the author of all works of science, religion, philosophy as well as magic and he is said to have been married with the female god and ruler Ma'at.

Pharaoh Can it be that the first kings of Egypt were called Gods because they came from a far away place and looked a bit different to the other humans in ancient Egypt? The word "God" comes from "shining/bright" and murals picturing the first pharaohs/gods show that they had so white skin that the must have looked very bright compared to other people! Were they also called devine because they had much better mental capabilities and a very advanced technology?

www.sydhav.no/giants/denisova_giants_egypt.htm

Dendera light

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The dendera light

The dendera light is a motif in the Hathor temple at Dendera in Egypt. A fringe theory interpretation of the reliefs is that they depict some form of ancient Egyptian lighting technology, similar to an arc lamp or cathode ray tube.

The temple contains several reliefs depicting Harsomtus, in the form of a snake, emerging from a lotus flower which is usually attached to the bow of a barge. The so-called dendera light is a variation of this motif, showing Harsomtus in an oval container called hn, which might represent the womb of Nut.[1][2][3] Sometimes a djed pillar supports the snake or the container. A closely related motif is "god resting on the lotus flower".

Contents

1Depictions and text

2Similar motifs

3Fringe interpretation

4See also

5References

6External links

Depictions and text

Each of the three objects consists of two reliefs. One half (a) of each pair is in south crypt 1-C (crypte 4), the other half (b) in room G (chambre V) of the temple.[3]

Object

(location)

TextRelief

Object 1(a)

(Crypt 1-C, south wall)

Speaking the words of Harsomtus, the great God, who dwells in Dendera, who is in the arms of the first in the night-barge, sublime snake, whos Chentj-statue carries Heh, whos crew carries in holiness his perfection, whos Ba caused Hathor to appear in the sky, whos figure is revered by his followers, who is unique, encircled by his forehead-snake, with countless names on the top of Chui-en-hesen, the symbol of power of Re in the land of Atum (Dendera), the father of the Gods, who created everything.

Gold his metal, height: four handbreadths

(left)

Object 2(a)

(Crypt 1-C,

south wall)

Speaking the words of harsomtus, the great God, who dwells in Dendera, the living Ba in the lotus flower of the day-barge, whos perfection is carried by the two arms of the djed-pillar as his Seschemu-image, while the Kas on their knees bend their arms.

Gold and all precious stones, height: three handbreadths

(right)

Object 3(a)

(Crypt 1-C,

north wall)

Speaking the words of harsomtus, the great God, who dwells in Dendera, who emerges out of the lotus flower as a living Ba, whos completeness is elevated by the Kematju-images of his Ka, whos Seschemu-image is revered by the crew of the day-barge, whos body is carried by the djed-pillar, underneath his Seschemu-image is the Primal and whos majesty is carried by the companions of his Ka.

Gold, height: one cubit

Denderah. Grand temple. Crypte no. 4 (NYPL b16461786-1548062) (lower).jpg

Object 1(b)

(Room G,

south wall)

Harsomtus in the hn-container of the night-barge that contains four figures. The figure of heh is in front of him, whereas this flower is behind him, the water beneath him.

Gold his metal, height: four handbreadths.

Denderah. Grand temple. Chambre V (NYPL b16461786-1547977) (lower).jpg

Object 2(b)

(Room G,

north wall)

Harsomtus on his barge

Gold and all precious stones, height: three handbreadths

(left)

Object 3(b)

(Room G,

north wall)

Harsomtus of Upper- and Lower Egypt, the Sata-snake, that emerges from the flower, which contains the hn-container, who is flanked by four figures with human faces, under his head the figure of Heh on the Serech on the bow of his barge. The Juf-monkey with the face of a toad, armed with knives, is in front of him, as are the two figures that carry the front part of this flower.

