View allAll Photos Tagged OBJECTIVE
A comparison of what my field of view is at different magnifications
I've just resized the images, but didn't crop them
The width of each image is approx.
4X - 5.8mm
10x - 2.3mm
20x - 1.5mm
40x - 0.75mm
The 20X & 40X objectives are designed for a 210mm tube length, rather than the standard 160mm tube length causing the magnification to be slightly less than advertised.
Shooting with the 40X objective requires at least twice as much light as the other objectives. I usually just bump the ISO.
Needless to say the depth of field at 40X is minimal to say the least. Even so the snowflake still has a structure which is not flat and its hard to nail the focus.
Here is a comparison between my Nikon M Plan that cost me £100, and then a photo of one that cost me £50
The left photo is at slightly more than 10x using a Nikon 10x 0.25 - 160/- Microscope objective.
Now, noticible difference creek in at 100% such as CA on the left ( see crop below and comparison ) and also softness...
When viewing normally, these differences will not be noticible at all so I have seemed to have got an absolute bargain with this 10x, but nevertheless I will be selling it as my M plan is much much sharper.
( If anyone is looking to buy a 10x, contact me )
Overall, I think the bargains are good for a certain measure but when you ( like me ) want sharp details even at 100% then they just don't cut it... More examples to come using the 4x which I will also be selling for a Chromatic Nikon one !
Comparing is easier through this larger and original image www.flickr.com/photos/sequentialmacro/8110513919/sizes/k/...
( Ignore left photo out of focus bit, I missed a bit but didn't realize till I was stacking )
Have a great week all, these images will be up to view at full tomorrow as they alone are the sharpest I've done yet !
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Study of the day:
. . / . .
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
canvas, framed total of 26x38
acrylics....another painting from my non objective kick...(also, better when viewed larger) this is a recycled painting...it's a paint over of a painting i did in college.
An M1130 Stryker assigned to Charlie Company, 3rd Battalion, 41st Infantry Regiment, 1st Stryker Brigade Combat Team, 1st Armored Division, Fort Bliss, Texas, maneuvers towards an objective during Decisive Action Rotation 19-01 at the National Training Center, Fort Irwin, Calif., Oct. 4, 2018. Decisive Action Rotations ensure Army Brigade Combat Teams remain versatile, responsive, and consistently available for current and future contingencies. (U.S. Army photo by Spc. Lisa Orender, Operations Group, National Training Center)
Den of Imagination - Your Miniature Painting Service
We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!
We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.
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Finally!
I decided to treat myself and buy the lens of my dreams
my new love...
Mitutoyo M Plan Apo 5x Objective
Infinity corrected metallurgical brightfield plan apochromat long working distance lens
Magnification 5x
NA 0.14
WD 34.0mm
Focal Length 40mm
Resolving Power 2.0µm
Depth of Field 14µm
Can't wait to try it . . .
Machine and objective: Canon EOS 450D, Sigma 18-200mm DC OS.
Locale: España, Sevilla (Sierra), Castaño de Robledo.
Photographer: F.MartínezLedesma
Velocidad: 1/30s
ISO: 400
Apertura: f10
Focal: 18mm
Nunca es largo el camino que conduce a la casa de un amigo.
- Juvenal -
Never is a long road to the house of a friend.
- Juvenal -
Usa el camino que te lleve a momentos maravillosos y momentos de alegrías, no dudes en llevar siempre a tus amigos para poder disfrutar aun más...
- F.MartínezLededma -
…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.
I must confess that I've not seen all objectives on this planet:-( So I'm not an expert. I have, however, seen quite a few objectives with numeric values 1:1.7 and 55mm. Minolta's Rokkor is a well known example. Furthermore Auto Chinon and Topcor are known (less known) ones. Somehow I think that (part of) those came from the same factory.
Both of these samples were (are?) supercheap at second/third/fourth/... hand market but very nice to use. Originally I acquired them for tinkering (changing the mount) but they proved to be nice on as-is basis (with suitable adapters).
There are rumours that the Yashica ML were radioctive. I've not measured it yet.
See some specs: www.juzaphoto.com/recensione.php?l=en&t=yashica_50_f1-7
It looks like some other people are wondering alike important questions: forum.mflenses.com/auto-revuenon-55mm-11-7-who-made-it-t4...
Look here some sample photos:
www.flickr.com/photos/paguru/sets/72157616675373519/
and
www.fredmiranda.com/forum/topic/1012651/2
See also these nice stories: oldlenses.blogspot.fi/2012/06/auto-chinon-55mm-f17-m42-fi...
and
www.blog.bkspicture.com/review_Auto_Chinon_55mm_f1_7.html
Summa summarum: both objectives are worth keeping.
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 but comes in handy to rest the camera on when taking shots of subjects on hard surfaces
camera: Hasselblad 500 CM
objective: Zeiss Planar 80mm
light: natural light
light meter: Sekonic L-308B reading the incident light
exposure: f8- 1/500
film: Kodak Tmax 100
film developing: 5 minutes water pre-soak - Rodinal 1+100 stand development - 20C° - 1 hour
agitation: first minutes continuously
fixer: Kodak Tmax Fixier
scanner: Epson Perfection 4990 Photo
Kamera: Nikon F3 (1982)
Linse: Nikkor-S Auto 50mm f1.4 (1970)
Film: Kodak 5222 @ ISO 250
Kjemi: Rodinal (1:50 / 9 min. @ 20°C)
Wikipedia: Gaza Genocide
- ATHENS, GREECE / 3 September 2025 — The Hind Rajab Foundation announces that on 3 September 2025, it has formally submitted a criminal complaint (μηνυτήρια αναφορά) before the Prosecutor of the Supreme Court of Greece, represented by its legal counsel Ms. Evgenia Kouniaki, against Major Yair Ohana, an officer of the Israeli armed forces. Ohana served as a company commander and logistics officer in the Givati Brigade’s 432nd Infantry Battalion “Tzabar”, one of the core units deployed in the genocidal campaign against the Palestinian people in Gaza.
Mr. Ohana is now visiting Greece as a tourist.
The complaint, supported by a comprehensive evidentiary report prepared by the Foundation, demonstrates that Major Ohana bears individual criminal responsibility for war crimes, torture, and genocide. As a company commander within the 432nd Battalion, and an officer responsible for logistics, Ohana played a critical role in supporting the Battalion’s operations in Gaza and was therefore directly involved in its criminal conduct.
