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A Nata mandira (or Nata mandapa) is the dance hall of a Hindu temple. It is one of the buildings of the temple, especially in the Kalinga architecture. The name comes from the sanskrit Nata (=dance) and Mandira (=temple). The most known nata mandiras is in the one of the Temple of Surya at Konark
Manezhnaya (or Manege) Square in Moscow. / A Lovarda-tér (Manezs tér) a Kreml sarkánál.
Pictures taken in Moscow, Russia, May 2011. On my way to a conference, I changed flights and stopped in the capital for one day.
Képek Moszkvában 2011. májusában, amikor oroszországi utamat egy napra megszakítottam a fővárosban, hogy az oroszkönyvekből ismert várost személyesen is megnézhessem (érdekes és nagyon jó érzés volt egy könyvekből és képekről ismert városban sétálgatni).
Alumni 24 F&M 31 More pictures at: Photos by Kathleen Miao
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On northeast-bound Red Line MAX light rail (TriMet Transit)
- crossing Steel Bridge
- Broadway Bridge in background
- Willamette River
Unfortunatly I had to work this Halloween and nobody wanted to switch my shift with me because everyone had kids to. :(
So I quickly sneaked out on my break and rushed home for my 30min break. We did a speed trick or treating circle on our street and I had to race back to work. This guy had a huge pumpkin and also on the right the huge spider had a little tinny spider that wenn you clapped or made a louder noise it would release and climb back up his line :)
PORTLAND, OR - FEBRUARY 01: Nicolas Batum #88 of the Portland Trail Blazers goes up for a dunk over Gerald Henderson #15 of the Charlotte Bobcats during a game on February 1, 2010 at the Rose Garden Arena in Portland, Oregon. NOTE TO USER: User expressly acknowledges and agrees that, by downloading and or using this photograph, User is consenting to the terms and conditions of the Getty Images License Agreement. Mandatory Copyright Notice: Copyright 2010 NBAE (Photo by Sam Forencich/NBAE via Getty Images)
A first negative color film with my FOCAsport II (year 1962).
A Kodak Ektar 100 was loaded in the camera equipped with a FOCA metal shade hood and a FOCA AUV filter. The film was exposed for 100 ISO using a Minolta Autometer III with a 10° finder for selective light measurements privileging the shadow areas.
Jardin Botanique de Lyon September 7, 2023
Parc de la Tête d'Or
69006 Lyon
France
After complete exposure, the film was processed by a local labo service with a C-41 processing machine. The film was then digitalized using a Sony A7 body fitted to a Minolta Slide Duplicator installed on a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5. The RAW files obtained were processed without intermediate files in LR and edited to the final jpeg pictures.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg plus some documentary smartphone color pictures.
About the camera :
My FOCAsport II is a French 35mm camera manufactured in the OPL (Optique et Précision de Levallois S.A.) factory in Châteaudun, Eure, France in 1962.
The camera is the model-1, version-4 (1962) of the FOCAsport II series appeared in 1957 produced in France until late 1962. FOCAsport II was the most advanced FOCASport equipped with a 55mm basis range finder coupled to a Tessar-type fixed OPLAR 1:2.8 F=4,5cm with an ATOS II central shutter with 2 leaves limiting a bit the shortest exposition time to 1/300s down to the second plus the B pose.
The FOCAsport II was provided to the French "Armée de Terre" and the "Gendarmerie Nationale". It was less expensive than the FOCA camera with a focal curtain shutter even in its most basic version (FOCA Standard). For more affordable, It was also sold tax-free in many military stores for soldiers and officiers of the French Army, in France and oversea's.
The camera is in very good condition with clear lens and range finder correctly calibrated. It came with the original leather ever-ready FOCA bag, the original user manual, and a FOCA 36mm push-on green filter in original boxes.
A special Trunk or Treat event was held in the parking lot at Paint Branch Unitarian Universalist Church in Adelphi, Maryland following Sunday service on October 29, 2017.