(right)

Similar motifs

Denderah. Grand temple. Chambre V (NYPL b16461786-1547977) (upper).jpg

Denderah. Grand temple. Crypte no. 4 (NYPL b16461786-1548061) (Harsomtus).jpg

Denderah. Grand temple. Chambre V (NYPL b16461786-1547978) (upper).jpg

Denderah. Grand temple. Crypte no. 1 (NYPL b16461786-1548026) (harsomtus).jpg

Denderah. Grand temple. Chambres de la terrasse. Osiris du sud. Chambre no. 3 (NYPL b16461786-1548166) (cropped).tiff

NaqaLionTempleApedemakSnake.jpg

Fringe interpretation

In contrast to the mainstream interpretation, a fringe theory proposes that the reliefs depict Ancient Egyptian technology, based on comparison to similar modern devices (such as a Cathode-ray tube, Geissler tubes, Crookes tubes, and arc lamps). J. N. Lockyer's passing reference to a colleague's humorous suggestion that electric lamps would explain the absence of lampblack deposits in the tombs has sometimes been forwarded as an argument supporting this particular interpretation (another argument being made is the use of a system of reflective mirrors).[4] Proponents of this interpretation have also used a text referring to "high poles covered with copper plates" to argue this,[5] but Bolko Stern has written in detail explaining why the copper-covered tops of poles (which were lower than the associated pylons) do not relate to electricity or lightning, pointing out that no evidence of anything used to manipulate electricity had been found in Egypt and that this was a magical and not a technical installation.[6]

Archaeologist and debunker Kenneth Feder argued that if ancient Egyptians really had such advanced technology, some light bulb remains (glass shards, metal sockets, filaments...) should have been discovered during archaeological excavations. By applying Occam's razor, he instead highlighted the feasibility of the aforementioned reflective mirrors system, and also that the notion of adding salt to torches to minimize lampblack was well known by ancient Egyptians.[7]

See also

Egyptian mythology

References

"Dendera Temple Crypt Archived 2010-04-25 at the Wayback Machine". iafrica.com.

Wolfgang Waitkus, Die Texte in den unteren Krypten des Hathortempels von Dendera: ihre Aussagen zur Funktion und Bedeutung dieser Räume, Mainz 1997 ISBN 3-8053-2322-0 (tr., The texts in the lower crypts of the Hathor temples of Dendera: their statements for the function and meaning of these areas)

Waitkus, Wolfgang (2002). "Die Geburt des Harsomtus aus der Blüte Zur Bedeutung und Funktion einiger Kultgegenstände des Tempels von Dendera". Studien zur Altägyptischen Kultur. 30: 373–394. JSTOR 25152877.

Press, The MIT (15 May 1973). The Dawn of Astronomy | The MIT Press. mitpress.mit.edu. MIT Press. ISBN 9780262120142. Retrieved 2020-10-06.

Bruno Kolbe, Francis ed Legge, Joseph Skellon, tr., "An Introduction to Electricity". Kegan Paul, Trench, Trübner, 1908. 429 pages. Page 391. (cf., "[...] high poles covered with copper plates and with gilded tops were erected 'to break the stones coming from on high'. J. Dümichen, Baugeschichte des Dendera-Tempels, Strassburg, 1877")

Stern, Bolko (1998) [1896]. Ägyptische Kulturgeschichte. Reprint-Verlag-Leipzig. pp. 106–108. ISBN 978-3826219085.

Feder, Kenneth H. (2014). Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology. New York: McGraw-Hill. ISBN 978-0-07-803507-4., pp.225–7

External links

Wikimedia Commons has media related to Dendera light.

The Dendera Reliefs, Catchpenny Mysteries.

Frank Dörnenburg, Electric lights in Egypt?. 2004.

Mariette, Auguste (1870) - Dendérah: description générale du grand temple de cette ville (II: 48, 49; III: 44, 45)

Coordinates: 26.141611°N 32.670139°E

Categories: EgyptologyOut-of-place artifactsPseudoarchaeology

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en.wikipedia.org/wiki/Dendera_light

The ancient Egyptian Dendera Light "protective magical energy in liquid form" is the evaporative cooling fog. The fact that the Dendera Light is made of liquid water that transforms itself in a magical way, is exactly what are describing ancient Egyptians themselves : [About the snake inside the Dendera Light Bulb] "The field surrounding Ra’s snake form is referred to in ancient Egyptian literature as protective magical energy in liquid form that all gods and pharaohs possess (Faulkner 1970*)." ahotcupofjoe.net/2016/11/dendera-light-bulb-and-bagdad-ba...