Nature of the Crimes
Systematic Attacks on Civilian Objects Without Military Necessity
As part of the so-called “Generals’ Plan,” the 432nd Battalion executed the wholesale devastation of Netzarim and Jabaliya, destroying homes, schools, hospitals, and essential infrastructure. These attacks were deliberate and controlled demolitions aimed at rendering large areas of northern Gaza permanently uninhabitable and served the strategic aim of erasing entire communities. Such acts may amount to directing attacks against civilian objects, extensive destruction of property, not justified by military necessity, as well as attacking or bombarding, by whatever means, towns, villages, dwellings or buildings which are undefended and which are not military objectives, war crimes under the Rome Statute and the Fourth Geneva Convention.
Torture and Inhumane Treatment
Evidence shows Ohana’s involvement in the transfer of Palestinians detained in Gaza under conditions of humiliation and abuse — blindfolded, bound, and transported to Israel. These acts violate the UN Convention Against Torture and constitute war crimes.
Genocidal Conduct
By creating conditions of life designed to prevent the survival of the civilian population in northern Gaza — through the destruction of entire residential neighborhoods and other civilian objects — the acts contribute to the crime of genocide, as defined in Article 6(c) of the Rome Statute: “deliberately inflicting conditions of life calculated to bring about the physical destruction of a people, in whole or in part.”
By transferring Palestinians arrested by the army in inhumane conditions to places where they were likely subjected to torture and ill-treatment, he also “caused serious bodily or mental harm,” as defined in Article 6(b) of the Rome Statute.
Jurisdiction of Greece
The presence of Yair Ohana on Greek territory establishes the obligation of the Greek state to act:
Article 28 of the Greek Constitution: international treaties such as the Geneva Conventions and the UN Convention Against Torture form part of domestic law and prevail over conflicting provisions.
Article 8 of the Greek Penal Code: Greek criminal law applies to crimes committed abroad when international treaties so require.
Article 7 of the UN Convention Against Torture (Law 1782/1988) and Articles 49, 50, 129, and 146 of the Geneva Conventions (Law 3481/1955) impose an absolute duty on states to prosecute or extradite perpetrators of torture and grave breaches (“aut dedere aut judicare”).
Accordingly, Greece cannot ignore the presence of a suspected war criminal and genocidaire within its territory. The law requires the initiation of a criminal investigation and, where evidence is substantiated, prosecution before Greek courts.
Regional and International Cooperation
The complaint and the full dossier of evidence against Yair Ohana were also shared with all neighboring countries of Greece — Turkey, Albania, North Macedonia, Bulgaria, and Cyprus — to encourage parallel action and prevent safe haven for suspected war criminals in the region. Furthermore, the report was also transmitted to Belgium, Spain, Ireland, Slovenia, South Africa, Brazil, and Peru, countries that have taken a leading role in supporting accountability for international crimes. A copy has also been submitted to Interpol, to facilitate international arrest mechanisms, and to the International Criminal Court (ICC) in The Hague, thereby forming part of the Court’s broader consideration of atrocities committed in Gaza.
The filing against Major Yair Ohana represents not only a demand for justice for the victims of Gaza, but also a test of Greece’s adherence to its international obligations. The crimes documented are not abstract violations — they are acts of calculated brutality, aimed at extinguishing a civilian population through destruction, displacement, and terror.
By opening proceedings against Ohana, Greece has the opportunity to stand on the side of international law, justice, and humanity, and to send a clear message that impunity for war crimes and genocide will not be tolerated on its soil.
- Source - Hind Rajab Foundation: No Safe Haven: HRF Seeks Prosecution of Israeli War Criminal Yair Ohana in Greece (Publ. 3 September 2025)
- BRUSSELS, BELGIUM / 31 August 2025 — Today, the Hind Rajab Foundation (HRF) and the Palestinian Centre for Human Rights (PCHR) submitted a formal complaint to the International Criminal Court (ICC) regarding the massacre at Nasser Hospital in Khan Younis on 25 August 2025. The attack killed 22 civilians, including five journalists, three hospital staff, one doctor, a civil defense worker, and one child, 14-year-old Rayan Omar Mahmoud Abu Omar. More than fifty others were injured in what can only be described as a deliberate double-tap strike carried out with full knowledge of the civilian presence.
Golani at the Center of the Operation
The Golani Brigade, under the command of Col. Bar Ganon, was at the heart of this atrocity. Evidence demonstrates that Golani forces engineered the attack from its inception. Their reconnaissance unit, Sayeret Golani (Recon 631), Lead by Lt. Col. Bar Veakart, conducted continuous UAV surveillance over Nasser Hospital and may have executed the first strike themselves using a drone-fired munition. The footage and testimonies establish that Golani’s operators had uninterrupted “eyes on the target,” observing the stairwell where Reuters cameraman Hussam al-Masri positioned his live camera every day. They knew precisely who was present — journalists in clearly marked press vests, civil defense workers in uniform, doctors, patients, and even a child.
The first strike killed al-Masri and cut his live broadcast. Nine minutes later, once rescue workers and journalists had gathered to assist the wounded, Golani requested and coordinated a second strike. The timing and method show that this was no accident, but a calculated decision to maximize civilian casualties.
Tactical Execution by the 188th Armored Brigade
The 188th Armored Brigade, commanded by Col. Miki Sharvit, executed the second strike. Forensic analysis of debris and video footage confirms that at least two LAHAT laser-guided missiles were fired in near-simultaneous salvo from Merkava tanks, striking the exact same stairwell landing within a second of each other. This precision was only possible because Golani’s UAVs provided the laser designation that guided the missiles directly onto the stairwell filled with civilians.
The 188th Armored Brigade therefore carried out the tactical launch of the massacre, fully aware—thanks to drone oversight—of who their victims would be.
Divisional Oversight by the 36th Armored Division
Above these units stood the 36th Armored Division (“Ga’ash”), commanded by Brig. Gen. Moran Omer. This division held operational responsibility over both the Golani Brigade and the 188th Armored Brigade in Khan Younis. Brig. Gen. Omer personally toured the area in the days before the attack, meeting with his subordinate commanders and overseeing their deployment. His division had ultimate control over fire missions in the sector, and the precision strikes against the hospital stairwell could not have taken place without his approval.
Sectoral Authorization by the Southern Command
The next level of responsibility lies with the Southern Command, led by Maj. Gen. Yaniv Asor (b. 1972). All operations in Gaza fell under his authority, including the approval of attacks on highly sensitive sites such as hospitals. Reports confirm that the first strike on Nasser Hospital was approved specifically as a drone attack due to the sensitivity of the location. The second strike, launched with guided missiles only minutes later, likewise required his approval. His authorization allowed the escalation that transformed one lethal strike into a massacre.
Strategic Oversight by the Chief of Staff
The overall command rested with Lt. Gen. Eyal Zamir (b. 1966), Chief of Staff of the Israeli military. Zamir visited Khan Younis just days before the massacre, together with Maj. Gen. Asor and Brig. Gen. Omer, meeting directly with Golani and 188th commanders. As Chief of Staff, Zamir was responsible for the rules of engagement and permitted the use of double-tap tactics: an initial strike, followed by a second strike once journalists, doctors, and rescue teams had rushed to assist the wounded. By endorsing such methods, Zamir effectively institutionalized a strategy designed to maximize terror and death among civilians.