Genoa Cathedral or Metropolitan Cathedral of Saint Lawrence (Italian: Duomo di Genova, Cattedrale di San Lorenzo) is a Roman Catholic cathedral in the Italian city of Genoa. It is dedicated to Saint Lawrence (San Lorenzo), and is the seat of the Archbishop of Genoa. The cathedral was consecrated by Pope Gelasius II in 1118 and was built between the twelfth century and the fourteenth century as fundamentally a medieval building, with some later additions. Secondary naves and side covers are of Romanesque style and the main facade is Gothic from the early thirteenth century, while capitals and columns with interior corridors date from the early fourteenth century. The bell tower and dome were built in the sixteenth century. Excavations under the pavement and in the area in front of today's west front have brought to light walls and pavements of Roman age as well as pre-Christian sarcophagi, suggesting the existence of a burial ground in the site. Later a church devoted to the Twelve Apostles was built, which was in turn flanked and replaced by a new cathedral dedicated to Saint Lawrence, in Romanesque style. Money came from the successful enterprises of the Genoese fleets in the Crusades. The first cathedral, now the basilica of St. Syrus, was founded probably in the 5th or 6th century AD, devoted to Saint Sirus, bishop of Genoa. The transferring of the cathedral favored the urbanization of the zone that, with the construction of its walls in 1155, and the fusion of the three ancient city nuclei (castrum, civitas and burgus), became the heart of the city. The piazza, in the absence of other public squares and centers of lay power, was the city's only public space for the whole of the Middle Ages. The cathedral was consecrated by Pope Gelasius II in 1118, and from 1133 had archiepiscopal rank. After the fire of 1296, provoked by fights between Guelphs and Ghibellines, the building was partly restored and partly rebuilt. Between 1307 and 1312 the façade was completed, the inner colonnades rebuilt with capitals and matronei added. The Romanesque structures remained pretty untouched, and frescoes of religious subjects were also added. Various altars and chapels have been erected between the 14th and 15th centuries. The small loggia on the north-eastern tower of the façade was built in 1455; the opposite one, in Mannerist style, is from 1522. In 1550 the Perugian architect Galeazzo Alessi was commissioned by the city magistrates to plan the reconstruction of the entire building; however, he executed only the covering of the nave and aisles, the pavement, the dome and the apse. The construction of the cathedral was finished in the 17th century. The dome and the medieval parts were restored in 1894–1900. The present 7 bells are tuned in the major scale of C#. Among the artworks inside the church are ceiling frescoes in a chapel on the north by Luca Cambiaso; a Crucifixion with Saints (St. Sebastian's Vision) by Barocci; in front of the organ is an Episode from the life of St. Lawrence by Giovanni Andrea Ansaldo; the ceiling fresco in the presbytery of the Martyrdom of St Lawrence was painted by Lazzaro Tavarone; and an Assumption of the Virgin (1914) by Gaetano Previati. The church also contains 14th-century frescoes in the Byzantine style in the main portal. Sculptural works include a statue in the chapel of St. John by Domenico Gagini ; a Virgin and a St. John the Baptist by Andrea Sansovino. Other works include works by Matteo Civitali, Taddeo Carlone, and Giacomo and Guglielmo Della Porta . The Museum of the Treasury lies under the cathedral and holds a collection of jewelry and silverware from 9 AD up to the present. Among the most important pieces are the sacred bowl brought by Guglielmo Embriaco after the conquest of Caesarea and supposed to be the chalice used by Christ during the Last Supper; and the Cassa Processionale del Corpus Domini.
There was never any more inception tan there is now,
Nor any more youth or age than there is now,
And will never be any more perfection than there is now,
Nor any more heaven or hell than there is now,
Urge and urge and urge
Always the procreant urge of the world.
I know I am deathless
I know this orbit of mine cannot be
I exist as I am, than is enough
If no orber in the world be aware I sit content
And if each and all be aware I sit content
O I willing stake all for you
O let me be lost if it must be so!
O you and I! What is it to us what the rest do or think?
I exist as I am, that is enough
Celebrate myself, i sing myself...
Trippers and askers surround me,
People I meet, the effects upon me of my early life or the ward and city
I live in, or the nation.
My dinner, dress, associates, looks, compliments, duis.
The real or fancied indifference of some man or woman I love.
Backward, I see in my ows days where sweated through for with linguists and contenders,
I have no mockings or arguments, I witness and wait,
I belive in you my soul, the other I am must not abuse itself to you.
black and white photography by @postmodernism forms