*I'm not sure, but the excerpt might be from "The ancient Egyptian book of the dead / translated by Raymond O. Faulkne ; edited by Carol Andrews, 1972."

www.milleetunetasses.com/blog/the-great-pyramid-of-khufu-...

Evaporative cooling for the sodium carbonate manufacturing

My study is based on 2 key elements : the first one is the cold production inside the horizontal passage of the Great Pyramid ; and the second one is the production of sodium carbonate (pure natron), as suggested by the Red Pyramid.

The ammonia still present inside the Red Pyramid, indicates that they were using a sodium carbonate process identical or very close to the ammonia-soda process known as the Solvay process, developed into its modern form in the 1860s in Europe.

In the Solvay process, the ammonia only has a minor role ; but inside the Red Pyramid, my guess is that they didn't control the temperature of the different chemical reactions inside the Solvay towers. They couldn't cool down the towers.

That is the reason why they engineered the visible part of the Great Pyramid : to produce cold inside the horizontal passage, store it inside the Queen's chamber, and transfer it to the sodium carbonate production towers, passing through the Queen's chamber shafts.

Event: Capesthorne Hall Classic Car Show

Location: Capesthorne Hall, Macclesfield, Cheshire

Camera: Pentax ME Super

Lens(s): SMC Pentax-M 50mm f/1.7

Film: Adox HR-50

Shot ISO: 50

Light Meter: Camera

Exposure: Mostly f/2.8

Lighting: Mixed weather

Mounting: Hand-held

Firing: Shutter Button

Developer: Ilford DD-X(1+4) for 7m 30s

Scanner: Epson V800

Post: Adobe Lightroom & Photoshop (dust removal)

20120805

CanonA-1

FD50mmF1.4

Konica CENTURIA 400 expired 2002

87740038

Apartment Block; East Boston, MA

Bad Metering Fair

Electric meter

Hydrangea

Genus

Hydrangea is a genus of 70–75 species of flowering plants native to southern and eastern Asia and the Americas. By far the greatest species diversity is in eastern Asia, notably China, Japan, and Korea. Most are shrubs 1 to 3 meters tall, but some are small trees, and others lianas reaching up to 30 m by climbing up trees. They can be either deciduous or evergreen, though the widely cultivated temperate species are all deciduous.

Wikipedia

Scientific name: Hydrangea

Biological rank: Genus

Higher classification: Hydrangeaceae

Please view on black.

Surface rock that looks to be similar to the red sandstone used to make the five meter Standing stone of Auchencar and some of the stones associated with the Machrie site. This small bay is on the west coast of Arran. There are at least 18 hut circles within the grassland above this cove beach. An ancient cave system hollows into the cliff that restarts a stone's throw to the north. Here, opportunities for natural storm shelter and fire are many. A short walk inland and then north takes you to the string of stone circles and megaliths that step for more than two kilometers in view of the sensual mountain known as the Beinn Bharrain, with the smaller Sail Chalmadale to its right.

Industar 50mm f2.8

Kodak UltraMax 400 Film simulation recipe from Fuji X Weekly

Complete with the Yashica YEM-35 'Exposure Meter'. Two very simple machines.

For more about all things Yashica, please visit www.yashicasailorboy.com

Thanks, Chris

It takes 2 days driving in an all wheel drive from Nairobi to arrive in Loiyangalani on the Turkana lake shores… you have never heard about this place? And yet it’s here that they filmed « The Constant Gardener » with Ralph Fiennes.

The Lake Turkana region presents a lunar landscape, somewhat desert, covered in black volcanic rocks. It’s an extremely inhospitable environment for humans and their livestock. There is no potable water and limited pastures. The rainfall averages is less than 6 inches a year. During the day the high temperatures (up to 45°C) are come with strong winds (up to 11 meters per second), pushing dust. But it’s just a magical place on earth !

No human should be able to live in these conditions and yet 250,000 Turkana people are living here. Their territory extends to northern Kenya around Lake Turkana, and on the boundaries with south Sudan and Ethiopia. In 1975, the lake (400 km long, 60 large) was named after them.

