View allAll Photos Tagged Objects
My art is always about great Journeys. I invite you to come with me on todays. I have been working on changing my way of thinking of my self and who I Believe I am. I plan to be better then I was yesterday. This image is a Visual interpretation of my internal self. I always see my emotions as colors. To day Im busting out no walls can hold me back. Power strong will and driving without fear. Fear can just go take a hike. Every thing is going to be new. I start to open to the new truth in this life. I will shoot past the moon and stars in to the far off next galaxy. I become all my dreams and hold the keys to open every door I please. No more locks bricks or walls can ever hold me. Im the wave and I carve my path to day. I for give my mistakes of the past and will not look back. May I live each day as if it were my last day. For now I shall just engage. You better hold on this will be a fantastic new adventure.
Hay Im on Facebook now so look me up. I will be adding art for people to invest in. Any cool help to add value to my art is welcome.
www.facebook.com/profile.php?id=100016188035375
Mike
Father and son collaboration
Our photographic art is a kinetic motion study, from the results of interacting with my son A.J and his toys.
He was born severely handicapped much like a quadriplegic. On December 17,1998. Our family’s goal has always been to help A.J. use his mind, even though he has minimal use of his body.
A.J. likes to watch lights and movement. One of the few things he can do for himself is to operate a switch that sets in motion lights and various shiny, colorful streamers and toys that swirl above his bed.
One day I took a picture of A.J. with his toys flying out from the big mobile near his bed like swings on a carnival ride. I liked the way the swirling objects and colors looked in the photo.
I wanted to study the motion more and photograph the whirling objects in an artful way, I wanted my son A.J. to be a part of it. After all, he’s the one who inspires me. When A.J. and I work together on our motion artwork, A.J. starts his streamers and objects twirling, I take the photographs.
Activating a tiny switch might not seem like much to some, but it’s all A.J. can do. He controls the direction the mobile will spin, as well as when it starts and stops. The shutter speeds are long, and sometimes, I move the camera and other times I hold it still.
I begin our creation with a Nikon digital camera. Then I use my computer with Photoshop to alter the images into what I feel might be an artistic way. Working with Photoshop, I find the best parts from several images and combine them into the final composite photograph. I consider the finished work to be fine art. The computer is just the vehicle that helps my expressions grow.
I take the photographs and A.J. adds the magic. It’s something this father and son do together. After I’ve taken a few shots, I show him the photos in the back of the camera. When the images are completed, I show him from a laptop. He just looks. He can’t tell me whether or not he likes the images, but he’s always ready to work with me again.
It offers me my only glance into A.J.’s secret world. We’ve built a large collection of images and I hope the motion and color move you as much as they do me.
A.J. inspires me to work harder to understand my life in the areas of art, photography, people, spirituality, and so much more. He truly sets my mind in motion and helps me find the beauty in everyday things.
Abstract Art set:
www.flickr.com/photos/patnode-rainbowman/sets/72157602269...
AJ Patnode - A Journey of Hope (documentary):
www.youtube.com/watch?v=OR7m8QFcmRM
This shows how we do the Camera work:
www.youtube.com/watch?v=fmjVVGraUVw
AJ'S blog:
For the "Objects for Layer" group.
Please feel free to use as you please.
It would be nice if you do use it to link back to me. Thanks :-)
The Victoria and Albert Museum (often abbreviated as the V&A) in London is the world's largest museum of applied arts, decorative arts and design, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert. The V&A is located in the Royal Borough of Kensington and Chelsea, in an area known as "Albertopolis" because of its association with Prince Albert, the Albert Memorial and the major cultural institutions with which he was associated. These include the Natural History Museum, the Science Museum, the Royal Albert Hall and Imperial College London. The museum is a non-departmental public body sponsored by the Department for Digital, Culture, Media and Sport. As with other national British museums, entrance is free. The V&A covers 12.5 acres and 145 galleries. Its collection spans 5,000 years of art, from ancient times to the present day, from the cultures of Europe, North America, Asia and North Africa. However, the art of antiquity in most areas is not collected. The holdings of ceramics, glass, textiles, costumes, silver, ironwork, jewellery, furniture, medieval objects, sculpture, prints and printmaking, drawings and photographs are among the largest and most comprehensive in the world. The museum owns the world's largest collection of post-classical sculpture, with the holdings of Italian Renaissance items being the largest outside Italy. The departments of Asia include art from South Asia, China, Japan, Korea and the Islamic world. The East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork, while the Islamic collection is amongst the largest in the Western world. Overall, it is one of the largest museums in the world.
IS IT REAL?
