View allAll Photos Tagged Overtone
Blue ice occurs when snow falls on a glacier, is compressed, and becomes part of a glacier. During its travels, all of the air bubbles that are trapped in the ice are squeezed out, and the size of the ice crystals increases, making it clear. The ice is blue for the same reason water is blue. Namely, it is a result of an overtone of a OH molecular stretch in the water which absorbs light at the red end of the visible spectrum.
They break and melt and are floating via the lake to the sea. The white, light blue and through grit and volcanic matter grey and black colored icebergshave the most running out forms. They are drifted along hit by the stream or the wind till they hit the bottom of the lake. Only a small part of the iceberg is above the water. Beautiful scenes of the James Bond- film: 'A view to a kill' and 'Die another day' have been taken up here.
© All rights reserved
One of my favorite bars in Ogden and the world. Far from classy. But the signs are pretty original and the building and interior are gorgeous. Looks the same as when Alphonse Capone frequented the town...
Shot on very expired Fuji 200. Shot in morning daylight at 1/100 at f/11. I set the lens focus to 25 feet figuring i'd get 12.5 feet to infinity. The Windsor sign was about 12 feet over my head the Club sign was 100 feet or more. Lens performed brilliantly as seen.
Developed bleach bypass in my alternate color process:
First, a B&W predeveloper para aminophenol ( PAP ).
Pre-wash, predeveloped, processed in Fuji C-41 color dev, bleach bypass / skip bleach, fixed, washed n stuff...
Predevelop was a simple non-Rodinal PAP para-aminophenol developer as follows:
(From Andresen's 1891 patent alongside original Rodinal)
PAP developer (use at 80 degrees F)
800 ML Water
50 gm sodium sulfite
25 gm sodium hydroxide
5 gm para aminophenol hydrochloride
Water to 1L
Dilute 1:4 for use one shot
Developed for 2:15 minutes with typical agitation
Rinse 1 1/2 minutes
C-41 developer 3:15 minutes
Rinse 2 minutes
Skip bleach
Fix in Ilford Hypam rapid 1:4 for 8 minutes continuous agitation
This gives a heavy GOLD overtone that has to be filtered out, loved, or lived with. It is easy to do in photoshop and vuescan does a good job as well.
The PAP predeveloper helps with the remjet, it's benefits to the process are unknown, if any, but I like the colors so there you are....
Sunset Overtone ~ ~ Atardecer armónico ~ ~ ~ ~ ~ silhouette art / silueta arte ~ ~ light refraction / scenic / photography. ~ ~ refracción de la luz / escénica / fotografía. ~ plawson8
Landscape shots with Eastman Kodak 250D 5205 Vision2 expired from 2005 or so.
Shot with Nikon N90s. Some sprocket hole drag, I believe because I predeveloped in black and white but I ran that process longer than before. Bleach bypass on C-41 cross process from ECN-2 motion picture negative film.
Developed bleach bypass in my alternate color process:
First, a B&W predeveloper para aminophenol ( PAP ).
Pre-wash, predeveloped, cross processed in Fuji C-41 color dev, bleach bypass / skip bleach, fixed, washed n stuff...
Predevelop was a simple non-Rodinal PAP para-aminophenol developer as follows:
(From Andresen's 1891 patent alongside original Rodinal)
PAP developer (use at 80 degrees F)
800 ML Water
50 gm sodium sulfite
25 gm sodium hydroxide
5 gm para aminophenol hydrochloride
Water to 1L
Dilute 1:4 for use one shot
Developed for 3:00 minutes with typical agitation
Rinse 1 1/2 minutes
C-41 developer 3:15 minutes
Rinse 2 minutes
Skip bleach
Fix in Ilford Hypam rapid 1:4 for 8 minutes continuous agitation
This gives a heavy GOLD overtone that has to be filtered out, loved, or lived with. It is easy to do in photoshop and vuescan does a good job as well.
The PAP predeveloper helps with the remjet, it's benefits to the process are unknown, if any, but I like the colors so there you are....
Tumen Ekh National Song & Dance Ensemble.
A must see.