Herders Above All Else : The importance of livestock

They are a traditionally pastoralist tribe, moving their livestock (goats, sheep, camels, cattle, and donkeys) and their homes to search water for their animals. Turkana have not been affected by western civilization yet and live in a very traditional way. The number of animals and the diversity of the herd are closely linked to a family’s status in the community. The herds are their bank account.

They depend on the rain to provide grazing for their animals, and on their animals for milk and meat. Because water is so hard to find in the area, they often fight with other tribes like Dassanech. Their main concerns are land and how to win it or to keep it!

The Turkana place such a high value on cattle that they often raid other tribes to steal animals. These razzias have become more dangerous as they now use guns. As the Turkana are one of the most courageous groups of warriors in Africa, fights are serious!

After a raid, the robbers ask some friends from neighboring villages to keep some cows. Their herd is scattered between several places to reduce the risk of being stolen the whole.

The Turkana choose their good friends as neightbors more so than people they share kinship ties with. The clans (ekitela), 28 in number, no longer have a social function. Each clan owns water wells dug in the dried river beds. Unless an explicit request is made, the community can deny water to those passing by.

Even today, the Turkana never kill their livestock to sell their meat. They only kill for celebrations. The Turkana need their animals since they use them as currency in marriage or various social transactions. If a man loses his livestock to drought, he is not only impoverished but shamed. In these cases, NGOs often help get him back on his feet but he can’t reclaim his pride until he has reestablished his herd.

The animals are given very poetic names which the owners often take on as well. It’s common to call a good friend the name of his favorite bull. The Turkana even write songs for their favorite animals. Once a young man has selected his favorite bull, he shapes its horns into bizarre forms to make it stand out. Many tribes use to do this in the area.

The Fish is Taboo for the Herdsmen

Turkana people traditionally do not fish and do not eat fish. But during the droughts, Turkana people are encouraged to fish to get some food. Fishing has been regarded as something of a taboo, a practice reserved for the very poorest in Turkana society.

Social Structure

The Turkana are organized into generational classes. All males go through three life stages (child, warrior, and elder).

To become a man, the turkana teen must go through a ceremony where he will have to kill an animal with a spear, but he must kill it in one throw! Once done, the old men will open the stomach of the animal and put the content on the body of the new adult. It is the way they bless him.

For women, the process is different. They become adult when they reach puberty. Unlike many other tribes in Kenya, the Turkana do not practice FGM and circumcision.

The Turkana live in small households. Inside live of a man, his wives !as he can marry more than one), their children and sometimes some dependent old people. The house is called « awi ». It is built with wood, animal skin, and doum palm leaves. Only the women build the houses!

Herding is a family affair. The father assigns various tasks to his children depending on their age. It’s common to see kids walking long distances with the cattle. Later they will take care of sheep and goats. The girls carry water and collect wood.

Newborns receive their names in a unique way. They take the name of a parent who has huge prestige and add the name of the most beautiful animal in the herd.

Parents learn very early to the kids the taboos: you must not lie, be coward, steal, neglect elders…

Turkana have their own justice and the revenge system is working well: if a crime is committed, the family of the victim will try to kill the murderer or someone from its close family. They also can steal to the suspect a large amount of cattle. Usually, the elders try to make a reconciliation ceremony. It is an never ending story as the family will also want to make a vandetta of the vendetta !

If the homicide was an accident, it can be solved by giving a daughter in marriage.

Marriage

When a man wants to marry a girl, he must ask his own parents if they agree. His mother will have to check if the girl he wants is a good worker! The blood relationship between the families is forbidden, so the elders will check the family links before any agreement.

The man must pay the bride parents (30 cattle, 30 camels and 100 small stock minimum, sometimes a gun is added). It means that a man cannot marry until he has inherited livestock from his dead father. It also means that he collects livestock from relatives and friends. This strengthens social ties.

Daily life

Cattle dungs are used as fuel to cook the food, the urine is used as soap for washing when chemical soap is not available. I saw people using the urine to wash the milk containers, so I always refused to drink milk!

