View allAll Photos Tagged OBJECTIVE
"World War 3 began on the 25th of August 2080, After the corruption and Bribery claims in the UN Council were proved true. Countries started their own empires. The war was mostly in Europe, where the once great European Union were now sending death threats to each other. Now as I record this message, 8 years after war broke out I am sending my best operative to end the war. Let us all hope he succeds in his mission. God save the Queen."
British Prime Minister Eric Mansfield adressing the SAS Commanders on the 25th August 2088.
Objective one:
To eliminate Johnson, you must make your way into his fortified compound. It is located 2 miles West of Berlin and heavily fortified. After you drop, Make your way along the path system that surounds the compound. Old Pilons and Communication towers will indicate how close you are. The more the merryer. Look out for scout partols, although they consist of untrained idiots. They are no harm to you. Take them out quietly, but I will let you choose how to 'dispose' of them"
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Ok, A fresh start for me. This is the first part of a Vignette series I'm making set during the Third World War. It won't make much sense at this stage, so look out for the next parts!
Lit :)
camera: 8x10 Plaubel Peco Profia
objective: Fujinon W 300mm f/5.6
light: 2 continuous light lamp with 50x70cm soft box
light meter: Gossen Spot-Master
film: 8x10 Fuji HR-T X-ray Green Sensitive 100 iso
film developing: Jobo CPE2 - Rodinal 1+100 - 24C° - 3 minute 30 second
fixer: Ilford Rapid Fixier
scanner: Epson Perfection 4990 Photo
I love to try some different budget microscope lenses. Some of them are great performers like Lomo (3.5X, 3.7X, 4.7X) and Nikon 10X 0.25
Top row from left to right
-Lomo 8X 0.20
-Lomo 10X 0.30
-Lomo 20X 0.40
-Lomo 40X 0.65
-Nikon 10X 0.25
-Noname Plan 20X 0.40
-Noname 40X 0.65
Second row from left to right
-Lomo 3.5X 0.10
-Lomo 4.7X 0.11
-Lomo 3.7X 0.11
-Lomo 3.7X 0.11 again
-Nikon 4X 0.10
-Noname 4X 0.10
-Noname 10X 0.25
camera: Hasselblad 500 CM
objective: Zeiss Planar 80mm
light: natural light
light meter: Gossen Spot-Master
film: Fomapan 100
film developing: Jobo CPE2 - Pyrocat-HDC 2+2+100 - 24C° - 6 minute
fixer: Ilford Rapid Fixer
scanner: Epson Perfection 4990 Photo
I started this last night and am looking for feedback. The objective is to build an Oblivion-style portal for lava monsters to pour out of.
(The left column is just a placeholder)
Objective: Create something and portray a super-natural, eerie presence out of natural place.
I used long exposure and zoom techniques to shoot this photograph. By doing this it allowed me to enhance to colors and streak the lights giving it a ghostly vibe.
Digital Photo
I might not use the camera I bought on eBay more than a year ago to take actual photos, but it's always fun playing around with it. This time I tried to make a photo of my Sigfig by photographing his reflections on my old manual Olympus lens.
For this photo I found that the easiest way to get some nice lightning was to do light painting. I put my camera on a tripod, turned off the lights, kept the shutter opened for a few seconds and started painting my minifig using the light of my smartphone.
(BTW you can also read about my own (mental) reflections on Stuck in Plastic: www.stuckinplastic.com/2017/02/reflections-on-a-photograp...)
This is the southbound Crescent, headed for Wilmington, Washington, and Points South as it approaches SEPTA's Folcroft station. On the point is ACS-64 class unit #600.
The real objective after the Super Saturday PCC trip, however, was not this train. I only meandered trackside here after stopping at nearby Leo's Steak Shop, because there was no freakin' way I was getting back on the plane without a cheesesteak. (Yes, I know about Pat's and Geno's, but I didn't have time to head that way.)
Units online.
Stand by for mission objectives...
Mission 8500: Search for diamonds.
Mission 8501: Search for ice crystals.
Mission 8502: Search for radioactive fuel.
Mission 8503: Search for "special pearls."
Mission 8504: Sear- WORLD DOMINATION.
Mission 8505: Search for energy-resin.
Mission 8506: Search for "heavy water."
Mission 8507: Search for neutrons.
Mission 8520: BALANCE OF POWER.
Mission 8521: Search for lava crystals.
Mission 8522: Search for electrons.
Mission 8523: Sear- OBEY JUDGE.
Final Message: WE ARE SLIZER. JOIN US.
This isn't a particularly good photo, in fact it is probably particularly bad. But I keep coming back to it. Why? No idea. I could point out a bunch of bullshit triangles or whatever but I don't actually believe it or care. Everybody is capable of climbing up their own ass, the trick is to find a dignified way to pick yourself out.
This megafreighter was already wrecked when Yellow squadron arrived to seize it. Data logs suggest pirates hit it hard for parts, and little, save the cargo of dark red ABS, was left aftwards.
Status: Looted for parts (Destroyed.)
Subjectively Objective #14.
An old pop up "Jayco J" camper. Lake Onalaska, Wisconsin, USA.
I'm very excited to show you a brand new conceptual series I've been shooting the past month! A nice change from my norm subject matter of travel, lifestyle, landscapes, models, and nature. Retro / old "gems" in simple environments. Subtle colors, angular uncluttered compositions.
I hope you enjoy...
#subjectivelyobjective #janesville #wisconsin #rockcounty #mattanderson #retro #fineart
Thanks for viewing. You can visit my website by clicking here: www.mattandersonphotography.com
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©2018 Matt Anderson All Rights Reserved. This image is not available for use on websites, blogs or other media without permission of the photographer. Hey, just E-mail me me if you have usage questions. Also, if you want to buy an awesome fine art print of this image.
The first of my two main objectives of the day was another conveyance of brand new emus on delivery with vintage motive power - this time with a slight surfeit of horsepower with a quartet of buffer fitted HST power cars (43468/43480/43465 & 43484). They were towing, among the barrier and brake force wagons, Stadler built 777s 142, 144 & 146, bound ultimately for the Merseyrail depot at Kirkdale. I knew the departure was likely to be delayed as the HST power cars were still sitting on the holding sidings at Wembley, as I passed, on the opposite side of the WCML from their consist parked outside Willesden Euroterminal. The 26 minute late departure therefore meant that instead of pretty well guaranteed full sun at their booked time high cloud had moved in from the west and the last of the sun had just disappeared as they ducked under the station bridge.
A lovely couple met at the shelter of Grenairon (with their impressive dog not visible in this photo) . We will share a portion of the day, their destination being Le Buet and mine Le Cheval Blanc ..
Leur objectif
Un charmant couple de bivouaqueurs rencontré au refuge de Grenairon (avec leur impresionant chien alpiniste, non visible sur cette photo) . Nous partagerons une partie de la journée, leur destination étant Le Buet et le mien Le Cheval Blanc..
Tour du Ruan, Switzerland
Trying to be as objective as I can (with limited capabilities), the images in the collage are as follows:
Top - RAW (As Shot): NEF File Straight from a Nikon D7000 (No Post Production)
Middle - Nikon Camera Raw: Manual Process (No Photoshop Post Production)
Bottom - Lightroom CC: "Auto" (with some minor adjustments) and "Enhance" (No Photoshop Post Production, but scaled down to fit in the comparison collage)
Close-up shot of scared mechanic observing the fight.
This is my entry for the public mission 20 of the 253rd Elite Legion RPG. Build time was four weeks.
Microscope lens setup. Effectively extension tubes and a extension tube to RMS cone adapter giving approx 160mm from focal plane to objective. A USB mini LED lamp fed from a rechargeable battery block (that goes in my pocket). The disc near then of the cone is actually a twin flash mount.
Parts. Sony A6000, Sony to EOS lens adapter, EOS to M42 adapter, M42 extension tubes, M42 to RMS cone, 4X 160mm microscope lens.
I already had these but obviously the adapters depend on the camera body in use but you need to get to M42 for the RMS adapter. The most common RMS adapter is a flat disc, if you use this you will need to use more M42 extension tubes.
Title
Comme tirer sur des poissons dans un tonneau
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This is a link to a You Tube Video of a thief not unlike our Angie.
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Case Study 113 :
Warning, these are the raw, bare unusual facts as originally recorded. Some names, times, places and some facts have , of course been altered.
Name: Angelica D circa 192__
Subject: an unscrupulous light-fingered body thief
Event: A Sisters of Mercy charity sponsored ball
Place: The Hamptons
Time: Warm early Spring Friday Evening
It had been a very busy 3 day working weekend for “poor” Angie, a rather handsome lady with flaming red hair, whose life during these depressive years had forced her too constantly work to sustain herself.
The joint where now Angie found herself was filled with a bevy of ladies and girls dressed up royally for the occasion, A Sisters of Mercy charity sponsored ball. The Ball’s objective was to raise funds for the good sister’s bread lines, Angie’s objective was to raise some funds of her own.
Needless to say, she did not fit in with her present environment. The reason Angie did not fit in was, although she was also dressed up in a sleekly colorful frock of her own, she was probably the only female guest to whom the term “working lady” would be an oxy-moron. Actually, it was almost as If her fellow guests sensed this, almost acting like she did not even exist. As she found out almost as soon as she had entered, two ladies were walking towards her, her, one in a long flowing lavender gown and pearls, the other in a shorter grey satin number with a bouncy skirt and decked out with enough silver trinkets to have drained a small mine. Angie nodded to them, but their noses were so held high they didn’t even see her, and the one in grey satin actually would have ran Angie over if she had not moved quicker, as it was they brushed against one another, and Angie had to actually grasp the Ladies’ wrist with the pearled bracelet,to steady herself. Angie found herself on the end of a few rather severe words of disdain as they looked back at her..