Political Responsibility of the Prime Minister
At the very top stands Prime Minister Benjamin Netanyahu (b. 1949), who provided the political and ideological framework that made this massacre possible. By repeatedly branding journalists as “Hamas affiliates” and hospitals as “terrorist infrastructure,” without offering evidence, Netanyahu legitimized attacks on civilians and created an environment in which the targeting of hospitals and journalists became state policy. His leadership role makes him not only an enabler but also an architect of this policy of extermination and erasure.
Weapons Analysis: Precision and Intent
The weapons analysis carried out by HRF’s forensic team underscores the deliberate nature of the attack. The first strike was carried out with a drone-fired munition, consistent with eyewitness accounts and the localized damage that killed Hussam al-Masri without collapsing the hospital building. The second strike involved at least two LAHAT guided missiles launched from Merkava tanks, homing in on the stairwell designated by Golani’s UAV. Debris collected at the site showed modular alloy casings consistent with guided missile systems, not conventional shells.
The presence of UAVs over the hospital during the entire attack confirms that the perpetrators saw exactly who was on the ground. The choice to strike the same spot twice, with such precision, proves that this was intentional killing rather than incidental harm.
War Crimes and Genocide
The massacre at Nasser Hospital is not an isolated event but part of a wider pattern. Since October 2023, more than 270 journalists have been killed in Gaza, making it the deadliest conflict for media workers in modern history. At the same time, 94% of Gaza’s hospitals have been damaged or destroyed. This systematic targeting of both healthcare and the press shows a dual strategy: to deprive Palestinians of survival and to erase the evidence of their suffering. Such acts are consistent with a genocidal policy.
HRF and PCHR therefore conclude that the Nasser Hospital massacre constitutes war crimes under the Rome Statute, including willful killing, deliberate attacks on a hospital, and disproportionate harm. It also constitutes genocide, as it involves the intentional killing of members of a protected group and the deliberate infliction of conditions of life calculated to destroy that group in whole or in part.
A Call for Justice
With today’s filing before the ICC, the Hind Rajab Foundation and the Palestinian Centre for Human Rights demand that the Court open proceedings and issue arrest warrants against those responsible — from the Golani operators who designated the target, to the tank commanders who launched the missiles, to the generals who approved the attack, and ultimately to Prime Minister Netanyahu who provided political cover.
This massacre was not the result of chaos or confusion but of a carefully executed plan under a clear chain of command. Journalists, doctors, rescue workers, and even a child were killed deliberately, under the watching eyes of Israeli drones. This was not only a war crime — it was an act of genocide.
The world cannot allow impunity to continue. Justice for the victims of Nasser Hospital demands accountability at the highest level.
- Source - Hind Rajab Foundation: HRF and PCHR File ICC Complaint on the Nasser Hospital Massacre: Exposing the Command Chain Behind the Killing of 22 Civilians (Publ. 31 August 2025)
- BRUSSELS, BELGIUM / 12 August 2025 — By any measure, Anas Al-Sharif (1996-2025) should still be alive.
On the morning of 10 August 2025, the 28-year-old Al Jazeera Arabic correspondent was doing what he had done since the first days of the Gaza onslaught — reporting from the frontlines, armed only with a camera and a press vest. Outside the main gate of Al Shifa Hospital, in one of the last corners of northern Gaza where journalists could still work, Al-Sharif was filing footage of bombardments that shook the streets around him. Moments later, a missile struck the tent where he and his colleagues were sheltering.
Seven people died instantly. Among them: Mohammed Qreiqeh, Ibrahim Zaher, Mohammed Noufal, and Moamen Aliwa — four Al Jazeera journalists who, like Al-Sharif, had refused to stop documenting the Genocide.
Mohammed Al-Khaldi, also a journalist who worked for Sahat Media Platform, and Saad Jundiya, a Palestinian civilian who happened to be present in the scene at the time of attack were also killed.
The Israeli military would later admit the strike was deliberate. Their justification? The same recycled accusation used in killing over 220 journalists since October 2023: that the victims were “terrorists in press vests.”
For the Hind Rajab Foundation (HRF) and the Palestinian Center for Human Rights (PCHR), this was not just another tragedy in a long war on the press. This was a clear-cut criminal act — a war crime and part of a broader genocidal campaign — and it demanded a direct, targeted legal response.
A Joint Case to The Hague
The new Article 15 Communication to the International Criminal Court was filed jointly by HRF and PCHR. While HRF focused its investigation on the chain of command and operational decisions that led to Al-Sharif’s killing, PCHR brought to the case its meticulous documentation of the other Al Jazeera journalists killed in Gaza — cases that fit the same pattern of premeditation and deliberate targeting.
PCHR’s files cover the assassinations of Hossam Shabat (2001-2025), Ismail Al-Ghoul (1997-2024), Ahmed Al-Louh, Hamza Wael Al-Dahdouh (1996-2024), and Samer Abu Daqa (d. 2023), among others — all journalists marked by Israel as “terrorists” before being eliminated in targeted strikes. These cases show that Al-Sharif’s killing was not an isolated event but part of an established policy.
Following the Chain of Command
When HRF investigators began reconstructing the strike, they followed the trail from the moment a drone camera locked onto Al-Sharif’s position to the instant the missile hit.
Using operational patterns, signals intelligence reports, and expert military analysis, the foundation identified the chain of command behind the killing:
* Lt.-Gen. Eyal Zamir (b. 1966) – IDF Chief of the General Staff
* Maj.-Gen. Tomer Bar (b. 1969) – Commander of the Israeli Air Force
* Maj.-Gen. Yaniv Asor (b. 1972) – Southern Command Commander
* Brig.-Gen. Yossi Sariel (b. 1978) – Former Commander of Unit 8200 (Israel’s signals intelligence branch)
* General A. : Current Commander of Unit 8200
* Palmachim Airbase Commander – Name undisclosed
* 161 “Black Snake” Squadron Commander – Name undisclosed
* Col. Avichay Adraee (b. 1982) – IDF Spokesperson’s Unit, Arab Media Division, responsible for a sustained smear campaign against Al-Sharif
At the political summit stands Benjamin Netanyahu (b. 1949), the Prime Minister who presided over — and encouraged — a strategy to eliminate journalists as part of Israel’s assault on Gaza.