Camels are used for transportation of goods and are well adapted to the very arid climate of Turkana and the lack of water. They are also used in transactions for weddings, or economics deals.

Donkeys have a special status in Turkana tribe: the people do not drink its milk. They use them to carry their houses when they move or weak people with a special wood saddle. But even if donkeys are very useful, they are mocked by the turkana people. Donkey meat is eaten only in the Turkana, where it is savored as a delicacy while others tribe hate it!

They like chewing tobacco and often walk around with a chewed up ball of it on their ear. They also like snorting powdered tobacco.

Danses and songs are important in the social life. Dances allow the people to meet and to flirt. Circle dances are are performed by group of young unmarried girls. The men and young girls join hands and the circles move around. The men may then jump into the centre of the circle raising their arms to imitate the cow horns.

Spirituality, Superstitions, Beliefs

In 1960, a famine started in Turkana area, and so the « Africa Inland Mission » established a food-distribution centre in Lokori, bringing also christianity. But conversion did not meet a huge success (5 % may be converted) as Turkana are nomadics and still have strong believes in their own god. Some Turkana elders even told me :

« I wear a christian cross around my neck and go to the church to get an access to the help provided by the the missionaries for food and clothes! »

The majority of the Turkana still follow their traditional religion. There's one supreme God called Akuj, who is associated with the sky. If God is happy, he will give rain. But if he is angry with the people, he will punish them. In the old believings, giraffes were supposed to tickle the clouds with their high heads, and make the rain come !

Four million years ago, the Lake Turkana bassin may have been the cradle of mankind. You can spot some very nice engraving sites showing a mixture of giraffes and geometrics patterns made around 2000 years ago close to the lake.

Deviners, called the « emuron » are able to interpret or predict Akuj's plans through their dreams, or through sacrificed animal's intestines, tobacco, and through the tossing of …sandals ! Sandals are very important for the oracle. He blesses the sandals by spitting on them. He throws them up into the air and gives a meaning to the patterns they create when they fall on the ground.

When someone dies, the Turkana only hold funerals and burry the body. In the old times, people were were not given a burial, but were abandoned to hyenas.

As I was taking pictures of an old Turkana lady, after 3 pictures, she asked me to stop, and started to shout : « You’re sucking my blood, you make me feel weak » and she left. I was explained by a young boy that the old people believe that pictures are taking their blood away.

Medecine

Scarifications on the belly are made by traditional doctors to cure ill people: it is a way to put out the illness from the body. Scarification is practiced for aesthetic reasons too. Scars are a sign of beauty or to show how many people he has killed, if he is a man.

The skin is cut with an acacia or a sharp razor blade that may be shared by the people and bring diseases.

Turkana believe that a person who experienced illness and recovered from it can treat someone else who’s suffering from the same illness. This means that everybody can be a doctor ! If this does not work, they say that the animal slaughtered was the wrong one.

A good Turkana tip : if you suffer from a severe headache, you just have to take out the brain from a living animal, like a goat, and put it on your head !

Or, another solution : to lift a sheep over the patient, to cut the throat so that the blood strickles on the patient’s head.

The Turkana have the highest instance in the world of echinoccocus (7%) due to their proximity with dogs, who live and defecate everywhere. The dogs lick up blood and vomit and the women use the dog’s excrement as a lubricant for the necklaces that touch their neck.

This parasite has three hosts : sheep, dogs, and humans. In Turkana, these three species live very close, surrounded by little else in the vast desert, ideal conditions for the proliferation of the parasite. The diease causes huge cysts that can be removed by surgery. The locals believe that this "disease of the large belly" is due to a spell cast by the neighboring enemy tribe: the Toposa.

Beauty

Turkana girls and women love to adorn themselves with a lot of necklaces. Beads can be made of glass, seeds, cowry shells, or iron. They never remove them! This can only happen when they are ill or during a mourning time. It means they sleep with those huge necklaces… A married Turkana woman will also wear a plain metal ring around the neck. This is a kind of wedding ring (alagama). A Turkana man will do all he can to make sure that his women folk are dressed in beads of class. Even if some are not able to take their girls to school, they will still ensure that they have beads. By the quantity and style of jewelry a woman wears, you can guess her social status.