Classic Mongolian Folksong what includes Overtone singing, known as höömij (throat), is a singing technique. This type of singing is considered more as a type of instrument. It involves different ways of breathing: producing two distinctively audible pitches at the same time, one being a whistle like sound and the other beaning a drone base. The sound is a result of locked breathes in the chest.
www.lonelyplanet.com/mongolia/ulaanbaatar/entertainment/t...
13-15c Church of St.John the Baptist, Cold Overton (Overtone) Leicestershire
The Domesday survey of 1086 says "on the demesne of Drogo de Beurcre lived a priest", however the earliest named priest was Romainus, rector in 1220. Walter Espec settled the advowson of the church on the priory he founded at Kirkham Yorkshire in 1151 and they were patrons until 1274 when the Lords of the manor took over, beginning with Sir Nicholas de Segrave.
13c Nave and aisles, 14c chancel followed by 15c two stage tower, porch and clerestory.
The south lady chapel altar was once the site of an important shrine which was enclosed by a parclose screen and upon the plaster walls here are the remains of medieval paintings of the nativity of Christ, gathering of the apostles at the death of the Virgin, Funeral of the Virgin, St Catherine, St Margaret and St John the Baptist. Later c 1690 It became the burial place of the St Johns who built the present hall.
Restored by J. T. Micklethwaite in 1889 with new roofs, Lord & Lady Manners of the hall also provided the present seating and candle brackets
In 1920 James Montague provided the chancel east window stained glass, altar table, reredos, lectern and chancel furniture in "thanks for his safe return form the Great War"
.
here are memorials to the mid 18c Frewen Turner family lords of the manor
Hasui Kawase creating a woodblock print [English narration]
youtu.be/BQmF3HHyWwI?si=Y--2CD92Ov3EapUR
Kawase Hasui: A collection of 671 etchings (HD)
youtu.be/R2RBM6Pb2-E?si=RZ3DuAhVnMCpj1UB
Shubi Pine
Library of Congress ukiyo-e print of Shubi Pines at night.
Ukiyo-e Japan Japanese Print Pine Shubi "Shubi Pine" Night Light Brace
"Pine Trees" Boat Water c1910 01837u
www.flickr.com/photos/21728045@N08/28882838014/in/photoli...
Lake Biwa" by Koho Shoda (1871-1946), the date of making of this print could be 1930, the publisher was Nishinomiya Yosaku.
A ferryman poles his passenger beneath the stars on Lake Biwa. The braced pine tree in the foreground is probably meant to be the famed Karasaki Pine Tree that was depicted many times by other Japanese woodblock artists including the great masters Hiroshige and Hasui.
ABOUT THE NIGHT SCENES SERIES
The "Night Scene" series of prints published during the early 1900's by Hasegawa/Nishinomiya of Tokyo. There are 21 chuban-sized prints included in the series which is indicative of the early transitional style of shin-hanga, the dominant movement in Japanese print making during the first half of the twentieth century. The artists who created designs for the series were: Koho Shoda, Eijiro Kobayashi, Yoshimune Arai, Kiyochika Kobayashi, and Gyosui Suzuki.
The series is comprised of prints showing evening and night views of popular Japanese landscape tableaux often under a full moon. Variant editions employing sepia and brown tones are also known, but the series is printed primarily in blues and blacks with highlights of yellow, red and pink.
www.flickr.com/photos/21728045@N08/7282579890/
www.flickr.com/photos/21728045@N08/8041440994/
www.flickr.com/photos/44852306@N06/10094375824/in/photoli...
www.flickr.com/photos/48855050@N00/870430077/in/photolist...
www.flickr.com/photos/58019929@N04/7157629018/in/photolis...
A Visit to "Nishinomiya Woodblock Print Shop" (or "Nishinomiya Hangaten")
(Information from interviews conducted by Andreas Grund; Tokyo, June 2004 and earlier.)
"Valley of the Nightingale," or in Japanese, Uguisudani, that is the name of the nearest train station to the "Nishinomiya Woodblock Print Shop" (or "Nishinomiya Hangaten") in a northern Tokyo suburb. Many of our readers will instantly recognize the name "Nishinomiya" as being the publisher of the quintessential 21 "chuban" format (7 x 10 inch) print series know as "The Night Scenes" (originally published ca1910-20), and the 10 "oban" designs by Ito Yuhan (believed to be designed in the 1930's), whose "soft print style" evokes the romantic beauty of Japan's unspoiled past. Sadly, the nightingales in this busy place now are gone for decades. However, you can listen to their songs as a playback from the platform's speakers, provided, it is not overtoned by the noisy karasu (crows) from nearby Ueno Park.