Angie just sighed to herself, and watched the pair saunter off, with a rather thoughtful look in her bright green eyes. Her left hand was clasped, playing with something she was holding in it. She then slipped that hand behind her satin sash, straighten it, she did so favor wearing slick sash’s with her silk party dresses.
It was at that moment that a pristine young lady walked by her. Looking like an escapee from a high society debutant’s coming out affair. Her lithe figure was draped in a gleaming white taffeta gown, its long layered skirt that swirled provocatively as she moved, Her elbow length gloves and purse were made of the same material as her gown. Angie’s eyes travelled up and down the passing enchantress (without moving her head), looking her over head to toe , from the spray of white flowers in her hair, to her clicking white high heels. Surprisingly the only jewelry she was wearing was a thick gold bracelet, set with rubies, as bright as the fire crackling in the mammoth fireplace by the bar.. Waiting ten seconds after the pristine miss was out of her roving eyes view, Angie turned and followed. She did not get far, a male voice called out “Sheila” and the lady was met by a rather charming appearing male of the same age, and smiling, the pair trotted off to the dance floor.
Angie hovered for a bit watching the show put on by the waltzing young couple, as well as their paired co dancers out on the almost 1 acre ballroom floor. As Angie stood watching, mesmerized by her thoughts, she first noticed the opened, wide double glass doors on the far side of the ballroom. Many of the well-dressed guests seemed to be coming and going from this newly discovered area.
It was then that a pretty young thing passed by Angie, heading towards those very same double doors. Although she carried herself well, the charming princess appeared to be a little too young to be wondering about by herself. She was definitely too young to be flitting about unescorted while wearing the costly jewels that glittered a pretty fire as she swished about on her merry way. The girl was expensively attired in an excessively glossy, purple satin blouse, a tailored black satin jacket with rhinestone buttons ,and a long silky black satin pleated skirt that fell spilling out from underneath the matching jacket ,swishing with every step of whispering silk at the heels of her black shoes. Her long soft chestnut hair done up in a long plait, with pearls interwoven throughout its length , held back by a sapphire encrusted clip, sapphires sparkled from all over ; ears, neckline, wrists and fingers, even her jacket had a sapphire brooch shaped like a waning moon. Very pretty Angie observed as the young scamp reached the double doors.
Angie, her curiosity now aroused by what lay past those doors, turned heel and with the girl as an unwary guide, followed her towards them. Now, curiosity may have killed a cat or two, but for Angie, being curious usually put food on her table. She soon discovered that the doors led out onto a wide cement patio, off of which was a rather extensive flower Garden, walled in by a rows of high green hedges. Angie watched as the last wisp of the, surprisingly still unescorted, young lady’s skirt disappeared from view into the gardens. Someone should warn her about going outside alone for walks when dressed like that ! Angie thought to herself, but before moving off with the intention of doing that very thing. But she stopped first, checking her surroundings.
The patio was home to a number of mostly occupied tables. With one exception, all the occupied tables were home to couples in groups of two to six, men in tuxes, their paramours in vibrant gowns that spread out quite nicely, spilling down rainbow like coloures from chairs to the cement floor. As Angie looked around, she observed the array of glittering jewels worn by the happily chatting women. Then Angie darted her eyes the one table that made the exception on the patio. Located in an isolated corner, that table was the only one with a lone female occupant. The occupant was resplendently dressed in a shiny mint green gown of fine satin that literally poured along the shapely curves of her seated figure, before finally splaying out around her feet like a soft, shiny pool. Her many jewels were set with majestic diamonds, especially her earrings, or at least the one Angie could see. For the ladies long hair fell over one heavily mascaraed eye, making the lady appear to be a one eye Cyclops, with an incredibly sparkling bright diamonded earing dripping from her one visible earlobe. Angie scrutinized the scene before her as she pondered a bit. Then, spying a shiny mint green purse dangling from the chair behind the Cyclops, a grin, wider than that of the Cheshire cat’s begins to spread across Angie’s handsomely sly face.
**
Why the grin like a Cheshire cat?
**
Now when a young Angie had first started on her adulthood path, she self -taught herself on how to be a pickpocket, ( body thief, and cutpurse were her preferred terms) and progressed to the point whereupon she was able to make a comfortable living.
Back then, as in the present, women of all ages were her preferred target, for several reasons:
A) Easily more distractible, especially the younger versions.
B) Silken and satiny types of dress, smoothly slick, were far more accommodating when preforming a dip or pick than trying the same maneuvers on the more unforgiving formal attire of their male counterparts.
C) Likewise the possessions of women and girls were more plentiful, and shiningly richer than those of most gentlemen.
Now, as was stated, Angie was self-taught. She did this by discreetly watching the pickpockets who worked the back streets and alleyways off of fancy theatres and dance halls in the area she grew up. She also did research by gleaning information from old newspapers and haunting the local libraries.
(See more of Angie’s background in the Album, Angie picks Chicago)
Angie especially liked the methods employed by cutpurses, and found enough success in this method that she still habitually carried a penknife with a long, finely honed, razor sharp blade. Even though she had not nicked a soft purse in a few years, she was still always up to the challenge.
**
So this, then, was the reason behind the evil grin, and the reason Angie now slipped a hand discreetly behind her colorful dress’s satin sash , extracting the finely honed folded razor, which she opened with one hand and concealed behind her back. She walked up, and looking around, let her hand holding the razor drop and allowed the blade to skim across the bottom of the purse as she walked past. She heard something tingle behind her, and then a muted gasp. Angie turned, quite a natural thing to do, noting the lady was reaching for her purse as its contents spilled out. Angie’s practiced eyes took inventory, a calf skin wallet, gold (solid!) compact, matching lipstick container, expensive tortoise shell comb, and several silky handkerchiefs had fallen out. Angie came to the ladies rescue, effectively cutting off any of the ladies at the nearby tables from doing the same. Their attention quickly turning back to their own personal business, as the rich are happily wont to do.
As the purses owner was bending down, her long hair falling totally straight down, Angie comes up and bumps into her as she leant down also. Apologizing, Angie cordially helped the lady pick up the purses’ strewn contents. Angie chats happily with the girl, easing the tension. The girl looks up into Angie’s face, thanking her, her long hair had fallen back, covering her eye, her only visible earring was swaying, still sending out showers of bright sparkles. Angie willingly accepting the young ladies gracious gratitude, before happily waltzing away, leaving the solitary lady to scratch her head over the ruined purse, as she makes sure all the rather pricey items it had contained are accounted for. Happily she discovers that nothing from her purse is missing.
Angie had not touched one item that had spilled out from the slashed bottom of the small silk purse.
For you see, Angie had graduated from being a common pickpocket of wallets and the contents of expensive purses
( as explained in the stories located the albums, Angie having a Ball @ Angie at Play).
Angie now was able to lift things far more valuable, as evidenced by the shiny diamond earring that Angie now had secreted inside the hidden pocket of her dresses’ her satin sash, the very earring that had been hidden beneath the long silky hair that had made the victim resemble a sexy Cyclops. The clasped earring had been exposed briefly as the distracted young lady had bent down to collect her scattered possession’s, and Angie’s practiced fingers had scooped it up and gently pulled it free from her earlobe, without the unsuspecting lady feeling so much as a prick..
Now Angie could have easily snatched both earrings, or had taken a necklace or bracelet along with it. But if she had, than once discovered, it would have been immediately apparent that something sinister had happened, and she would likely have been at the center point of that suspicion. But, by taking only a single piece of jewelry, it would more likely be surmised it had fallen off in the fracas, or possibly even earlier in the evening.
See Addendum SS
**
Angie left the sexy Cyclops, retreating back towards the garden. Now I wonder where the inquisitive young miss wondered off too. Someone really should warn her about going outside for a walk alone wearing all those precious jewels ,Angie thought, not really all that concerned about actually warning anyone.
Angie savored gardens and small parks with the feeling that she had done some of her best handiwork in places like that whenever they were haunted by ultra-wealthy fat cats. So it was with some great measure of pleasure that she now took to prowling this particular gardens maze of winding paths as she slowly made her get away, still open for opportunity.
As Angie meandered through the garden, passing many young couples milling about, happily eyeing the various fancily attired and jewel laden ladies that were flaunting their goods about, she remembered about being in a similar Garden not too very long ago, and the amazing luck that she had ended up having that evening.
(See Album “Angie being receptive” to read about that luck)
Angie turned a corner and saw that there was a side path almost hidden from view behind an untrimmed moss rose bush. She turned down it and found the path almost deserted. At the far end was a small alcove. Angie peered inside, it was not empty. The young miss in the purple blouse and black satin jacket and skirt, was knelling, happily admiring some small cement statues of animals she had discovered. Behind her was a small stone bench that lay before the hedge. Angie noticed that some of the hedge’s crooked branches had formed a small opening to the outside. Angie snuck behind one of the bushes that formed the inner wall of the alcove, and watched with open interest . The happily unaware girl’s sapphires glittered beckoningly, especially her sapphire pendent on its long braided silver chain that bounced on and off the front of her thick, glossy satin blouse . The girls black satin jacket was open, and the waning moon brooch was clearly visible, glittering in the lights of a nearby gas lamp. Angie flexed her fingers, waiting for an opening; it really ought to be an easy pick.