Beads colors have specific meaning. Yellow and red beads are given to girl by a man when they are fiancé. If a woman wears only white beads, it means she is a widow. Little girls wear few beads, usually given to them by their mothers, but the older ladies and women wear many, which are in sets rows.

A woman who cannot move her neck is envied! The big necklaces are heavy, like 5 kilos.

A woman without beads is bad, men will ignore her. « You look like an animal without beads! »

Young children only wear a simple strand of pearls. Adolescents wear small articles of clothing to cover their sex. These articles are often decorated with mulitcolored pearls or ostrich egg shells. They wear more and longer clothing as they approach puberty.

NakaparaparaI are the famous ear ornaments. They are made by the men of the tribe in aluminium most of the time and look like a leaf.

Men love to make an elaborate mudpack coiffures called emedot. It is a kind of chignon: the hairstyle takes the shape of a large bun of hair at the back of the head. They decorate it with ostrich feathers to show they are elders or warriors. 2 ostrich feathers costs 1 goat.

Men use a wood pillow (ekicolong) to sleep on it and protect the bun. It can last 2 months and must be rebuild after.

Tattooing is also common and usually has special meaning. Men are tattooed on the shoulders and upper arm each time they kill an enemy — the right shoulder for killing a man, the left for a women.

Lower incisors are removed in childhood, with a tool called « corogat », a finger hook. The origin of this practice was against tetanus, as people are lock-jawed, so they can feed them with milk through the hole. It is also a way to force the teeth at the top to stand out and not interfere with the labret many put on the lower lip. The is useful to spit through the gap of the teeth, without even opening the mouth. The Turkana enjoyed to have labrets, but nowadays, only the elders can be seen with on. They used to put an ivory lip plug, then a wood one, and for some years, they use a lip plug made of copper or even with plaited electric wires.The hole between the lower lip and chin is pierced using a thorn.

The finger hook is also used as a weapon, for gouging out an ennemy’s eye !

Hygiene

Since water is so rare, it’s used only for drinking, never for washing. The Turkana clean themselves by rubbing fat all over their skin.

Turkana women put grease paint on their bodies which is made from mixing animal fat with red ochre and the leaves of a tree to have nice perfume. They say it is good for the skin and it protects from the insects.

Women also put animal fat all around their neck and also on their huge necklaces to prevent from skin irritation.

They also use dog shit as a medicine and lubrificant for their neck.

Both men and women use the branch of a tree called esekon to clean their teeth. You can see them using it all day long…The Turkana people have the cleanest bill of dental health in the country.

For long, Turkana people did not use latrines because it is a taboo for men and women to share same facilities like a latrine. Campaigns have now been initiated to sensitize people on the importance of using latrines for hygiene.

Animal fat is considered to have medicinal qualities, and the fat-tailed sheep is often referred to as "the pharmacy for the Turkana. »... when they do not grill it to eat it!

Futur

Recently, oil has been found on their territory… many fear Turkanas people may loose their traditions, but the Turkana succeeded in maintaining their way of life for centuries. Against all odds they manage to raise livestock in the confines of the desert. Their knowledge allows them to live where most humans could not.

The recent discovery of massive groundwater reserves in the ground (3 billion cubic meters, nearly three times the water use in New York City) could allow them to keep their traditions for a long time.

© Eric Lafforgue

www.ericlafforgue.com

Photographed November 2018 / Rolleiflex 'Old Standard' TLR with Carl Zeiss Jena Tessar 7.5cm/3.5 lens. Film was ILFORD 3200 DELTA PRO metered at ASA 800 developed in PYROCAT-HD (5ml A + 25ml B > 600ml, 8min @ 20*C). Negative was illuminated on a light panel and 'scanned' with an iPad mini using the Film Scanner app. The image was processed and finished in Flickr. (This image is the property of the photographer do not reproduce it without my consent). A remarkable moment; photographed at the instant the sun burned through the mist ....the light seemed to fold around everything even the darkest shadows were glowing with the first rays of the day; shivered and dissolved in light. Strange that the latest high speed film technology combines with old lens technology to enable photographs like this to be made with a handheld camera. When this Rolleiflex camera was manufactured (circa. 1934) such high speed films as ILFORD 3200 DELTA PRO were only dreamed of.