The Smear Before the Strike
If the missile was the killing blow, the campaign to delegitimize Anas Al-Sharif (1996-2025) had begun long before. For nearly two years, Avichay Adraee (b. 1982), Israel’s Arabic-language military spokesperson, used social media to accuse Al-Sharif of being a Hamas operative. He mocked the journalist’s emotional reporting, called his on-camera tears “crocodile tears,” and framed his work as propaganda.
This smear playbook is familiar. Before being killed, journalists such as Hamza Wael Al-Dahdouh (1996-2024), Ismail Al-Ghoul (1997-2024), and Hossam Shabat (2001-2025) — whose cases PCHR has fully documented — were branded “terrorists” by Israeli officials. Days or weeks later, they were dead — killed in precision strikes on clearly marked press vehicles or while wearing “PRESS” vests.
A War on Witnesses
The killings of Anas Al-Sharif and his colleagues are not isolated incidents. Together, HRF and PCHR’s investigations reveal a systematic policy targeting Al Jazeera journalists:
1. Label them terrorists without any plausible proof.
2. Smear them publicly to dehumanize and justify their killing.
3. Eliminate them in targeted strikes.
In the Gaza war, local journalists are not just chroniclers—they are the last line of independent witness to a conflict foreign reporters are barred from entering. Silencing them is not collateral damage; it is strategic.
From Evidence to Action
The joint submission to the ICC does not mince words. It accuses the identified military and political figures of:
* War crimes under Article 8(2)(a)(i) of the Rome Statute (willful killing)
* Genocide under Article 6(a) of the Rome Statute (as part of the broader campaign to destroy the Palestinian people and erase those documenting their suffering)
And it makes three urgent demands to the ICC Prosecutor:
1. Issue arrest warrants for the military officials named in the submission.
2. Expand Netanyahu’s arrest warrant to include crimes against journalists.
3. Formally include all 220+ journalist killings in the ICC’s Palestine investigation.
Hunting the Perpetrators
This is not symbolic litigation. HRF is tracking these individuals, identifying their roles, and preparing to pursue them in any jurisdiction willing to act. The case is being built not only for The Hague, but also for prosecution in national courts that recognize universal jurisdiction for war crimes and genocide.
“The assassination of Anas Al-Sharif was so blunt, so arrogant, and so drenched in contempt for human life, truth, the legal order, and humanity itself, that it cannot and will not be allowed to pass into silence.” says HRF Chairman Dyab Abou Jahjah (b. 1971).
The Message to The ICC
The evidence is there. The legal foundation is unshakable. The jurisdiction is established beyond question. What remains is for the International Criminal Court to move past statements of “grave concern” and take the decisive step that justice demands: act.
The killing of journalists in Gaza is not a footnote to the story — it is the method by which every other war crime is hidden from the world. It is the deliberate blinding of humanity’s eyes, the extinguishing of the witnesses who stand between atrocity and oblivion. To ignore this is not neutrality — it is complicity. It is to give the perpetrators the silence they seek.
Anas Al-Sharif (1996-2025) knew this better than anyone. His last words, prepared in anticipation of his own assassination, still echo across the digital world:
“If these words of mine reach you, know that Israel has succeeded in killing me and silencing my voice.”
But voices like his are not so easily buried. The joint HRF–PCHR case ensures that his words will rise again—in the courtroom of the ICC, in the ink of arrest warrants, and in the unyielding memory of history. They will stand as testimony not only to his courage but to the moral imperative that binds us all: that truth must be defended, justice must be pursued, and those who kill to hide their crimes must one day answer for them.
- Source - Hind Rajab Foundation: The Hunt for Anas Al-Sharif’s Killers: HRF and PCHR Bring Israel’s War on Journalists to the ICC (Publ. 12 August 2025)
Subjectively Objective #5. An old shutdown bowling alley side door entrance. Janesville, 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.
Puri is a city and a Municipality of Odisha. It is the district headquarters of Puri district, Odisha, eastern India. It is situated on the Bay of Bengal, 60 kilometres south of the state capital of Bhubaneswar. It is also known as Jagannath Puri after the 12th-century Jagannath Temple located in the city. It is one of the original Char Dham pilgrimage sites for Indian Hindus.
Puri was known by several names from the ancient times to the present, and locally called as Badadeula. Puri and the Jagannath Temple were invaded 18 times by Hindu and Muslim rulers, starting from the 4th century to the start of the 19th century with the objective of looting the treasures of the temple. Odisha, including Puri and its temple, were under the British Raj from 1803 till India attained independence in August 1947. Even though princely states do not exist in independent India, the heirs of the Gajapati Dynasty of Khurda still perform the ritual duties of the temple. The temple town has many Hindu religious maths or monasteries.
The economy of Puri town is dependent on the religious importance of the Jagannath Temple to the extent of nearly 80%. The festivals which contribute to the economy are the 24 held every year in the temple complex, including 13 major festivals; 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 is one of the 12 heritage cities chosen by the Government of India for holistic development.
GEOGRAPHY AND CLIMATE
GEOGRAPHY
Puri, located on the east coast of India on the Bay of Bengal, is in the center of the district of the same name. It is delimited by the Bay of Bengal on the south east, the Mauza Sipaurubilla on the west, Mauz Gopinathpur in the north and Mauza Balukhand in the east. It is within the 67 kilometres 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 spread over 30 wards, which includes a shore line of 5 kilometres.
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 (Ashokan Tosali) when the land was drained by a tributary of the River Bhargavi, a branch of the Mahanadi River, which underwent a meandering course creating many arteries altering the estuary, and formed many sand hills. These sand hills could not 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 8.0 km in an east-west direction and has a width of 3.2 km in north-south direction. The river estuary has a shallow depth of 1.5 m only and the process of siltation is continuing. According to a 15th-century chronicle the stream that flowed at the base of the Blue Mountain or Neelachal was used as the foundation or high plinth of the present temple which was then known as Purushottama, the Supreme Being. A 16th century chronicle attributes filling up of the bed of the river which flowed through the present Grand Road, during the reign of King Narasimha II (1278–1308).
CLIMATE
According to the Köppen and Geiger the climate of Puri is classified Aw. The city has moderate and tropical climate. Humidity is fairly high throughout the year. The temperature during summer touches a maximum of 36 °C and during winter it is 17 °C. The average annual rainfall is 1,337 millimetres and the average annual temperature is 26.9 °C.
HISTORY
NAMES IN HISTORY
Puri, the holy land of Lord Jaganath, also known popularly as Badadeula in local usage, has many ancient names in the Hindu scriptures such as the Rigveda, Matsya purana, Brahma Purana, Narada Purana, Padma Purana, Skanda Purana, Kapila samhita 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 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 became Jagannatha. Close to this place sages like Bhrigu, Atri and Markandeya had their hermitage. Its name is mentioned, conforming to the deity worshipped, as Srikshetra, Purusottama Dhāma, Purusottama Kshetra, Purusottama Puri and Jagannath Puri. Puri is however, a common usage now. It is also known the geographical features of its siting as Shankhakshetra (layout of the town is in the form of a conch shell.), Neelāchala ("blue mountain" a terminology used to name very large sand lagoon over which the temple was built but this name is not in vogue), Neelāchalakshetra, Neelādri, The word 'Puri' in Sanskrit means "town", or 'city' and is cognate with polis in Greek.