But at that very moment a dark figure came silently through the break in the outside hedge. A Gypsyish young female vagabond, wearing a slightly ragged dress with a colourful long scarf came into the pool of light , and crept up to the bench. The young lady had her back to the bench, never heard a thing, and kept on playing blissfully, unaware she now had, good or bad, uninvited company. The female vagabond only looked about a couple of years older, with a stronger figure than that of the well-dressed girl, but physically about the same size. The female vagabond sat on the bench, black eyes darting about, looking like she was being protective of the young lady in shiny satin, and even shinier sapphires.
Angie rose from her crouch; she had not been noticed, and decided to keep it that way. She carefully circled around the entrance to the alcove, without looking back. Her conscious, like most thieves, clear and unworried about the fate, good or bad, that may befall the stylishly attired rich young girl.
Actually, as she carefully snuck off, Angie’s thoughts were dwelling on how she would have distracted that pretty miss long enough to flick open the dangling silver chains clasp, and slip it and its shimmering pendent from around the high collared neckline of the accommodating slippery purple satin blouse. As she played it out, Angie almost turned back to see if somehow she could still accomplish it, it would be that easy. But she didn’t, and headed back past the moss rose bush and entered back on the main path.
Angie continued to nonchalantly prowl along the gardens long paths, staying to the outer edge she discovered several alcoves that were hidden in a similar manner to the one behind the overgrown Moss Rose bush. They all had been empty, until the fifth one she discovered, located behind a statue of a winged Hermes.
She heard the giggling first, and carefully shadowed her way around for a peek through some of the hedges branches., and what she saw made her perk right up. Angie observed a pair of young twenty something missus dressed resplendently in shiny gowns of royal blue and blood red that fluttered fetchingly as they quivered about. . Angie salivated over the copious collection fine jewels the pair was exhibiting, mesmerizingly flashing as the girls giggled in a conspiratorial fashion. All in all, Angie found it to be a most enthralling performance.
Angie watched as they sat their shiny purses(matching their gowns) on the old mossy stone bench and opened them. They began to slip off their rings and bracelets, setting them inside, than peeled off their long satin gloves( also matching their gowns, and laid them alongside. Then as they both looked around, one bent down and lifted up her long gown, revealing a black garter that held a gold cigarette case. Pulling it out, she opened it and both took a cigarette and started to smoke, giggling away the whole time at their daring. The other than looked around, and bending over lifted her long gown, her brooch dangling, and pulled a small flask from her garter! Then the both took long swigs, and started to giggle even more. In the time it took to do all this, Angie had come up with a plan of action designed to relive the young ladies of some of their finery. “Comme tirer sur des poissons dans un tonneau!” Angie murmured to herself.
She edged around till she was on the hedge directly behind the bench. At the bottom was an opening just large enough to crawl through with a little effort. Angie picked up a small stone and threw it as hard as she could at the fountain. Hearing the noise, the girls jump, and go to the entrance of the alcove to investigate, their purses and its valuable cargo momentarily unguarded. As their colorfully shimmering backs are turned, Angie reaches through and pulls one of the purses down, spilling its contents. She reached in the glittering pile and spirits away a long, serpentine bracelet, and the biggest and brightest ring she could find amongst the group. She scattered the rest liberally about and slipped back before the girls turned back.
Angie waited until their curiosity was sated, and the pair came back inside the alcove. They soon began to meander about playfully, blowing puffs of smoke into each other’s faces, laughing at themselves, as their earrings, necklaces and a fine emerald brooch sparkled ever so invitingly to Angie’s shrewd eyes.
Now for the Coup de Gras, Angie thought as she rose, and walked over to the entrance, entering the alcove with a chirpy “why hello there!” The startled princesses jumped, and twirled around, their gowns delightfully coiling and swirling along their fine sanguine figures. Quickly placing them at ease, Angie looked about, and in a co-conspirator tone asked if she could join in a smoke. The girls eagerly obliged and soon all three of them were sending rings spiraling about. Angie admired their necklaces, and they happily lifted them up for her to see,. As the gas lights touched them, the sparklers came to life, sending cascading showers of shimmering fireworks into the night. Angie’s eyes absorbed it all in as she felt a welcoming tingle wash over her, making her shiver inwardly with absolute delight. But on the outside she appeared calm, and as she commented in a rather subdued tone of voice, “ My that is pretty”, she asked the other girl her opinion. As the girl leaned inward, Angie’s fingers darted in, and cupping the girls dangling brooch in her fingers, felt and flicked open it’s clasp, working it off all in one swift motion..
As Angie stashed her brooch in a secret pocket, he other princess, not to be outdone, presented her earrings to Angie, which Angie also cordially admired, secretly acknowledging that that the one hidden in her sash was far more pretty and valuable. But not as pretty or as valuable as her dangling brooch, which Angie had just lifted.
As Angie absorbed the rich fire of the remaining glittery gems the girls wore, she wondered ( not for the first time!) what attracted her more, the jewels, or the cash they may bring. Not that it mattered at the moment, for it was time to make her exit before the pair discovered the chicanery that Angie had caused, both on the bench behind them, and from the very gowns they were wearing so very fetchingly over their svelte figures.
They gave Angie her leave, cheerfully thanking her for joining them. As she walked away, Angie reflected that it had been a bit of a sticky wicket pulling it off, but she had slammed the score so to speak, and it was with a rather upmost felling of confidence in the luck she was experiencing this evening, that she left the alcoves hidden path and started to meander her way back the way she had come, like with any good gambler, with the intention of leaving while she was ahead.
When Angie reached the path outside the statue, she was abruptly snapped out of her musings as she realized that a man was approaching her. For a second Angie was taken aback, should she retreat back up the hidden path before being noticed? . Then she recognized him, and smiled evilly to herself.
It was the man, who earlier in the evening man had swirled “Sheila” , the wayward debutante in white satin ,to the dance floor. He looked up, seeing Angie standing there. She felt his eyes checking her out, and she smiled oh so prettily for him, her mind going a mile a minute. Where could his dance partner be? The man looked back over his shoulder. Ahh, there she was, standing at a rose bush just by a curve in the path. “Sheila” looked up past Angie, and catching her boyfriend’s eye, he called out to her, promising not to be long, and passed Angie without another look, as he marched away down the path. “Sheila” turned, exposing a back covered in sleek white satin, and headed off around the bend. Angie’s eyes meanwhile had been glued on the ruby bracelet, smelling opportunity, the way a fox smells the feathers adorning a plump hen.
Angie followed at a distance, calmly awaiting the prime moment to make her move. “Sheila” traveled quite away s into the depth of the garden, eventually coming along one to an outer wall of the high hedge. At one point she turned to admire a fountain, placing a satiny white glove on its rim, the rubies around her wrist glistening like mad. Angie, darting behind a nearby bush, was able to fully study the bracelet. It was a tiffany piece, with a clasp Angie knew would not put up much effort to stay clasped around the ladies’ slender gloved wrist.
When “Sheila” moved off, Angie shadowed even closer, she now had a plan, the debutante liked water fountains. Soon enough Angie heard the gurgling that meant another was close by. It came into view, an statue of a winged Midas, water pouring out of the flute he was playing. “Sheila” stopped abruptly, and Angie began a careful approach, the young lady, still with her back to Angie, could hear nothing above the murmuring water of the fountain.
Angie came up right behind her, eyeballing the pleasing gown worn in such a fetchingly manner by her prey. The lady stepped back, coming right up against Angie, whose slipping hands did their magic. Her right arm and hand caught the young lady by the waist, steadying her as she teetered in a startled manner, looking back at what was behind her. Angie had gripped the right side, and the lady looked in that direction, her attention away from her left side, and the wrist from which her only piece of jewellery lay. Angie’s left hand reached around and found its mark. Gliding along the satiny white glove, she lifted the bracelet with practiced finger’s, two of which turned it to the clasp, snapping it open and flicking it off “Shelia’s” wrist in one, deft, synchronized effort.
Come to mama Angie purrs as she sees the bracelet land in a soft bunch of leaves under one of the rose bush’s that lined the sparkling fountain. At the same time she was accepting the young ladies apologies, Angie looked “Sheila “ directly, innocently, In the eyes, accepting her apologies graciously, and calmly told her it as no fault of hers. The young lady left, embarrassed, and Angie waited until the coast was clear and then retrieved the bracelet, securing it away, before heading back the opposite way. She had just passed the part of the path where the moss rose bush hid to the little alcove, when she saw “Sheila’s” boyfriend heading her way. she turned and darted down the path. Then remembering the miss in purple and black satin, she thought she should check in on her. Angie reached the little alcove, finding it empty, nothing of interest except that a few of the statuses were now laying on their sides.
Angie reaches the patio, and without looking about, cuts back inside. She calmly heads through the mulling crown and leaving the same way she came.
As she left, Angie decided to walk a bit before hailing a cabby. It was a rough area, but there were a few people milling about and as long as she did not go down any dark alley ways, she should remain untouched. At the thought of dark alleyways she wondered what had happened with the female vagabond that had come into the alcove.
At that moment Angie spies a familiarly dressed figure, a long fluttering black satin skirt nipping at the toes of her heels, wearing a black satin jacket with rhinestone buttons, covering a glossy purple satin blouse. The figure was walking across the street, alone.
Someone should have warned that young lady about going outside for a walk alone, dressed like she was, foolishly displaying all those precious jewels. No one obviously had, Angie smirked to herself. For the girl now wearing the outfit was the young vagabond girl. Angie hoped the rich young lady was okay,( gypsy would had only had enough time to strip the girl of her valuables ) and not catching a chill, for everything she had been wearing, right down to her silky slips, would fetch the young gypsy a handsome price.