This waterfall is a water object in a park in Schaumburg, IL - USA. The park has a pond, colored pavers, retaining walls, planting beds, fountain and painted ornamental ironwork. It is an "open space" within the city. Many of the suburbs in the area have them.... its all part of Generica (Generic + America).
PROCESSESED?
This waterfall was part of a designers plan. The stones were laid by tradesmen and the water was made to flow across them to give people a feel as if they were viewing the beauty of nature. My photograph has obviously been processed, in the same manner that the designer of this water fall used. I wanted to let the viewer feel as if they were remembering a natural water fall from their past. I tried to give it a dreamy feel.
ENGINEER vs PHOTOGRAPHER
The question arises - Is a manufactured environment or memory wrong? As the designer layed out each part of this water fall - I layed out the coloring of each pixel. The result is engineered. The designer's calculated, gentle drop in elevation and my calculated cropping of parked cars in the background. We both try to achieve the same.
RIGHT or WRONG
People are more affected by other people than any other factor in our lives. This makes sense that we can create emotion through artwork. I hope that this artifact and my presentation will bring the viewer some joy. Many people will be able to see the processed environment that has been created, but will still enjoy the photograph.
Maker: Charles Joshua Chaplin from a painting by Charles Negre
Born: France
Active: France
Medium: engraving
Size: 8 1/4 in x 5 5/8 in
Location:
Object No. 2022.705
Shelf: B-24
Publication: L' Artiste, Veme serie, tome VI, 1851
Collection M.+M. Auer, une histoire de la photographie, editions m+m, Hermance, 2003, pg 90
Other Collections: Auer Photo Foundation
Provenance:
Notes: Charles Joshua Chaplin (8 June 1825 – 30 January 1891) was a French painter and printmaker who painted both landscapes and portraits. He was an accomplished artist mastering different techniques such as pastels, lithography, watercolor, chalk, oil painting and etching. He was best known for his elegant portraits of young women.
To view the original painting by Charles Negre, visit: LEDA AND THE SWAN
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
1 Prim Infinity Kitchen ADULT 900 Animations & 2 Free Bar Stools Sex Kitchen Lovers Kitchen Low Prim Kitchen 1LI Kitchen
Canon 7 rangefinder camera.
Produced c.1963.
LZOS Jupiter-12 2.8/35mm lens.
.
Kevelaer (D). January 2021.
Bicycle art object.
.
.
Film Kodak Colorplus 200.
Scanner Plustek Opticfilm 120 Pro at 5300ppi, downscaled to 2048 pixels width.
Sharpening, IR-Dustremoval, exposure, contrast and color adjustments in PSE11.
(Macaca nigra) These critically endangered old world monkeys are hunted as pests as they eat crops and are also killed for bushmeat in Indonesia. Together with rainforest habitat change, this has devastated the populations on Sulawesi from 300 individuals per square kilometre to 20 to 60 individuals today. The striking reddish-brown eyes are unusual for a primate. Congratulations to Marwell Wildlife Park near Winchester for successfully raising two recent infants.
Das Kaverliershaus wurde schon 1804 errichtet, 1824/25 erweitert. Es diente zur Unterbringung der Gäste und des Dienstpersonals. Seit 1825 wird es auch das Danziger Haus genannt, da die verzierenden Fassadenteile aus Danzig von einem dortigen Haus mittels
Lastkähnen zur Pfaueninsel gebracht wurden. Bereits vorher (vor 1480) sollen diese Fassadenteile schon in Nürnberg (seit 1360) ein Haus verziert haben, und zuvor in Venedig hergestellt worden sein soll. Die Bausubstanz des Kavaliershauses ist heute schlecht, eine Sanierung für dien nächsten Jahre angekündigt. Das Haus wird heute von zwei Familien
bewohnt und kann daher nicht innen besichtigt werden. (Quelle: www.berliner-verkehrsseiten.de/pfaueninsel/ )
The Cavalier House was built as early as 1804 and extended in 1824/25. It served as accommodation for guests and service personnel. Since 1825 it has also been called the Dantzig House, because the decorative façade parts were removed from a house in there and brought to Peacock Island by barges. It is said that these parts of the façade had already decorated a house in Nuremberg (since 1360), and that they had previously been made in Venice. The building condition of the Cavalier House is poor today, a renovation is announced for the next years. Today two families live in the house.
(Source: www.berliner-verkehrsseiten.de/pfaueninsel/ )
The gardening and architectural design of 67-hectare Peacock Island began at the end of the 18th century under King Frederick William II and his mistress Wilhelmine Encke. They had the small summer palace and a dairy constructed in a picturesque building style resembling a monastery gone to ruin, based on English and French models, with references to an ancient Roman style as well.