Another ancient name is Charita as identified by Cunningham which was later spelled as Che-li-ta-lo by Chinese traveller Hiuen Tsang.When the present temple was built by the Ganga king Chodangadev in the 11th and 12th centuries it was called Purushottamkshetra. However, the Moghuls, the Marathas and early British rulers called it Purushottama-chhatar or just Chhatar. In Akbar's Ain-i-Akbari and subsequent Muslim historical records it was known as Purushottama. In the Sanskrit drama authored by Murari Mishra in the 8th century it is referred as Purushottama only. It was only after twelfth century Puri came to be known by the shortened form of Jagannatha Puri, named after the deity or in a short form as Puri. In some records pertaining to the British rule, the word 'Jagannath' was used for Puri. It is the only shrine in India, where Radha, along with Lakshmi, Saraswati, Durga, Bhudevi, Sati, Parvati, and Shakti abodes with Krishna, also known as Jagannath.
ANCIENT PERIOD
According to the chronicle Madala Panji, in 318 the priests and servitors of the temple spirited away the idols to escape the wrath of the Rashtrakuta King Rakatavahu. The temple's ancient historical records also finds mention in the Brahma Purana and Skanda Purana as having been built by the king Indradyumna of Ujjayani.
According to W.J. Wilkinson, 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 in now worshipped by the Hindus as Jagannatha. It is also said that some relics of Buddha were placed inside the idol of Jagannath which the Brahmins claimed were the bones of Krishna. Even during Ashoka’s reign in 240 BC Odisha 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. It is also said that Lohabahu deposited some Buddha relics in the precincts of the temple.
Construction of the Jagannatha Temple started in 1136 and completed towards the later part of the 12th century. The King of the Ganga dynasty, Anangabhima dedicated his kingdom to the God, then known as the Purushottam-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 independent India, the heirs of the Gajapati dynasty of Khurda still perform the ritual duties of the temple; the king formally sweeps the road in front of the chariots before the start of the Rathayatra.
MEDIEVAL AND EARLY MODERN PERIODS
History of the temple is the history of the town of Puri, which was invaded 18 times during its history to plunder the treasures of the Jagannath Puri temple. The first invasion was in the 8th century by Rastrakuta king Govinda-III (AD 798–814) and the last was in 1881 by the followers of Alekh Religion who did not recognize Jagannath worship. In between, from the 1205 onward there were many invasions of the city and its temple by Muslims of the Afghans and Moghuls descent, known as Yavanas or foreigners; they had mounted attacks to ransack the wealth of the temple rather than for religious reasons. 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. Puri is the site of the Govardhana matha, one of the four cardinal institutions established by Adi Shankaracharya, when he visited Puri in 810 and since then it has become an important dham (divine centre) for the Hindus; the others being those at Sringeri, Dwaraka and Jyotirmath. The matha is headed by Jagatguru Shankarachrya. The significance of the four dhams is that the Lord Vishnu takes his dinner at Puri, has his bath at Rameshwaram, spends the night at Dwarka and does penance at Badrinath.
Chaitanya Mahaprabhu of Bengal who established the Bhakti movements of India in the sixteenth century, now known by the name the Hare Krishna movement, spent many years as a devotee of Jagannatha at Puri; he is said to have merged his "corporal self" with the deity. There is also a matha of Chaitanya Mahaprabhu here.
In the 17th century for the sailors sailing on the east coast of India, the landmark was the temple located in a plaza in the centre of the town which they called the "White Pagoda" while the Konark Sun Temple, 60 kilometres away to the east of Puri, was known as the "Black Pagoda".
The iconographic representation of the images in the Jagannath temple are 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 ritulistically by special group of carpenters.
The town has many Mathas (Monasteries of the various Hindu sects). Among the important mathas is the Emar Matha founded by the Tamil Vaishnav Saint Ramanujacharya in the 12th century AD. At present this matha is 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 Suryavamsi Gajapati. The matha was in the news recently for the large cache of 522 silver slabs unearthded from a closed room.
The British conquered Orissa in 1803 and recognizing the importance of the Jagannatha Temple in the life of the people of the state they initially placed an official to look after the temple's affairs and later declared it a district with the same name.
MODERN HISTORY
In 1906, Sri Yukteswar an exponent of Kriya Yoga, a resident of Puri, established an ashram in the sea-side town of Puri, naming it "Kararashram" as a spiritual training center. 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 built in 1913–14 during the era of governors, the Raj Bhavan.
For the people of Puri Lord Jagannath, visualized as Lord Krishna, is synonymous with their city. They believe that the Jagannatha looks after the welfare of the state. However, after the incident of the partial collapse of the Jagannatha Temple, the Amalaka part of the tower on 14 June 1990 people became apprehensive and thought it was not a good omen for the welfare of the State of Odisha. The replacement of the fallen stone by another of the same size and weight (seven tons) had to be done only in the an early morning hours after the gods had woken up after a good nights sleep which was done on 28 February 1991.
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 one of 12 the heritage cities chosen with "focus on holistic development" to be implemented in 27 months by end of March 2017.
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 within the precincts of the temple for a small donation.
DEMOGRAPHICS
As of 2001 India census, Puri city, an urban Agglomeration governed by Municipal Corporation in Orissa state, had a population of 157,610 which increased to 200,564 in 2011. Males, 104,086, females, 96,478, children under 6 years of age, 18,471. The sex ratio is 927 females to 1000 males. Puri has an average literacy rate of 88.03 percent (91.38 percent males and 84.43 percent females). Religion-wise data is not reported.
ECONOMY
The economy of Puri is dependent on tourism to the extent of about 80%. The temple is the focal point of the entire area of the town and provides major employment to the people of the town. Agricultural production of rice, ghee, vegetables and so forth of the region meets the huge requirements of the temple, with many settlements aroiund the town exclusively catering to the other religious paraphernalia of the temple. The temple administration employs 6,000 men to perform the rituals. The temple also provides economic sustenance to 20,000 people belonging to 36 orders and 97 classes. The kitchen of the temple which is said to be the largest in the world employs 400 cooks.