Angie had heard stories about Victorian child strippers – unscrupulous women who would cunningly lure unsuspecting children of the well-to-do away from safety in order to strip them bare of their clothing and any other valuables they had with them. The colder the weather the better, for they would be wearing more clothes. She wondered if the gypsy looking vagabond had heard the same stories. Angie shuddered in disgust. She had morals, aside from secreting away jewelry, she would never do anything else to any victim. She looked at the young lady walking haughtily ahead of her, and she had no tolerance for someone who would!
Angie reflected for a moment as she watched the girl swish away. She was glad the she had left when she did. Once the rich scamps plight had been discovered ( as it would soon be she knew) the other guest would instinctively check over their own valuables. Angie knew of a few wealthy ladies in attendance whom would soon become frantic. Angie started to follow the gypsy girl.
The gypsy girl may have decided to wear the fancy clothes, but none of the sapphires … she was too smart to wear those openly in this part of town. Angie had noticed a small bulge in a side pocket of the jacket, and she knew what was making it.
A soft breeze came from down the street, fluttering the young ladies long hair. A gypsy wind, Angie thought, how appropriate. She closed in on the oblivious young girl, her eyes focusing on the bulging side pocket of the shiny jacket. Never before had Angie ever encountered a satiny pocket that deserved to be picked clean as this one, now almost within her reach.
Someone should warn this girl about traipsing about alone dressed like that. Not me, Angie thought unforgivingly as she prepared her fingers to make their move.
Fini?
*************************************************************************************
Addendum SS
Now, one of the observations the author of the phamplet noted was the pretty much any lady who loses a piece of jewelery while out and about will go to great lengts to justify its looss, short of someone actually stealing it from her. Broken clasp, loose fitting, melting away(in the vcase of pearls) slipped off
To the point that they will give any reason to convince themselves that its loss was accidental, and almost turn a stubbornly deaf ear that it may have been otherwise
On one occasion, soley to test his throry, he himself stood next to a lady who was lamenting the loss of a brooch. A brooch he himself had lifted from her gowns sash and still, daruingly, had about his person.
On a whim he suggested that he had seen a stranger lurking about, and wondered if he may have taken it while dancing with her.
She totally poo pooed the idea with a nervous giigle, and placing a hand with well ringed fingers onto his shoulder, said, dear, things like that simply do noy occur.
Tis inherent belief has
been the foundation for lifting a persons valuables.master pickpockets in the generations since
*************************************************************************************
Like shooting fish in a barrel
comme tirer sur des poissons dans un tonneau
Editor’s Note:
Our Thanks to Mr J. Gardner for pointing out the existence of Mr. Monescu’s 1826 guide
Here are some links to videos depicting females not unlike our Angie
www.youtube.com/watch?v=Ls8rw2V1QCU&authuser=0
www.youtube.com/watch?v=HAZdjhNVjxk&authuser=0
www.youtube.com/watch?v=4RbLiI9ZFQ8&authuser=0
www.youtube.com/watch?v=9XZ8s-R9vl4
Courtesy of Chatwick University Archives
Astronaut Patrick G. Forrester works with the Materials International Space Station Experiment (MISSE) during extravehicular activity.The first MISSE experiment exposed 750 material samples to space from 2001 to 2005 to collect information on how different materials weather the space environment. The objective of MISSE is to develop affordable opportunities to conduct critical space exposure tests of space materials and components planned for future spacecraft. The experiment was the first externally mounted experiment on the International Space Station. On May 18, 2014, the SpaceX Dragon returned the latest MISSE experiments, MISSE-8, to Earth. Materials scientists from NASA’s Marshall Space Flight Center in Huntsville, Alabama, helped prepare samples for flight and will analyze the samples post-flight. Marshall worked with commercial companies and other government agencies to fly 96 experiment samples on MISSE-8, including thermal control coatings, heat shield materials, solar array materials and environmentally friendly spacecraft components, such as multi-layer insulation, paint markings, and innovative polymers.
Image credit: NASA
More Marshall history images:
www.nasa.gov/centers/marshall/history/misse_140520.html
________________________________
These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
For the RogueOlympics on www.RogeuBricks.de I built a camera with only 101 parts, which you can find on my stream.
I liked this first 101 parts MOC so much, that I decided to build it again - but then without part limit.
The camera itself is only build with LEGO parts and, the Nintendo set tiles fitting perfectly for the screen on the backside. Also the objektive is brick build in this one.
A few weeks ago I was wondering here whether it is possible/clever/smart/... to use old enlarging objectives for photography. My first experiments met the astonishing fact that the German Leitz objective has M39 thread while my ad apter uses L39 - so they are only almost compatible. Now I found from my lockers a few enlarger objectives with L39 thread.
Here an old but unused Meopta Anaret 105 mm objective is fitted to an old and very much used Canon 400D. Enlarger objectives haven't a focus ring (& helicoid). So a cheap bellows is used to compensate that problem - and generating new ones.
The bellows is for Canon EOS (read as EF) world. So the objective needs some simple(?) adapting. I haven't got a L39 to EF adapter (maybe such one exists). So I first screwed a L39 to M42 adapter ring to the objective. Then I continued by screwing a M42 to EOS adapter. And that's it!
I hope to shoot & publish here some sample photos in the near future. At first sight a problem exists: some kind of hood must be done first.
Mirrored in layers of thin ice forming on the lake on Bluebird Estates, Alberta, Canada, this log house reflection image is inspired by Expressionism.
Expressionistic Movements (Late 19th - Early 20th Century)
Expressionism developed during the late 19th and early 20th centuries. Expressionis[m] was opposed to academic standards that had prevailed in Europe and emphasized artist's subjective emotion, which overrides fidelity to the actual appearance of things. The subjects of expressionist works were frequently distorted, or otherwise altered. Landmarks of this movement were violent colors and exaggerated lines that helped contain intense emotional expression. Application of formal elements is vivid, jarring, violent, or dynamic. Expressionist were trying to pinpoint the expression of inner experience rather than solely realistic portrayal, seeking to depict not objective reality but the subjective emotions and responses that objects and events arouse in them. [...]
In the years just around 1910 the expressionistic approach pioneered by Ensor, Munch, and van Gogh, in particular, was developed in the work of three artists' groups: the Fauves, Die Brucke, Der Blaue Reiter.
Machine and objective: Canon EOS 450D, Canon EF 50mm f/1.8 II.
Locale: España, Sevilla.
Photographer: F.MartínezLedesma
Velocidad: 1/2000s
ISO: 100
Apertura: f/1,8
Focal: 50mm.
El otoño es una segunda primavera en la que cada hoja es una flor.
- Albert Camus -
Autumn is a second spring where every leaf is a flower.
- Albert Camus -
En mis tardes de otoño a la luz de esos pequeños rayos de sol...
- F.MartínezLedesma -
…Nunca me han interesado ni el poder ni la fortuna lo que admiro son las flores que crecen en la basura…
DERECHOS DE AUTOR:
Todas las fotografias de este sitio, estan protegidas por el real Decreto Legislativo 1/1996, de 12 de abril, por el que se aprueba el texto Refundido de la LEY DE PROPIEDAD INTELECTUAL. Queda totalmente prohibida su reproducción total o parcial sin el expreso consentimento de su autor. Si estás interesado en adquirir alguna copia, o los derechos de reproducción de alguna de las fotografias aqui publicadas, contacta con el autor. Si la finalidad de las fotografias deseadas no es con fines lucrativos, igualmente debes contactar con el autor indicando el uso que se dará a las imagenes.
COPYRIGHT:
All photographs on this site are protected by Royal Decree Law 1 / 1996 of 12 April, approving the revised text of the Copyright Law. It is strictly forbidden to reproduce in whole or in part without the express consent from the author. If you are interested in purchasing any copy or reproduction rights for any of the photographs published here, please contact the author. If the desired purpose of the photographs is not for profit, you should also contact the author indicating the use which will be the images.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved.
The Emar Mutt complex was demolished August 2019 completely.
++++ FROM WIKIPEDIA ++++
Raghunandana Library is located in the Emara Math-a complex (opposite Simhadwara or lion gate, the main entrance gate). The Jagannatha Aitihasika Gavesana Samiti (Jagannatha Historical Centre) is also located here. The library houses ancient palm leaf manuscripts on Jagannatha, His cult and the history of the city.
Puri (Odia: [ˈpuɾi (ପୁରୀ)] is a coastal city and a municipality in the state of Odisha in eastern India. It is the district headquarters of Puri district and is situated on the Bay of Bengal, 60 kilometres (37 mi) south of the state capital of Bhubaneswar. It is also known as Sri Jagannatha Dhama after the 12th-century Jagannath Temple located in the city. It is one of the original Char Dham pilgrimage sites for Hindus.
Puri is known by several names since the ancient times, and was locally known as "Sri Kshetra" and the Jagannath temple is known as "Badadeula". Puri and the Jagannath Temple were invaded 18 times by Muslim rulers, from the 7th century AD till the early 19th century with the objective of looting the treasures of the temple. Odisha, including Puri and its temple, were part of British India from 1803 till India attained independence in August 1947. Even though princely states do not exist in India today, the heirs of the House of Gajapati still perform the ritual duties of the temple. The temple town has many Hindu religious mathas or monasteries.
The economy of Puri is dependent on the religious importance of the Jagannath Temple to the extent of nearly 80 percent. The 24 festivals, including 13 major ones, held every year in the temple complex contribute to the economy; Ratha Yatra and its related festivals are the most important which are attended by millions of people every year. Sand art and applique art are some of the important crafts of the city.
Puri has been chosen as one of the heritage cities for Heritage City Development and Augmentation Yojana (HRIDAY) scheme of Government of India.