Modeled on islands in the South Pacific discovered approximately 20 years before, exotic trees and plants gradually took root on this island – as did the colorful peacocks and menagerie completing the exoticism of Peacock Island. However, most of its animals were given to the zoological garden in Berlin in 1842, which led to the foundation of the current zoo.
Later, during the era of Queen Luise, the island was transformed into an aesthetically stylized ornamental mock farm, but with farming practices intended to yield profits at the same time. The project was abandoned shortly thereafter, and Peter Joseph Lenné designed a picturesque landscape park in its place.
Today, Peacock Island – its palace, dairy and the other park buildings, its charming footpaths with beautiful views, nearly 400 old oaks and the oldest rose garden in Berlin – is a popular destination for leisurely strolls in peaceful surroundings. The island is part of the UNESCO World Heritage and is a protected flora and fauna habitat.
Peacock Island is a world-renowned example of garden design. Please help us to maintain the park as a place of culture and recreation.
Salgótarján-Pintértelep
Camera: Zero45
Film: Fuji fp100c --->converted bw
F: 138
T: 32 sec.
Thanks for your looking!
A.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of young girl standing in front of wrought iron railing; wearing short light coloured dress with lace trimmed bib, mutton sleeves, high collar; blond hair; light lace hat trimmed with light feathers and small flowers; dark tights, shoes and spats; garden backdrop; dried leaves in foreground; writing in pencil on back identifies subject as Eleanore Coombs Miller, about 4 years old. Aunt Lottie made her hat.
Object ID : 0391-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
A few items leftover from a couple of photos I did this week. I had just mounted a newly arrived used 25mm f:1.4 Panasonic on the E-M1 and as I was testing it out I saw these laying on the mirror and took a snap.
, 御神輿, OMIKOSHI, Portable Shrine Carriage For Gods,
, 御神体, Object of Worship,
, 神事, Shinto Ritual,
, 稲取どんつく祭り, DONTSUKU Festival,
, #INATORI #IZU
. NIKON D700 with Ai AF Nikkor 50mm f/1.4S
The Crawford family first came to Bangor in the early seventeenth century. William Crawford rented the area which became known as Crawfordsburn from Sir James Hamilton. In 1670 the family purchased the estate from the Earl of Clanbrasil. Eventually the estate passed to the Sharman family by marriage in the early nineteenth century.
William Sharman was born in 1781. He was brought up at Moira Castle which his father rented. This house no longer exists. William’s father was a collector of revenue and customs in the Lisburn area, but also owned land in various places, including Rathfriland. William later wrote about his youth, explaining that he was considered a delicate child. He did not go to school and was taught by his father. He was not sent to college either, lest his morals should be corrupted!
In 1805 William married Mabel Crawford of Crawfordsburn. They lived for a time on the family estate in Meath and also in Dublin. In 1826 they were called to Crawfordsburn. Mabel’s father was in his 80s and her brother had been badly injured. It was decided to break the male entail on the estate. When Mr. Crawford died in 1827, William and Mabel became the owners of the Crawfordsburn estate. William adopted the name of Crawford by royal license.
William Sharman Crawford, aged 47, was now the owner of 5,748 acres in County Down at Crawfordsburn, Rademon, Banbridge and Rathfriland as well as 754 acres at Stalleen in County Meath. He had a substantial income of £8,000 a year. Mabel and William now resided at Crawfordsburn. We were shown a picture of the house from a book by Proctor and Malloy, published in the early 1830s. The house had been built about 1780 and modified about 1820. The gate house on the Crawfordsburn Road is quite sophisticated when compared to the original house. The reason is probably genealogical. One of his sisters married the first Earl of Caledon and their son employed the famous architect John Nash to remodel his house. The Crawfords probably met Nash when staying at Caledon and got plans for the gate lodge.
William Sharman Crawford took an active interest in politics. He is best known for his advocacy of Tenant Right – the Ulster Custom which gave a tenant greater security through the three “f”s: fair rent, fixity of tenure and free sale of goodwill. Crawford called this “The darling object of my heart”. This idea was not popular with other landlords, but Crawford remained a strong advocate of it for the rest of his life. He may have been influenced by one of his tenants from the Banbridge area – Hugh Bronte, the grandfather of the Bronte sisters of Haworth.