CITY MANAGEMENT AND GOVERNANCE
Puri Municipality, Puri Konark Development Authority, Public Health Engineering Organisastion, Orissa Water Supply Sewerage Board are some of the principal organizations that are devolved with the responsibility of providing for all the urban needs of civic amenities such as water supply, sewerage, waste management, street lighting, and infrastructure of roads. The major activity which puts maximum presuure on these organizations is the annual event of the Ratha Yatra held for 10 days during July when more than a million people attend the grand event. This event involves to a very large extent the development activities such as infrastructure and amenities to the pilgrims, apart from security to the pilgrims.
The civic administration of Puri is the responsibility of the Puri Municipality which came into existence in 1864 in the name of Puri Improvement Trust which got converted into Puri Municipality in 1881. After India's independence in 1947, Orissa Municipal Act-1950 was promulgated entrusting the administration of the city to the Puri Municipality. This body is represented by elected representative with a Chairperson and councilors representing the 30 wards within the municipal limits.
LANDMARKS
JAGANNATH TEMPLE AT PURI
The Temple of Jagannath at Puri is one of the major Hindu temples built in the Kalinga style of architecture, in respect of its plan, front view and structural detailing. It is one of the Pancharatha (Five chariots) type consisting of two anurathas, two konakas and one ratha with well-developed pagas. Vimana or Deula is the sanctum sanctorum where the triad (three) deities are deified on the ratnavedi (Throne of Pearls), and over which is the temple tower, known as the rekha deula; the latter is built over a rectangular base of the pidha temples as its roof is made up of pidhas that are sequentially arranged horizontal platforms built in descending order forming a pyramidal shape. The mandapa in front of the sanctum sanctorum is known as Jagamohana where devotees assemble to offer worship. The temple tower with a spire rises to a height of 58 m in height and a flag is unfurled above it fixed over a wheel (chakra). Within the temple complex is the Nata Mandir, a large hall where Garuda stamba (pillar). Chaitanya Mahaprabhu used to stand here and pray. In the interior of the Bhoga Mantap, adjoining the Nata mandir, there is profusion of decorations of sculptures and paintings which narrate the story of Lord Krishna. The temple is built on an elevated platform (of about 39,000 m2 area), 20 ft above the adjoining area. The temple rises to a height of 214 ft above the road level. The temple complex covers an area of 4,3 ha. There is double walled enclosure, rectangular in shape (rising to a height of 20 ft) surrounding the temple complex of which the outer wall is known as Meghanada Prachira, measuring 200 by 192 metres. The inner walled enclosure, known as Kurmabedha. measures 126m x 95m. There are four entry gates (in four cardinal directions to the temple located at the center of the walls in the four directions of the outer circle. These are: the eastern gate called 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). The four gates symbolize the four fundamental principles of Dharma (right conduct), Jnana (knowledge), Vairagya (renunciation) and Aishwarya (prosperity). The gates are crowned with pyramid shapes structures. There is stone pillar in front of the Singhadwara called the Aruna Stambha {Solar Pillar}, 11 metres in height with 16 faces, made of chlorite stone, at the top of which is mounted an elegant statue of Arun (Sun) in a prayer mode. This pillar was shifted from the Konarak Sun temple. All the 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. 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 guarded by two guardian deities Jaya and Vijaya. The main gates is ascended through 22 steps known as Baisi Pahaca which are revered as it is said 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 hand side there is huge kitchen where food is prepared in hygienic conditions in huge quantities that it is termed as "the biggest hotel of the world".
The legend says that King Indradyumma was directed by Lord Jagannath in a dream to build a temple for him and he built it 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 however completed by his descendant, Anangabhima Deva, in the 12th century. The wooden images of Jagannath, 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 a part of the Mughal empire till 1751 AD. Subsequently it was under the control of the Marathas till 1803. Then, when British Raj took over Orissa, the Puri Raja was entrusted with its to 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, which are made of wood (neem) in an unfinished form. The stumps of wood which form the images of the brothers have human arms and that of Subhadra does not have any arms. The heads are large and un-carved and are painted. The faces are made distinct with the large circular shaped eyes.
THE PANCHA TIRTHA OF PURI
Hindus consider it essential to bathe in the Pancha Tirtha or the five sacred bathing spots of Puri, India, to complete a pilgrimage to Puri. The five sacred water bodies are the Indradyumana Tank, the Rohini Kunda, the Markandeya Tank, Swetaganga Tank, and the The Sea also called the Mahodadhi is considered a sacred bathing spot in the Swargadwar area. These tanks have perennial sources of supply in the form of rain water and ground water.
GUNDICHA TEMPLE
Known as the Garden House of Jagannath, the Gundicha temple stands in the centre of a beautiful garden, surrounded by compound walls on all sides. It lies at a distance of about 3 kilometres to the north east 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 Rath 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 Jagannath. The entire complex, including garden, is surrounded by a wall which measures 131 m × 98 m with height of 6.1 m.
Except for the 9-day Rath Yatra when triad images are worshipped in Gundicha Temple, the rest of the year it remains unoccupied. Tourists can visit the temple after paying an entry fee. Foreigners (prohibited entry in the main temple) are allowed inside this temple during this period. 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
Swargadwar is the name given to the cremation ground or burning ghat which is located on the shores of the sea were thousands of dead bodies of Hindus are brought from faraway places to cremate. It is a belief that the Chitanya Mahaparabhu disppaeread from this Swargadwar about 500 years back.
BEACH
The beach at Puri known as the "Ballighai beach} is 8 km away at the mouth of Nunai River from the town and is fringed by casurian trees. It has golden yellow sand and has pleasant sunshine. 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 are of different types of garments worn by Lord Jagannath, local sculptures, patachitra (traditional, cloth-based scroll painting) and ancient Palm-leaf manuscripts and local craft work.
RAGHUNANDANA LIBRARY
Raghunandana Library is located in the Emmra matha complex (opposite Simhadwara or Lion gate, the main entrance gate). The Jagannatha Aitihasika Gavesana Samiti (Jagannatha Historical Center) is also located here. The library contains ancient palm leaf manuscripts of Jagannatha, His cult and the history of the city. From the roof of the library one gets a picturesque view of the temple complex.
FESTIVALS OF PURI
Puri witnesses 24 festivals every year, of which 13 are major festivals. The most important of these is the Rath Yatra or the Car festival held in the month June–July which is attended by more than 1 million people.
RATH YATRA AT PURI
The Jagannath triad are usually worshiped in the sanctum of the temple at Puri, but once during the month of Asadha (Rainy Season of Orissa, usually falling in month of June or July), they are brought out onto the Bada Danda (main street of Puri) and travel 3 kilometrer to the Shri Gundicha Temple, in huge chariots (ratha), allowing the public to have darśana (Holy view). This festival is known as Rath Yatra, meaning the journey (yatra) of the chariots (ratha). The yatra starts, according to Hindu calendar Asadha Sukla Dwitiya )the second day of bright fortnight of Asadha (June–July) every year.