History
Names in history
Puri, the holy land of Jagannatha, also known by the popular vernacular name Srikshetram, has many ancient names in the Hindu scriptures such as the Rigveda, Matsya purana, Brahma Purana, Narada Purana, Padma Purana, Skanda Purana, Kapila Purana and Niladrimahodaya. In the Rigveda, in particular, it is mentioned as a place called Purushamandama-grama meaning the place where the Creator deity of the world – Supreme Divinity deified on an altar or mandapa was venerated near the coast and prayers offered with Vedic hymns. Over time the name got changed to Purushottama Puri and further shortened to Puri, and the Purusha came to be known as Jagannatha. Sages like Bhrigu, Atri and Markandeya had their hermitage close to this place. Its name is mentioned, conforming to the deity worshipped, as Srikshetra, Purusottama Dhāma, Purusottama Kshetra, Purusottama Puri and Jagannath Puri. Puri, however, is the popular usage. It is also known by the geographical features of its location as Shankhakshetra (the layout of the town is in the form of a conch shell),[4] Neelāchala ("Blue mountain" a terminology used to name a very large sand lagoon over which the temple was built but this name is not in vogue), Neelāchalakshetra, Neelādri.[5] In Sanskrit, the word "Puri" means town or city,and is cognate with polis in Greek.
Another ancient name is Charita as identified by General Alexander Cunningham of the Archaeological Survey of India, which was later spelled as Che-li-ta-lo by Chinese traveller Hiuen Tsang. When the present temple was built by the Eastern Ganga king Anantavarman Chodaganga in the 11th and 12th centuries AD, it was called Purushottamkshetra. However, the Moghuls, the Marathas and early British rulers called it Purushottama-chhatar or just Chhatar. In Moghul ruler Akbar's Ain-i-Akbari and subsequent Muslim historical records it was known as Purushottama. In the Sanskrit drama Anargha Raghava Nataka as well, authored by Murari Mishra, a playwright, in the 8th century AD, it is referred to as Purushottama.[4] It was only after the 12th century AD that Puri came to be known by the shortened form of Jagannatha Puri, named after the deity or in a short form as Puri.[5] It is the only shrine in India, where Radha, along with Lakshmi, Saraswati, Durga, Bhudevi, Sati, Parvati, and Shakti, abodes with Krishna, who is also known by the name Jagannatha.
Ancient period
King Indradyumna of Ujjayani credited with building the original Puri Jagannath temple in 318 AD
According to the chronicle Madala Panji, in 318 AD, the priests and servitors of the temple spirited away the idols to escape the wrath of the Rashtrakuta king Rakatavahu.[9] In the temple's historical records it finds mention in the Brahma Purana and Skanda Purana stating that the temple was built by the king Indradyumna, Ujjayani.
S. N. Sadasivan, a historian, in his book A Social History of India quotes William Joseph Wilkins, author of the book Hindu Mythology, Vedic and Purānic as stating that in Puri, Buddhism was once a well established practice but later Buddhists were persecuted and Brahmanism became the order of the religious practice in the town; the Buddha deity is now worshipped by the Hindus as Jagannatha. It is also said by Wilkinson that some relics of Buddha were placed inside the idol of Jagannatha which the Brahmins claimed were the bones of Lord Krishna. Even during Maurya king Ashoka's reign in 240 BC, Kalinga was a Buddhist center and that a tribe known as Lohabahu (barbarians from outside Odisha) converted to Buddhism and built a temple with an idol of Buddha which is now worshipped as Jagannatha. Wilkinson also says that the Lohabahu deposited some Buddha relics in the precincts of the temple.
Construction of the present Jagannath Temple started in 1136 AD and completed towards the latter part of the 12th century. The Eastern Ganga king Anangabhima III dedicated his kingdom to Lord Jagannatha, then known as the Purushottama-Jagannatha, and resolved that from then on he and his descendants would rule under "divine order as Jagannatha's sons and vassals". Even though princely states do not exist in India today, the heirs of the Eastern Ganga dynasty of Puri still perform the ritual duties of the temple; the king formally sweeps the road in front of the chariots before the start of the Ratha Yatra. This ritual is called Cherra Pahanra.
Medieval and early modern periods
The history of Puri is on the same lines as that of the Jagannath Temple, which was invaded 18 times during its history to plunder the treasures of the temple, rather than for religious reasons. The first invasion occurred in the 8th century AD by Rastrakuta king Govinda III (798–814 AD), and the last took place in 1881 AD by the monotheistic followers of Alekh (Mahima Dharma) who did not recognise the worship of Jagannatha.[13] From 1205 AD onward there were many invasions of the city and its temple by Muslims of Afghan and Moghul descent, known as Yavanas or foreigners. In most of these invasions the idols were taken to safe places by the priests and the servitors of the temple. Destruction of the temple was prevented by timely resistance or surrender by the kings of the region. However, the treasures of the temple were repeatedly looted.[14] The table lists all the 18 invasions along with the status of the three images of the temple, the triad of Jagannatha, Balabhadra and Subhadra following each invasion.
In the 16th century, Chaitanya Mahaprabhu of Bengal established the Bhakti movements of India, now known by the name the Hare Krishna movement. He spent many years as a devotee of Jagannatha at Puri; he is said to have merged with the deity.[25] There is also a matha of Chaitanya Mahaprabhu here known as Radhakanta Math.
In the 17th century, for the sailors sailing on the east coast of India, the temple served as a landmark, being located in a plaza in the centre of the city, which they called the "White Pagoda" while the Konark Sun Temple, 60 kilometres (37 mi) away to the east of Puri, was known as the "Black Pagoda".
The iconic representation of the images in the Jagannath temple is believed to be the forms derived from the worship made by the tribal groups of Sabaras belonging to northern Odisha. These images are replaced at regular intervals as the wood deteriorates. This replacement is a special event carried out ritualistically by special group of carpenters.
Govardhana matha main gate
The city has many other Mathas as well. The Emar Matha was founded by the Tamil Vaishnava saint Ramanujacharya in the 12th century AD. This Matha, which is now located in front of Simhadvara across the eastern corner of the Jagannath Temple, is reported to have been built in the 16th century during the reign of kings of Suryavamsi Gajapatis. The Matha was in the news on 25 February 2011 for the large cache of 522 silver slabs unearthed from a closed chamber.
The British conquered Orissa in 1803, and, recognising the importance of the Jagannath Temple in the life of the people of the state, they initially appointed an official to look after the temple's affairs and later declared the temple as part of a district.
Modern history
H.H Jagadguru Swami Nischalananda Saraswati, The Shankaracharya of Puri
In 1906, Sri Yukteswar, an exponent of Kriya Yoga and a resident of Puri, established an ashram, a spiritual training center, named "Kararashram" in Puri. He died on 9 March 1936 and his body is buried in the garden of the ashram.
The city is the site of the former summer residence of British Raj, the Raj Bhavan, built in 1913–14 during the era of governors.[30]
For the people of Puri, Lord Jagannatha, visualized as Lord Krishna, is synonymous with their city. They believe that Lord Jagannatha looks after the welfare of the state. However, after the partial collapse of the Jagannath Temple (in the Amalaka part of the temple) on 14 June 1990, people became apprehensive and considered it a bad omen for Odisha. The replacement of the fallen stone by another of the same size and weight (7 tonnes (7.7 tons)), that could be done only in the early morning hours after the temple gates were opened, was done on 28 February 1991.[25]
Puri has been chosen as one of the heritage cities for the Heritage City Development and Augmentation Yojana scheme of the Indian Government. It is chosen as one of the 12 heritage cities with "focus on holistic development" to be implemented within 27 months by the end of March 2017.[31]
Non-Hindus are not permitted to enter the shrines but are allowed to view the temple and the proceedings from the roof of the Raghunandan library, located within the precincts of the temple, for a small donation.[32]
Geography and climate
Geography
The Atharanala Bridge dating back to the 16th century at the entrance of Puri
Puri, located on the east coast of India on the Bay of Bengal, is in the centre of the Puri district. It is delimited by the Bay of Bengal on the southeast, the Mauza Sipaurubilla on the west, Mauza Gopinathpur in the north and Mauza Balukhand in the east. It is within the 67 kilometres (42 mi) coastal stretch of sandy beaches that extends between Chilika Lake and the south of Puri city. However, the administrative jurisdiction of the Puri Municipality extends over an area of 16.3268 square kilometres (6.3038 sq mi) spread over 30 wards, which includes a shore line of 5 kilometres (3.1 mi).[33]
Puri is in the coastal delta of the Mahanadi River on the shores of the Bay of Bengal. In the ancient days it was near to Sisupalgarh (also known as "Ashokan Tosali"). Then the land was drained by a tributary of the Bhargavi River, a branch of the Mahanadi River. This branch underwent a meandering course creating many arteries altering the estuary, and formed many sand hills. These sand hills could be cut through by the streams. Because of the sand hills, the Bhargavi River, flowing to the south of Puri, moved away towards the Chilika Lake. This shift also resulted in the creation of two lagoons, known as Sar and Samang, on the eastern and northern parts of Puri respectively. Sar lagoon has a length of 5 miles (8.0 km) in an east–west direction and a width of 2 miles (3.2 km) in north–south direction. The estuary of the Bhargavi River has a shallow depth of just 5 feet (1.5 m) and the process of siltation continues. According to a 15th-century Odia writer Saraladasa, the bed of the unnamed stream that flowed at the base of the Blue Mountain or Neelachal was filled up. Katakarajavamsa, a 16th-century chronicle (c.1600), attributes filling up of the bed of the river which flowed through the present Grand Road, as done during the reign of King Narasimha II (1278–1308) of Eastern Ganga dynasty.