Camera: Canon IXUS APS

Lense: 24-48mm 1:4.5~6.2

Film: Fujifilm nexia A200

Develop & Scan: BBG

Ilford XP2 film

Leica M3

Summicron 50mm F2 2nd

November 2024

Fitzroy, Victoria, Australia

Conversation underwater with mister Big!

Depth 25 meter,

Bruine tandbaars (grouper, Epinephelus marginatus).

13 May 2016, Lanzarote, Canary Islands, Spain.

Found this old parking meter in Hamilton, New Zealand, and it was still working! Retro begets Retro.

Diana F+ with red flash

The Haringvliet sluices are a construction that closed off the estuary of the Haringvliet, Netherlands, as part of the Delta Works. The structure consists of 17 sluices, several kilometres of dam and a shipping lock.

The northernmost of the Delta Works, it was supposed to be finished by 1968 as the first part of the project.[1] Building started in 1957 and was finished in 1971. Instead of damming the estuary it was decided to build sluices in order to be able to let in salt water to prevent freezing of the rivers Meuse and Rhine and to drain these rivers in case of flood.

The sluices have two doors each of which the door on the sea side is the lowest. This has been done to mitigate the effect of the waves on the doors and the construction.

There are plans to open several sluices permanently, resulting in the estuary function of the Haringvliet being restored. This will be done in order to improve the ecological situation in the river Meuse and Rhine. It will allow the return of brackish water (with the associated flora and fauna) and will restore the main route for migrating fish. It will also result in a minor return of the tides in areas like Tiengemeten and the Biesbosch, both important nature reserves.

Panorama out of 2 captures taken with my DJI Mavic drone from 120 meters high

Multnomah Village, Oregon

After two days of tough hike on a steep ascent; at last we reached to Sirkhata Lake. In this hike, we also have crossed an unnamed mountain pass which was above 4300 meter in height. This pass located in north-east direction of Sirkhata Lake.

The next question for us was to decide which route we should opt for returning back. We got three options; first, was to be choosing the same trek from which, we had descended down the earlier day to this valley; i.e. the north east mountain pass but that doesn’t end up at Supat Pass and we wanted to see that as well. Also that trek was quite tough and the last portion of this pass was too steep, it was difficult to climb this portion in snow without having proper gear.

Second option was to trek up to Shames village and then hike on jeep road up to Supat top. According to locals it is a lengthier route and would take a full day to reach Supat top. Even reaching Shames village would take three to four hours from Sirkhata Lake. Before going to this trek I have checked Shames village altitude on Google Earth, it was around 3400 meter and from there going to Supat top was something a hike of 9 km in which we again have to gain an altitude of 1000 meter. So we left the idea of going on this route as well.

Locals insist us to choose a third option a shorter route for our return, that was a mountain pass run in North West direction of upstream of Sirkhata Lake. We were little afraid for choosing this ‘mountain route pass’ at first, because earlier day the mountain pass which we have crossed in north-west direction was full covered in snow and there were portions where snow was very hard and unfortunately because of not having proper snow gear, I slipped there four times.

We came to know that a day before our arrival a villager have crossed this pass to enter in valley. He was the first one to do so in this season, he told us though the pass is totally covered in snow but the condition of snow was not hard. So his words gave us confidence to choose this route.

Next day we got up early in the morning, we started our trek around 6:30 a.m., The weather was clear in the morning. Kohastani’s have interesting and hospitable customs. Before leaving everybody again came to meet with us. Earlier night Salman distribute candies among children’s. Every Children eye was glittering with expression of thanks. Also some Villagers hold our luggage and came with us for some distance and then say goodbye to us this is there tradition. We don’t have words of thanks for love and care shown to us by Sirkhata villagers.