Historically, the ruling Ganga dynasty instituted the Rath Yatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. In his own account of 1321, Odoric reported how the people put the "idols" on chariots, and the King and Queen and all the people drew them from the "church" with song and music.
The Rathas are huge wheeled wooden structures, which are built anew every year and are pulled by the devotees. The chariot for Jagannath is about 14 m high and 35 feet square and takes about 2 months to construct. Th chariot is mounted with 16 wheels, each of 2.1 m diameter. The carvings in the front of the chariot has four wooden horses drawn by Maruti. On its other three faces the wooden carvings are Rama, Surya and Vishnu. The chariot is known as Nandi Ghosha. The roof of the chariot is covered with yellow and golden coloured cloth. The next chariot is that of Balabhadra which is 13 m in height fitted with 14 wheels. The chariot is carved with Satyaki as the charioteer. The carvings on this chariot also include images of Narasimha and Rudra as Jagannath's companions. The next chariot in the order is that of Subhadra, which is 13 m in height supported on 12 wheels, roof covered in black and red colour cloth and the chariot is known as Darpa-Dalaan. The charioteer carved is Arjuna. Other images carved on the chariot are that of Vana Durga, Tara Devi and Chandi Devi. 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. The huge chariots of Jagannath pulled during Rath Yatra is the etymological origin of the English word Juggernaut. The Ratha-Yatra is also termed as the Shri Gundicha yatra and Ghosha yatra
CHHERA PAHARA
The Chhera Pahara is a significant ritual associated with the Ratha-Yatra. During the festival, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots in the Chera Pahara (sweeping with water) ritual. The Gajapati King cleanses the road before the chariots with a gold-handled broom and sprinkles sandalwood water and powder with utmost devotion. 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 Jagannath. This ritual signified that under the lordship of Jagannath, there is no distinction between the powerful sovereign Gajapati King and the most humble devotee.
CHADAN YATRA
In Akshaya Tritiya every year the Chandan Yatra festival marks the commencement of the construction of the Chariots of the Rath Yatra. It also marks the celebration of the Hindu new year.
SNANA YATRA
On the Purnima day in the month of Jyestha (June) the triad images of the Jagannath temple are ceremonially bathed and decorated every year 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 this 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. After this the Jhulana Yatra is when proxy images of the deities are taken out in a grand procession for 21 days, cruised over boats in the Narmada tank.
ANAVASARA OR ANASARA
Anasara literally means vacation. Every year, the triad images without the Sudarshan after the holy Snana Yatra are taken to a secret altar named Anavasara Ghar Palso known as "Anasara pindi} where they remain for the next dark fortnight (Krishna paksha). Hence devotees are not allowed to view them. Instead of this devotees go to nearby place Brahmagiri to see their beloved lord in the form of four handed form Alarnath a form of Vishnu. Then people get the first glimpse of lord on the day before Rath Yatra, which is called Navayouvana. It is said that the gods suffer from fever after taking ritual detailed bath and they are treated by the special servants named, Daitapatis for 15 days. Daitapatis perform special niti (rite) known as Netrotchhaba (a rite of painting the eyes of the triad). During this period cooked food is not offered to the deities.
NAVA KALEVARA
One of the most grandiloquent events associated with the Lord Jagannath, Naba Kalabera takes place when one lunar month of Ashadha is followed by another lunar month of Aashadha, called Adhika Masa (extra month). This can take place in 8, 12 or even 18 years. Literally meaning the "New Body" (Nava = New, Kalevar = Body), the festival is witnessed by as millions of people and the budget for this event 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. The idols that were worshipped in the temple, installed in the year 1996, were replaced by specially made new images made of neem wood during Nabakalebara 2015 ceremony held during July 2015. More than 3 million devotees were expected to visit the temple during the Nabakalebara 2015 held in July.
SUNA BESHA
Suna Bhesha also known as Raja or Rajadhiraja bhesha or Raja Bhesha, is an event when the triad images of the Jagannath Temple are adorned with gold jewelry. This event is observed 5 times during a year. It is commonly observed on Magha Purnima (January), Bahuda Ekadashi also known as Asadha Ekadashi (July), Dashahara (Vijyadashami) (October), Karthik Purnima (November), and Pousa Purnima (December). While one such Suna Bhesha event is observed on Bahuda Ekadashi during the Rath Yatra on the chariots placed at the lion's gate or the Singhdwar; the other four Bheshas' 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 Jagannath and Balabhadra; Jagannath is also adorned with a Chakra (disc) made of gold on the right hand while a silver conch adorns the left hand. However, Balabhadra is decorated with a plough made of gold on the left hand while a golden mace adorns his right hand.
NILADRI BIJE
Celebrated on Asadha Trayodashi. It marks the end of the 12 days Ratha yatra. The large wooden images of the triad of gods are moved from the chariots and then carried to the sanctum sanctorum, swaying rhythmically, a ritual which is known as pahandi.
SAHI YATRA
Considered the world's biggest open-air theatre, the Sahi yatra is an 11 day long traditional cultural theatre festival or folk drama which begins on Ram Navami and ending in Rama avishke (Sanskrit:anointing) every year. The festival includes plays depicting various scenes from the Ramayan. The residents of various localities or Sahis are entrusted the task of performing the drama at the street corners.
TRANSPORT
Earlier when roads did not exist people walked or travelled by animal drawn vehicles or carriages along beaten tracks. Up to Calcutta travel was by riverine craft along the Ganges and then by foot or carriages to Puri. It was only during the Maratha rule that the popular Jagannath Sadak (Road) was built around 1790. The East India Company laid the rail track from Calcutta to Puri which became operational in 1898. Puri is now well connected by rail, road and air services. A broad gauge railway line of the South Eastern Railways connects with Puri and Khurda is an important Railway junction. By rail it is about 499 kilometres away from Calcutta and 468 kilometres from Vishakhapatnam. Road network includes NH 203 that links the town with Bhubaneswar, the capital of Odisha which is about 60 kilometres away. NH 203 B connects the town with Satapada via Brahmagiri. Marine drive which is part of NH 203 A connects Puri with Konark. The nearest airport is at Bhubaneswar, about 60 kilometres away from Puri. Puri railway station is among the top hundred booking stations of Indian Railways.
ARTS AND CRAFTS
SAND ART
Sand art is a special art form that is created on the beaches of the sea coast of Puri. The art form is attributed to Balaram Das, a poet who lived in the 14th century. He started crafting the sand art forms of the triad deities of the Jagannath Temple at the Puri beach. Now sculptures in sand of various gods and famous people are created by amateur artists which are temporal in nature as they get washed away by waves. This is an art form which has gained international fame in recent years. One of the well known sand artist is Sudarshan Patnaik. He has established the Golden Sand Art Institute in 1995 at the beach to provide training to students interested in this art form.