In 1831 Crawford contested the election for County Down. Two families had for some time dominated the two seats available for the county in the House of Commons – the Hills of Hillsborough and the Stewarts of Mount Stewart. Two sons of these families also contested the 1831 election. Voting took place over four days in Downpatrick and there were allegations of bribery. Crawford was supported by Mr. Johnston who owned a brewery in Newtownards. He also held 50 acres from the Stewart family which he lost after the election. Sharman Crawford failed to win a seat, but did not give up his political ambitions.
In 1832 he stood for Belfast against Lord Arthur Chichester, the son of the Marquis of Donegall. He lost support because of his views on scripture and education. A new education scheme included the spending of half a day on scripture. Crawford approved the reading of scripture, but not as something to be enforced in schools. He endorsed the sign on Crawfordsburn school which said “No Bible Read Here”. Finally he entered parliament as M.P. for Dundalk in 1834. His tenants and the local Bangor liberals welcomed him home with celebrations and bonfires. His success at Dundalk was probably due to several factors. There were only 200 men in the town qualified to vote and he had the backing of the famous Irish politician Daniel O’Connell. Lord Castlereagh called him O’Connell’s slave but they later fell out as Crawford favoured reform and a federal system in Ireland, while O’Connell went further and advocated the end of the Union. Crawford held the Dundalk seat until 1837.
Now he was in parliament, Crawford came to the attention of the English radicals. He was offered a seat in Rochdale as a supporter of free trade and was the M.P. for the town for 11 years. In 1852 he once more contested the County Down seat. It was a hotly contested election with rioting in Downpatrick where the election was held. Local papers condemned his radical views.
William Sharman Crawford died in 1861 aged 81. His funeral took place from Rademon to the family vault at Kilmore Church.
His daughter Mabel, one of eleven children, became a great traveller, writer and feminist. She wrote three books, including one on Life in Tuscany. The estate was inherited by Major John Sharman Crawford who had been born in 1809. He faced difficult times due to famine, crop prices and land acts. It was during his time that the railway was extended from Holywood to Bangor in 1865. He made improvements to the estate, including the gate lodge on the Helen’s Bay road.
On his death the estate passed to his brother Arthur, a barrister. The latter restored the family fortunes by his marriage to a distant cousin Alicia, whose family owned a brewery in Cork. The brewery was inherited by her son, Colonel Robert Gordon Sharman Crawford in 1889. On the death of his father in 1891, he also inherited the Crawfordsburn estate. He built the model farm and land steward’s house. Then in 1904 he began building the present Crawfordsburn house which was designed by Vincent Craig, brother of the politician Sir James Craig. It was a substantial house in the Victorian style and had 25 bedrooms, including those for the servants. Vincent Craig also built a house for himself in Helen’s Bay and designed the Royal Ulster Yacht Club headquarters about 1899.
Colonel Crawford became deeply involved in unionist politics at the time of the Home Rule Crisis, before the First World War. He became an M.P. and later a member of the Northern Ireland Senate. His son was killed in a motorbike accident at Aldershot in July 1913. Terence Sharman Crawford is commemorated by a plaque in St. John’s Church in Helen’s Bay. His father also built a memorial hall in Crawfordsburn in 1914. The inscription “RGSC 1914” is still visible on the corner of the building. Edward Carson was staying with Crawford at the time of Terence’s death. Carson was due to address a meeting of Volunteers on the afternoon of the day when the telegram arrived, but Crawford insisted that the meeting went ahead. Crawford became commander of the North Down battalion of the Ulster Volunteers. When Northern Ireland was set up in 1921 he became M.P. for mid-Down.
Crawford’s other great passion was sailing and he became Vice Commodore of the Royal Ulster Yacht Club. He was involved with some of Sir Thomas Lipton’s challenges for the America’s Cup. He died in 1934 of pneumonia while on a trip to New York. The Crawfordsburn estate passed to his grandson who was a minor. Finally in 1947 the estate was sold to the Northern Ireland Hospitals’ Authority. The house became a children’s TB hospital. More recently it was sold and converted into flats. .... called Sharman.
Extract from online notes of Bangor Historical Society.
Although I know that the colors of objects we see is the result of waves of light being absorbed or reflected, I don’t often think about it in daily life unless there’s some kind of extraordinary source of it that causes me to take notice. A classic example is a small beam of sunlight leaking into a dark room. Or perhaps the light bouncing off one wall onto another. Such is the case here, where the morning light has reached one side of this narrow section of remote desert narrows but not the other. The intense rays of the Sun on a clear day illuminate the old carved rock wall bouncing across to the other side which features pronounced striped patterns that have eroded at different rates. The reflected light onto the darker wall caught my immediate interest in this scene, and I loved also the S curve of the shadow line from canyon walls high above that mirrored the contour of the floor of the canyon.