Climate
According to the Köppen–Geiger climate classification system the climate of Puri is classified as Aw (Tropical savanna climate). The city has moderate and tropical climate. Humidity is fairly high throughout the year. The temperature during summer touches a maximum of 36 °C (97 °F) and during winter it is 17 °C (63 °F). The average annual rainfall is 1,337 millimetres (52.6 in) and the average annual temperature is 26.9 °C (80.4 °F).
Demographics
According to the 2011 Census of India, Puri is an urban agglomeration governed by the Municipal Corporation in Odisha state, with a population of 200,564, comprising 104,086 males, 96,478 females, and 18,471 children (under six years of age). The sex ratio is 927. The average literacy rate in the city is 88.03 percent (91.38 percent for males and 84.43 percent for females).
Administration
Samudra arati or worship of the sea at Swargadwar by disciples of the Govardhana matha
The Puri Municipality, Puri Konark Development Authority, Public Health Engineering Organisation and Orissa Water Supply Sewerage Board are some of the principal organisations that are devolved with the responsibility of providing for civic amenities such as water supply, sewerage, waste management, street lighting and infrastructure of roads. The major activity, which puts maximum pressure on these organisations, is the annual event of the Ratha Yatra held during June- July. According to the Puri Municipality more than a million people attend this event. Hence, development activities such as infrastructure and amenities to the pilgrims, apart from security, gets priority attention.
The civic administration of Puri is the responsibility of the Puri Municipality. The municipality came into existence in 1864 in the name of the Puri Improvement Trust, which was converted into Puri Municipality in 1881. After India's independence in 1947, the Orissa Municipal Act (1950) was promulgated entrusting the administration of the city to the Puri Municipality. This body is represented by elected representatives with a Chairperson and councilors representing the 30 wards within the municipal limits.
Economy
The economy of Puri is dependent on tourism to the extent of about 80 percent. The temple is the focal point of the city and provides employment to the people of the town. Agricultural production of rice, ghee, vegetables and so forth of the region meet the large requirements of the temple. Many settlements around the town exclusively cater to the other religious requirements of the temple. The temple administration employs 6,000 men to perform the rituals. The temple also provides economic sustenance to 20,000 people. According to Colleen Taylor Set an author on food and travel, writing on the food culture of India, the temple kitchen has 400 cooks serving food to as many as 100,000 people,. According to J Mohapatra, Director, Ind Barath Power Infra Ltd (IBPIL), the kitchen is known as "a largest and biggest kitchen of the world."
Landmarks
Jagannath Temple at Puri
The Jagannath Temple at Puri is one of the major Hindu temples built in the Kalinga style of architecture.The temple tower, with a spire, rises to a height of 58 metres (190 ft), and a flag is unfurled above it, fixed over a wheel (chakra).[
Left:Ritual chakra and flags at the top shikhara of Puri temple of Jagannatha also related to Sudarsana chakra. The red flag (12 hand or 14 feet (4.3 m) denotes that Jagannath is within the temple.
Right: Statue of Aruna the charioteer of the Sun God on top of the Aruna Stambha in front of the Singhadwara
The temple is built on an elevated platform (of about 420,000 square feet (39,000 m2) area),[46] 20 feet (6.1 m) above the adjacent area. The temple rises to a height of 214 feet (65 m) above the road level. The temple complex covers an area of 10.7 acres (4.3 ha).[39] There are four entry gates in four cardinal directions of the temple, each gate located at the central part of the walls. These gates are: the eastern gate called the Singhadwara (Lions Gate), the southern gate known as Ashwa Dwara (Horse Gate), the western gate called the Vyaghra Dwara (Tigers Gate) or the Khanja Gate, and the northern gate called the Hathi Dwara or (elephant gate). These four gates symbolize the four fundamental principles of Dharma (right conduct), Jnana (knowledge), Vairagya (renunciation) and Aishwarya (prosperity). The gates are crowned with pyramid shaped structures. There is a stone pillar in front of the Singhadwara, called the Aruna Stambha {Solar Pillar}, 11 metres (36 ft) in height with 16 faces, made of chlorite stone; at the top of the stamba an elegant statue of Aruṇa (Sun) in a prayer mode is mounted. This pillar was shifted from the Konarak Sun Temple.[47] The four gates are decorated with guardian statues in the form of lion, horse mounted men, tigers, and elephants in the name and order of the gates.[32] A pillar made of fossilized wood is used for placing lamps as offering. The Lion Gate (Singhadwara) is the main gate to the temple, which is guarded by two guardian deities Jaya and Vijaya.[46][47][48] The main gate is ascended through 22 steps known as Baisi Pahaca, which are revered, as it is believed to possess "spiritual animation". Children are made to roll down these steps, from top to bottom, to bring them spiritual happiness. After entering the temple, on the left side, there is a large kitchen where food is prepared in hygienic conditions in huge quantities; the kitchen is called as "the biggest hotel of the world".
The main entrance of the Jagannath Temple
According to a legend King Indradyumma was directed by Lord Jagannatha in a dream to build a temple for him which he did as directed. However, according to historical records the temple was started some time during the 12th century by King Chodaganga of the Eastern Ganga dynasty. It was completed by his descendant, Anangabhima Deva, in the 12th century. The wooden images of Jagannatha, Balabhadra and Subhadra were then deified here. The temple was under the control of the Hindu rulers up to 1558. Then, when Orissa was occupied by the Afghan Nawab of Bengal, it was brought under the control of the Afghan General Kalapahad. Following the defeat of the Afghan king by Raja Mansingh, the General of Mughal emperor Akbar, the temple became part of the Mughal empire till 1751. Subsequently, it was under the control of the Marathas till 1803. During the British Raj, the Puri Raja was entrusted with its management until 1947.
The triad of images in the temple are of Jagannatha, personifying Lord Krishna, Balabhadra, His older brother, and Subhadra, His younger sister. The images are made of neem wood in an unfinished form. The stumps of wood which form the images of the brothers have human arms, while that of Subhadra does not have any arms. The heads are large, painted and non-carved. The faces are marked with distinctive large circular eyes.[25]
The Pancha Tirtha of Puri
Markandeshwar Tank
Hindus consider it essential to bathe in the Pancha Tirtha or the five sacred bathing spots of Puri, to complete a pilgrimage to Puri. The five sacred water bodies are the Indradyumana Tank, the Rohini Kunda, the Markandeya Tank, the Swetaganga Tank, and the Bay of Bengal also called the Mahodadhi, in Sanskrit 'Mahodadhi' means a "great ocean";[49] all are considered sacred bathing spots in the Swargadwara area.[50][51][52] These tanks have perennial sources of supply from rainfall and ground water.[53]
Gundicha Temple
Main article: Gundicha Temple
Main entrance of the Gundicha Temple
The Gundicha Temple, known as the Garden House of Jagannatha, stands in the centre of a garden, bounded by compound walls on all sides. It lies at a distance of about 3 kilometres (1.9 mi) to the northeast of the Jagannath Temple. The two temples are located at the two ends of the Bada Danda (Grand Avenue), which is the pathway for the Ratha Yatra. According to a legend, Gundicha was the wife of King Indradyumna who originally built the Jagannath temple.
The temple is built using light-grey sandstone, and, architecturally, it exemplifies typical Kalinga temple architecture in the Deula style. The complex comprises four components: vimana (tower structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). There is also a kitchen connected by a small passage. The temple is set within a garden, and is known as "God's Summer Garden Retreat" or garden house of Jagannatha. The entire complex, including the garden, is surrounded by a wall which measures 430 by 320 feet (131 m × 98 m) with height of 20 feet (6.1 m).
Except for the 9-day Ratha Yatra, when the triad images are worshipped in the Gundicha Temple, otherwise it remains unoccupied for the rest of the year. Tourists can visit the temple after paying an entry fee. Foreigners (generally prohibited entry in the main temple) are allowed inside this temple during this period.[56] The temple is under the Jagannath Temple Administration, Puri, the governing body of the main temple. A small band of servitors maintain the temple.
Swargadwar
Sea at Swargadwar of Puri
Swargadwar is the name given to the cremation ground or burning ghat which is located on the shores of the sea. Here thousands of dead bodies of Hindus brought from faraway places are cremated. It is a belief that the Chaitanya Mahaparabhu disappeared from this Swargadwar about 500 years back.
Beach
Puri sea sunrise
Puri sea beach viewed from the light house
The beach at Puri, known as the "Ballighai beach, at the mouth of Nunai River", is 8 kilometres (5.0 mi) away from the town and is fringed by casurina trees.[10] It has golden yellow sand. Sunrise and sunset are pleasant scenic attractions here. Waves break in at the beach which is long and wide.
District museum
The Puri district museum is located on the station road where the exhibits in display are the different types of garments worn by Lord Jagannatha, local sculptures, patachitra (traditional, cloth-based scroll painting), ancient Palm-leaf manuscripts, and local craft work.
Festivals of Puri
The Grand Road near the Jagannath Temple
Puri witnesses 24 festivals every year, of which 13 are major. The most important of these is the Ratha Yatra, or the car festival, held in the June–July, which is attended by more than 1 million people.