APPLIQUE ART
Applique art work, which is a stitching based craft, unlike embroidery, which was pioneered by the Hatta Maharana of Pipili is widely used in Puri, both for decoration of the deities but also for sale. His family members are employed as darjis or tailors or sebaks by the Maharaja of Puri who prepare articles for decorating the deities in the temple for various festivals and religious ceremonies. These applique works are brightly coloured and patterned fabric in the form of canopies, umbrellas, drapery, carry bags, flags, coberings of dummy horses and cows, and other household textiles which are marketed in Puri. The cloth used are in dark colours of red, black, yellow, green, blue and turquoise blue.
CULTURE
Cultural activities, apart from religiuos festivals, held annually are: The Puri Beach Festival held between 5 and 9 November and the Shreeksherta Utsav held from 20 December to 2 January where cultural programmes include unique sand art, display of local and traditional handicrafts and food festival. In addition cultural programmes are held every Saturday for two hours on in second Saturday of the moth at the district Collector's Conference Hall near Sea Beach Polic Station. Apart from Odissi dance, Odiya music, folk dances, and cultural programmes are part of this event. Odishi dance is the cultural heritage of Puri. This dance form originated in Puri in the dances performed Devadasis (Maharis) attached to the Jagannath temple who performed dances in the Natamantapa of the temple to please the deities. Though the devadadsi practice has been discontinued, the dance form has become modern and classical and is widely popular, and many of the Odishi virtuoso artists and gurus (teachers) are from Puri.
EDUCATION
SOME OF THE EDUCATIONNAL INSTITUTIONS IN PURI
- Ghanashyama Hemalata Institute of Technology and Management
- Gangadhar Mohapatra Law College, established in 1981[84]
- Extension Unit of Regional Research Institute of Homoeopathy; Puri under Central Council for Research in Homoeopathy (CCRH), New Delhi established in March 2006
- Sri Jagannath Sanskrit Vishwavidyalaya, established in July 1981
- The Industrial Training Institute, a Premier Technical Institution to provide education in skilled, committed & talented technicians, established in 1966 of the Government of India
PURI PEOPLE
Gopabandhu Das
Acharya Harihar
Nilakantha Das
Kelucharan Mohapatra
Pankaj Charan Das
Manasi Pradhan
Raghunath Mohapatra
Sudarshan Patnaik
Biswanath Sahinayak
Rituraj Mohanty
WIKIPEDIA
Subjectively Objective #3. An old abandoned building located in Janesville Wisconsin, USA.
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“Objective perception means perceiving reality, all that confronts our awareness, as it is. It is a matter of seeing things as they are, rather than seeing them from a certain point of view or position. So by objective we do not mean the scientific positivist sense, in which objective means what exists physically outside us rather than in the mind. We also do not mean objective in the sense of not being emotional, or not being experiential. We mean seeing things, seeing internal or external things as they are, instead of subjectively. Subjective is the antithesis; it means according to our positions, feelings, filters, beliefs and attitudes. So objective perception means pure perception, free from all positions, bias, filters, conflicts, intentions etc. It is perceiving whatever it is without any obscuration or intermediacy, so we see it just the way it is in itself.” - A. Hameed Ali
How many passers-by actually perceived 4 and 5-year old Fabrício and Guilherme living on the streets of São Paulo?
Objectively or subjectively......?
I'll be telling their story in a new group later on..................and asking for your help too!
Starting from a report by Altimeter Group titled “Social CRM: The New Rules of Relationship Management”, this visual matches the proposed collection of 18 social CRM case studies with the five main social web objectives derived from Charlene Li and Josh Bernoff’s “Groundswell: Winning in a World Transformed by Social Technology”.
Balt'ca Tau cadre.
The model has been constructed from a standard drone, the main body of a multitracker, and two smaller aerials from a XV25 stealth suit.
Pancreas gland cross section, slide 99, Celestron kit 44412.
American Optical H10 microscope, AO 45X Achromat objective, trinocular port, prime focus, C-mount photo tube, Nikon V1, C-mount adapter, ISO 100, 1/200 second for each of 7 images stacked with CombineZP. D-lighting and white balance corrections applied in Capture NX-D before converting from RAW to jpg. GIMP: color, unsharp mask, levels. Brightfield capture, oblique illumination with 3/4 mask in condenser filter tray.
This video was taken on the corner of Bleecker and Leroy Streets
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This set of photos and videos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing vanything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Two Japanese infantrymen and a light unit complete a training exercise in the mountains.
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COMMENT IF YOU FAVORITE. YES QUISNAM, I AM TALKING TO YOU.
Headsets are inspired by Mije W. Weapons by Brickarms, armor by Brickforge, heads by Eclipsegrafx. Thanks to Mattias G and starwarslock for inspiring me to paint more.
For the Battlefront.
"Do not just take the steps will take you one day to your objective... every step you do must to be itself a goal in itself, while it takes you forward."
Johann Goethe
This and other photos posted in my photo blog
Yesterday I thought I'd give myself some new objectives other than just going out and shooting lol ;) I decided to concentrate on "different" and this was the result..I like different ;), different works for me. I hope you enjoy this "Cabbage White" out in the lavender........ ;)
"The upperside of the wings are clear white with black wing tips, one black spot (two in the female) on the forewing, and a black patch on the leading edge of the hindwing. The underside of the hindwing is a pale mustard-yellow colour. Wingspan: 32 to 47 mm."
"Cabbage White
Pieris rapae (Linnaeus, 1758)"
Have a great weekend everyone! :) ENJOY! (this photo is only cropped a tiny bit otherwise it's SOOC)
"Objective, Burma!" (1945) filming location, Los Angeles County Arboretum, Lucky Baldwin Queen Anne cottage
101 Oil Studies, No. 49
Objective: Values; capture the flame
Painted in 3 sessions: 30 Nov to 14 Dec 2024
Pigments (Winsor & Newton Artists' oil colour unless otherwise noted): Burnt sienna, permalba white (Weber), ivory black, transparent earth red (Gamblin), Winsor yellow, cobalt blue, cadmium red, cadmium orange, cadmium yellow, cadmium lemon. Mediums: Gamsol.
Centurion OP DLX oil primed linen, 30.5 x 22.9 cm (12 x 9 inches)
For the flame I used all four of the cadmium pigments and may have overdone the circus of color—but only if my goal was realism. Here I was applying loose strokes a little too loosely, not paying adequate attention to my reference photo. I was working on five studies simultaneously (nos. 45–49), and rushed this one. Some of the flame went greenish, away from the very hot cadmium yellow. The takeaway: Take more time and let things dry before adding the highlights.