We started hiking upstream of Sirkhata Lake along the small glacial streams. After hiking for one hour, a never ending glacier has started, initially for next 30 minutes the slope on glacier was gradual, than again the tough steep ascent started that was also all covered in snow. We reached at first ridge the height there was around 4300 meter. Still there was no sign of pass, we again started hiking and reached another mountain top but was also not pass. We were standing in different world it was vast mountain pasture all covered in snow. There was feeling in the mind at that time that we were standing in Antarctica, because the white was the only color we could see in all four directions.

Now we could see a mountain series running in west direction, but still our porters were not sure about the actual direction of pass. It was almost five hours that we have left Sirkhata Lake. We did not meet any other human in our way, a panic start creeping, both Salman and me watching each other faces and asked the porters in nervousness where is the pass? The answer was of more desperation, “Sir, I will not tell a lie with you, I am not from this area, I am not sure about the Pass.”

We could see a mountain range running on our west side, but it is almost impossible to cross this in this season without proper maintaining gear. Among this series there was a ridge which was of lower height. Salman GPS knowledge helped at that time, he confirmed that only this could be the respective mountain pass. It looks almost a straight wall of more than 30 meter height covered in snow. We sent one of our porters first at top; he asked us to wait, He still was not confirmed at last he saw a human some 200 meters down on other side and he started shouting, “Come up”. It was moment of relief. It was a straight climb, thanks to our porters that we able to reach at top without having any proper maintaining gear.

The scene from top were amazing, we could see a snow covered Supat & Maheen top from there.

Our journey still not end, we have to descend down from this pass and have to trek on snow againto reach Supat top. I will share that detail in next chapter.

Program:Manual

Lens:150-600mm f/5-6.3 G VR

F:6.3

Speed:1/1250

ISO:1000

Focal Length:600 mm

AF Fine Tune Adj:0

Focus Mode:AF-C

AF Area:Dynamic Area (3D-tracking)

Shooting Mode:Single-Frame, Auto ISO

VR:On

Metering Mode:Multi-segment

WB:Auto0

Picture Control:Standard

Focus Distance:4.22 m

Dof:0.016 m (4.209 - 4.225)

HyperFocal:1901.83 m

Photo by Chet Kresiak

Studio equipment used:

1 light source - Elinchrom ELC Pro HD 500, key light with Elinchrome Rotalux Deep Octa (deep octa - 70cm) light modifier up-front-left to the model, another ligth source - Elinchrom ELC Pro HD 500 fill light with strip box on the right side, the whole scene was syncronized with Elinchrome EL Skyport remote used on camera, Savage Black paper background - approx. 2 meters behind the model

***

Description:

Sometime simple composition works the best

^_^

For additional information, see first image in series

***

Model: Kristina (@christina_loka)

Photo & retouch: mine

***

Date: November 10, 2019

Camera: Sony a99

Lens: Carl Zeiss Planar 85mm f/1.4

Exposure: 1/200 at f/13, ISO 200

Parking meter

en.wikipedia.org/wiki/Parking_meter

it.wikipedia.org/wiki/Parchimetro

de.wikipedia.org/wiki/Parkuhr

For my first international filmswap I'm delighted to have teamed up with one of my absolute favourite photographers, the superb hodachrome from Japan. If you haven't already, check out his photostream as you won't be disappointed. Hodaka shot the flower layer here at "Bokka no Sato", a northern part of Gujo-shi, Gifu on a 1000 meters high plateau. My low down Beetle was in Wells, Somerset.

LC-A+, Lomography Chrome 100, X-Pro

I parked in front of the Pasadena City Hall and took several shots of the parking meters when lo and behold, a guy at the end of the last meter walked by and it somehow sealed the whole deal with my "dwindling size perspective" shot!

Entry to the 64th Imagoism Thursday

(you have to be a member of the PK Group to be able to view the link)

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

The farther away an object is from the viewpoint, the smaller it appears; therefore, when subjects of familiar size are included in a photograph, they help to establish the scale of the picture. Scale helps the viewer determine or visualize the actual size or relative size of the objects in the picture.

Potsdamer Platz: PEONY - sechs Meter hohe Sträuße aus jeweils drei Blumen mit dynamischen Farbnuancen

Potsdamer Platz: PEONY - six meter high bouquets of three flowers each with dynamic color shades