Ratha Yatra at Puri
The Ratha Yatra in Puri in modern times showing the three chariots of the deities with the Temple in the background
The Jagannath Temple triad are normally worshipped in the sanctum of the temple at Puri, but once during the month of Asadha (rainy season of Orissa, usually in June or July), they are brought out on the Bada Danda (main street of Puri) and taken over a distance of (3 kilometres (1.9 mi)) to the Gundicha Temple[61] in huge chariots (ratha), allowing the public to have darśana (holy view). This festival is known as the Ratha Yatra, meaning the journey (yatra) of the chariots.[62] The yatra starts every year according to the Hindu calendar on the Asadha Sukla Dwitiya day, the second day of bright fortnight of Asadha (June–July).[63]
Historically, the ruling Ganga dynasty instituted the Ratha Yatra on the completion of the Jagannath Temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early.[64] Friar Odoric, in his account of 1321, reported how the people put the "idols" on chariots, and the King, the Queen and all the people drew them from the "church" with song and music.[65][66]
The Rathas are huge wooden structures provided with large wheels, which are built anew every year and are pulled by the devotees. The chariot for Lord Jagannatha is about 45 feet (14 m) high and 35 square feet (3.3 m2) and takes about 2 months for its construction.[67] The chariot is mounted with 16 wheels, each of 7 feet (2.1 m) diameter. The carving in the front face of the chariot has four wooden horses drawn by Maruti. On its other three faces, the wooden carvings are of Rama, Surya and Vishnu. The chariot is known as Nandi Ghosha. The roof of the chariot is covered with yellow and red coloured cloth. The next chariot is of Balabhadra which is 44 feet (13 m) in height fitted with 14 wheels. The chariot is carved with Satyaki as the charioteer, roof covered in red and green coloured cloth, and the chariot is known as Taladhwaja. The carvings on this chariot include images of Narasimha and Rudra as Jagannatha's companions. The next chariot in the order is of Subhadra, which is 43 feet (13 m) in height supported on 12 wheels, roof covered in black and red colour cloth, and the chariot is known as Darpa Dalaan and the charioteer carved is Arjuna. Other images carved on the chariot are of Vana Durga, Tara Devi and Chandi Devi.[63][68] The artists and painters of Puri decorate the cars and paint flower petals and other designs on the wheels, the wood-carved charioteer and horses, and the inverted lotuses on the wall behind the throne.[62] The chariots of Jagannatha pulled during Ratha Yatra is the etymological origin of the English word Juggernaut.[69] The Ratha Yatra is also termed as the Shri Gundicha yatra and Ghosha yatra
Pahandi bije during Ratha Yatra at Puri
Chhera Panhara
The Chhera Panhara[70] (sweeping with water) is a significant ritual associated with the Ratha Yatra. During this ritual, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots. The king cleans the road in front of the chariots with a gold-handled broom and sprinkles sandalwood water and powder. As per the custom, although the Gajapati King has been considered the most exalted person in the Kalingan kingdom, he still renders the menial service to Jagannatha. This ritual signifies that under the lordship of Jagannatha, there is no distinction between the powerful sovereign and the humblest devotee.[71]
Chandan Yatra
The Chandan Yatra festival held every year on Akshaya Tritiya day marks the commencement of the construction of the chariots of the Ratha Yatra. It also marks the celebration of the Hindu new year.
Snana Yatra
Every year, on the Purnima day in the Hindu calendar month of Jyestha (June), the triad images of the Jagannath Temple are ceremonially bathed and decorated on the occasion of Snana Yatra. Water for the bath is taken in 108 pots from the Suna kuan (meaning: "golden well") located near the northern gate of the temple. Water is drawn from this well only once in a year for the sole purpose of the religious bath of the deities. After the bath the triad images are dressed in the fashion of the elephant god, Ganesha. Later, during the night, the original triad images are taken out in a procession back to the main temple but kept at a place known as Anasara pindi.[63] After this the Jhulana Yatra is performed when proxy images of the deities are taken out in a grand procession for 21 days, cruised over boats in the Narendra Tirtha tank.[10]
Anavasara or Anasara
Anasara, a derivative of the Sanskrit word "Anabasara", literally means vacation. Every year after the holy Snana Yatra, the triad images, without the Sudarshana Chakra, are taken to a secret altar named Anavasara Ghar (also known as Anasara pindi, 'pindi' is Oriya term meaning "platform" [72]) where they remain for the next fortnight of (Krishna paksha); devotees are not allowed to view these images. Instead, devotees go to the nearby Brahmagiri to see the Lord in the four-handed form of Alarnath, a depiction of Vishnu.[63][73] Devotees then get the first glimpse of the Lord only on the day before Ratha Yatra, which is called Navayouvana. It is a local belief that the gods suffer from fever after taking an elaborate ritual bath, and they are treated by the special servants, the Daitapatis, for 15 days. Daitapatis perform special nitis (rites) known as Netrotchhaba (a rite of painting the eyes of the triad). During this period cooked food is not offered to the deities.[74]
Naba Kalebara
Main articles: Nabakalevara and Nabakalebara 2015
Naba Kalebara is one of the most grand events associated with the Lord Jagannatha that takes place when one lunar month of Ashadha is followed by another of Ashadha called Adhika Masa (extra month). This can take place at an interval of 8, 12 or even 18 years. Literally meaning the "New Body" (Nava = New, Kalevar = Body) in Odia, the festival is witnessed by millions of people and the budget for this event generally exceeds $500,000. The event involves installation of new images in the temple and burial of the old ones in the temple premises at Koili Vaikuntha. During the Nabakalebara ceremony held during July 2015 the idols that were installed in the temple in 1996 were replaced by specially carved new images made of neem wood. More than 3 million people are reported to have attended this festival.[77]
Suna Besha
Main article: Suna Besha
Suna Besha or Golden Attire of Lord Jagannatha
Suna Besha, ('Suna besh'in English translates to "gold dressing"[78]) also known as Raja or Rajadhiraja Bhesha [79] or Raja Bhesha, is an event when the triad images of the Jagannath Temple are adorned with gold jewelry. This event is observed five times in a year. It is commonly observed on Magha Purnima (January), Bahuda Ekadashi also known as Asadha Ekadashi (July), Dashahara (Bijayadashami) (October), Karthik Purnima (November), and Pousa Purnima (December).[80][81] One such Suna Bhesha event is observed on Bahuda Ekadashi during the Ratha Yatra on the chariots placed at the Simhadwar. The other four Beshas are observed inside the temple on the Ratna Singhasana (gem studded altar). On this occasion gold plates are decorated over the hands and feet of Jagannatha and Balabhadra; Jagannatha is also adorned with a Chakra (disc) made of gold on the right hand while a silver conch adorns the left hand. Balabhadra is decorated with a plough made of gold on the left hand while a golden mace adorns his right hand.[80]
Niladri Bije
Niladri Bije, celebrated in the Hindu calendar month Asadha (June–July) on Trayodashi (13th day),[82] marks the end of the Ratha Yatra. The large wooden images of the triad of gods are taken out from the chariots and then carried to the sanctum sanctorum, swaying rhythmically; a ritual which is known as pahandi.
Sahi yatra
A scene from a play being enacted during the Sahi Yatra
The Sahi Yatra, considered the world's biggest open-air theatre,[83] is an annual event lasting 11 days; a traditional cultural theatre festival or folk drama which begins on Ram Navami and ends on Rama avishke (Sanskrit meaning : anointing). The festival includes plays depicting various scenes from the Ramayana. The residents of various localities, or Sahis, are entrusted the task of performing the drama at the street corners.[84]
Samudra Arati
Samudra arati of worship of the sea by disciples of the Matha at Puri
The Samudra arati is a daily tradition started by the present Shankaracharya 9 years ago.[85] The daily practise includes prayer and fire offering to the sea at Swargadwar in Puri by disciples of the Govardhan Matha. On Paush Purnima of every year the Shankaracharya himself comes out to offer prayers to the sea.
Transport
Earlier, when roads did not exist, people used to walk or travel by animal-drawn vehicles or carriages along beaten tracks to reach Puri. Travel was by riverine craft along the Ganges up to Calcutta, and then on foot or by carriages. It was only during the Maratha rule that the Jagannath Sadak (Road) was built around 1790. The East India Company laid the rail track from Calcutta to Puri, which became operational in 1898.[86] Puri is now well-connected by rail, road and air services. A broad gauge railway line of the South Eastern Railways which connects Puri with Calcutta, and Khurda is an important railway junction on this route. The rail distance is about 499 kilometres (310 mi) from Calcutta[87] and 468 kilometres (291 mi) from Vishakhapatnam. Road network includes NH 203 that links the city with Bhubaneswar, the state capital, situated about 60 kilometres (37 mi) away. NH 203 B connects the city with Satapada via Brahmagiri. Marine drive, which is part of NH 203 A, connects Puri with Konark. The nearest airport is the Biju Patnaik International Airport at Bhubaneswar.[60] Puri railway station is among the top hundred booking stations of the Indian Railways.[88]
Arts and crafts
Sand art
Sand art of a baby elephant
Sand art is a special art form that is created on the beaches of Puri. The art form is attributed to Balaram Das, a poet who lived in the 14th century. Sculptures of various gods and famous people are now created in sand by amateur artists. These are temporary in nature as they get washed away by waves. This art form has gained international fame in recent years. One of the famed sand artists of Odisha is Sudarshan Patnaik. He established the Golden Sand Art Institute in 1995, in the open air on the shores of Bay of Bengal, to provide training to students interested in this art form.[89][84]
Appliqué art
An applique art work
Appliqué art, which is a stitching-based craft unlike embroidery, was pioneered by Hatta Maharana of Pipili. It is widely used in Puri, both for decoration of the deities and for sale. Maharana's family members are employed as darjis or tailors or sebaks by the Maharaja of Puri. They prepare articles for decorating the deities in the temple for various festivals and religious ceremonies. The appliqué works are brightly coloured and patterned fabric in the form of canopies, umbrellas, drapery, carry bags, flags, coverings of dummy horses and cows, and other household textiles; these are marketed in Puri. The cloth used is made in dark colours of red, black, yellow, green, blue and turquoise blue.[90]
Patta Chaitra
Patta Chittra is the one of the oldest forms of art which has its roots to thousands of years ago. It has stayed vibrant amidst changes in cultures and still remains one of the unique art forms of India especially Odisa which originated in Puri.
Culture
Odissi dancer
Cultural activities, including the annual religious festivals, in Puri are: The Puri Beach Festival held from 5 to 9 November every year, and the Shreekshetra Utsav held from 20 December to 2 January every year. The cultural programmes include unique sand art, display of local and traditional handicrafts and food festival.[91] In addition, cultural programmes are held for two hours on every second Saturday of the month at the district Collector's Conference Hall near Sea Beach Police Station. Odissi dance, Odissi music and folk dances are part of this event.[91] Odissi dance is the cultural heritage of Puri. This dance form originated in Puri from the dances performed by Devadasis (Maharis) attached to the Jagannath Temple who performed dances in the Nata mandapa of the temple to please the deities. Though the devadasi practice has been discontinued, the dance form has become modern and classical and is widely popular; many of the Odissi virtuoso artists and gurus (teachers) are from Puri.[92] Some of the notable Odissi dancers are Kelucharan Mohapatra, Mayadhar Raut, Sonal Mansingh, and Sanjukta Panigrahi.[citation needed]
Goti Pua nacha (a dance form) is a famous one which has its origins from hundreds of years before much before Odissi.
Many Odia dishes have their roots from Puri, Malpua, Pakhala (fermented water rice), Dalma are few dishes which originated from Puri.
Education
Samanta Chandra Sekhara College, Puri
Schools
D.A.V Public School
Bholanath Vidyapith
Biswambhar Bidyapitha
Blessed Sacrament High School Puri
Kendriya Vidyalaya
Puri Zilla School
Colleges and universities
Ghanashyama Hemalata Institute of Technology and Management
Shri Jagannath Sanskrit University
Sri Jagannath Medical College and Hospital
Notable people
Chakhi Khuntia – Freedom fighter [93]
Bidhu Bhusan Das - Academic and Vice Chancellor, DPI Odisha
Gopabandhu Das – Social worker
Nilakantha Das – Social activist
Pankaj Charan Das – Odissi dancer
Prabhat Nalini Das - pro Vice Chancellor, academician, feminist, Dean IIT Kanpur
Gajapati Maharaja Dibyasingha Deb - Odia King
Charles Garrett – Cricketer
Kelucharan Mohapatra – Odissi dancer
Raghunath Mohapatra – Architect and sculptor
Baisali Mohanty - ALC Global Fellow at University of Oxford, United Kingdom
Rituraj Mohanty – Singer
Sudarshan Pattnaik – Sand Artist
Jayee Rajguru - Freedom fighter
Madhusudan Rao – Odia Poet
Sudarshan Sahoo - Sculptor
Pinaki Misra - Politician
Biswanath Das- Scholar, Philosopher (Emar Mutha, Puri)
Kallitype print.
Paper: Hahnemühle Britannia 300g paper
Size: 25x20 cm
Camera: Linhof Kardan TE
Objective: Rodenstock Sironar-N 150mm f/5.6 MC
The original negative was 4x5 Fomapan 200
If you have followed my blog at all you have certainly noticed that one specific aspect in my pictures is connected to colors. For some unknown reason I've always been very drawn to colors when dealing with photography (I cannot do b&w stuff). I could even say that because of this preference my early experiences with digital cameras were mostly disappointing: I couldn't stand the standard look of the early digital cameras because colors were so different and flat compared to golden era of film photography. And because of this disappointment 'getting good colors' became the thing that I kept of chasing for years.
It's one thing to recognize that the flat look and 'the standard and objective' colors, which most of the current digital cameras provide out of the box, doesn't actually carry any resemblance to the visual legacy that was left from the era of film photography. Just take a look, for example, old Kodachrome slides and compare them to your JPEGs and you should see two very different interpretations of colors and also become aware that these differences are not only about 'technological advancement' but also artistic choices. Behind the Kodachrome (and other films) there is a artistic interpretation of 'what looks good' and how the colors should be reproduced. JPEG on the other hand is much more 'objective' (read: flat) with some minor contrast and skin color correction thrown in. No wonder why standard JPEGs from the camera look so boring (though they have really been getting better with time).
While it's easy to point JPEGs with your finger, it's entirely different thing to determine what are 'good colors'. For example, while I like film era colors, I don't think we should concentrate to reduplicate them as they were – instead I think we should bring in some influences from that visual era there but then continue to define what are good colors at 21th century photography. Rather than ready-made-Lightroom-presets this calls for a cultivated taste regarding colors, which is much harder. I would love to transfer something from the film era legacy to today's photography, but at the same time I don't want photographs to look like they were taken 20 or 30 years ago (read: faded look) as I think it is intellectually dishonest to add a feeling of nostalgia to a picture from a digital filter. Like I said, it's a difficult question.
So how I have I solved this 'getting good colors' so far? I believe everyone has to develop their own 'theory of good colors' and 'methodology' to get there eventually. For me it's a three part response: Zeiss glass, VSCO-presets as a starting point and editing. I used to search for clear and bright colors and ultimately found my answer from Zeiss lenses. I'll be first one to admit that there are also other manufacturers out there who deliver great equipment color wise, but for some reason I found Zeiss to provide those small nuances which made difference to me (from my current setup I think the Batis 2/25 is the best followed by the Touit 2.8/50M). Then I use VSCO-presets as a starting point. They give me an easy way to explore whole bunch of different looks which I would never come across without them. Do they look like film? In some cases yes, but I usually erase the vintage look by editing. If I would recommend some of their film packs I would say that the Film Pack 04 is great and Film Pack 07 provides pretty nice starting points for general explorations as well – other ones are way too much vintage for my taste. But even with Zeiss glass and VSCO-presets it comes down to editing. Sometimes it's easy to see what the picture asks for, but sometimes it takes much longer to realize what is wrong with colors or how I should adjust them. It looks like I will never get rid of this task as much as I would like to. Like I said, colors are complicated thing once you step outside of the supposition of objective colors.
Ps. For this particular picture I used Provia 100F emulation from the VSCO Film pack 04. One of my favorites, but most often provides way too much contrast which is frustrating with some images. It also shifts the white balance in a nonlinear way that it's difficult to edit. I've also noticed that one cannot just slap on slide film preset to any picture as the end result would look just bad. Slide film emulations, such as the Provia 100F, works as a good starting point when used with conditions that would be similar to real world use of that particular film - in this case it means a lot of sunlight.
Days of Zeiss: www.daysofzeiss.com
Essaouira is a city in the western Moroccan economic region Marrakesh-Safi, on the Atlantic coast. In the Berber language, which is spoken by a sizeable proportion of the city's inhabitants, it is called "Taṣṣort", meaning 'the small fortress'. Until the 1960s, Essaouira was generally known by its Portuguese name, Mogador.
Archaeological research shows that Essaouira has been occupied since prehistoric times. The bay at Essaouira is partially sheltered by the island of Mogador, making it a peaceful harbor protected against strong marine winds.
Essaouira has long been considered as one of the best anchorages of the Moroccan coast. The Carthaginian navigator Hanno visited in the 5th century BC and established the trading post of Arambys.
Around the end of the 1st century BCE or early 1st century CE, the Berber king Juba II established a Tyrian purple factory, processing the murex and purpura shells found in the intertidal rocks at Essaouira and the Iles Purpuraires. This dye colored the purple stripe in the togas worn by the Senators of Imperial Rome.
A Roman villa was excavated on Mogador island. A Roman vase was found as well as coinage from the 3rd century CE. Most of the artifacts are now visible in the Sidi Mohammed ben Abdallah Museum and the Rabat Archaeological Museum.
In 1506, the king of Portugal, D. Manuel I, ordered a fortress to be built, named Castelo Real de Mogador. The fortress of Castelo Real of Mogador fell to the local resistance of the Regraga fraternity four years after its establishment, in 1510.
During the 16th century, powers including Spain, England, the Netherlands and France tried in vain to conquer the locality. Essaouira remained a haven for the export of sugar and molasses and as an anchorage for pirates.
Present city of Essaouira was built during the mid-eighteenth century by the Moroccan King, Mohammed III, who tried to reorient his kingdom toward the Atlantic for increased exchanges with European powers, choosing Mogador as his key location. One of his objectives was to establish a harbor at the closest possible point to Marrakesh. The other was to cut off trade from Agadir in the south, which had been favouring a political rival of Mohammed III, and the inhabitants of Agadir were forced to relocate to Essaouira.
For 12 years, Mohammed III directed a French engineer, Théodore Cornut, and several other European architects and technicians to build the fortress and city along modern lines. Originally called "Souira" ("the small fortress"), the name became "Es-Saouira" ("the beautifully designed").
Mohammed III took numerous steps to encourage the development of Essaouira including closing off the harbour of Agadir to the south in 1767 so that southern trade could be redirected through Essaouira. European communities in the northern harbour of Rabat-Salé were ordered to move to Essaouira through an ordinance of 21 January 1765.
From the time of its rebuilding by Muhammad III until the end of the nineteenth century, Essaouira served as Morocco's principal port, offering the goods of the caravan trade to the world. The route brought goods from sub-Saharan Africa to Timbuktu, then through the desert and over the Atlas mountains to Marrakesh. The road from Marrakesh to Essaouira is a straight line, explaining the king's choice of this port among the many others along the Moroccan coast.
"Mémoire objective" / "Objective Memory" - Sculpture de Catherine Widgery (1993).
John G. Diefenbaker Building (1958), Ottawa