Uguisudani Station
The Neighbourhood - A View from the Platform
The Nishinomiya estate still exists, and is actually a compound of substantial size, comprised of several buildings, new ones, and older ones. Especially one of the buildings looks completely strange is this neighborhood, it seems like being transferred from old Europe to Tokyo. Although aged now and in a condition which is far from its glorious past, it still shows a certain charm. A metal mailbox just in front confirmed that we reached our destination - Nishinomiya Hangaten, to be translated best as "Nishinomiya Woodblock Print Shop."
The old Victorian Nishinomiya House, left the new house
The Mailbox: upper Nishinomiya Hangaten, lower Nishinomiya Yusaku
Here then, I got the chance to meet on several occasions with Mr. Nishinomiya Yusaku, born 1932 as the son of Nishinomiya Yosaku (1896-1986). He was cheerful and of a pleasant personality, and I hardly could believe his age. Communication with him is easy, he speaks English very well. We always met in the "old house", which the Nishinomiya family acquired around 1920 from the famous Mutsu Minemitsu family. Mr. Minemitsu once was a foreign minister during the Meiji Era (1868-1912 period). This older Victorian-style house was not used for living.
Inside the "old" house
A carved plate
Although used previously as the studio for carving and printing, now this old house is used merely a warehouse, although the remaining woodblocks are kept in a separate storage under temperature and humidity control to keep them in "good shape." In the past years, around this location all kinds of art supplies were available, paper, brushes, and pigments due to being in the vicinity of the many art museums in Ueno. The carved wooden plate shown above right reads "Nihon Mokuhan Kogyo Kyokai,", which means "Member of the Japanese Woodblock Print Industry Assocation."
Nishinomiya Yusaku
Reading a letter from Robert O. Muller
Nishinomiya Yusaku - his firstname is almost identical to his father's "Yosaku" -and his son Kensaku, born 1977, continue the publishing business on small scale to this day, but complain the lack of good artists and artisans, especially printers, nowadays. He remembers well many old artisans of the print business, for example printer Yokoi, who was Seki's uncle and lived in nearby Iidabashi. The strongest pillar of the business was always the export of prints to the USA. An insurance document of 1986 (which by chance I happened to see) stated the shipping of 290 prints in one shipment to a dealer in San Francisco in 1986. On one of my visits I was glad to accept as a gift an old Hasegawa catalogue, showing the complete range of books and prints for sale. This catalogue, however, does not include any prints by either Koson or Ito Yuhan. As explained by Mr. Nishinomiya, this catalogue was published around 1930, which explains the above missing artists.
In the mid-thirties Nishinomiya bought ten complete sets of woodblocks of Koson prints from Daihei(?) =Daikokuya(?) and published them pre-War, bearing the seal "Nishinomiya" on one of their margins. Only a very few of these old prints remained still in-stock, all of which were obtained to be made available for the customers of Ukiyoe-Gallery.com.
The "Night Scenes" Series (21 Print Designs)
The wonderfully evocative blue "Night Scenes" are certainly an integral part of the shin-hanga movement and are among the most famous prints published by Nishinomiya. Published since the early 1920's, in various shades of blue, gray and sepia, the best selling of these designs got reprinted again and again, on average one batch in two years. The "block sets" are still the original blocks, however, it is very likely that some of the worn or damaged blocks got recarved over the time.
According to Yasaku, the last reported reprinting session was done around 1996; these "newer" prints can be easily recognized by the bright paper with wide, straight-cut margins. Nishinomiya confirmed however that he does not intend to reprint again! With no more "later" prints left in stock, these too will soon become rare. For further information, especially the "early years" of Hasegawa / Nishinomiya and about the "Night Scenes," see the relevant articles at our good friend Marc Kahn's Shotei.com website. Be sure to also visit our just-completed Ukiyoe-Gallery article "The 'Night Scenes' by Hasegawa/Nishinomiya Publisher."
The remaining few "Night Scenes" inventory
The early Showa Catalogue, left; and a bi-colored woodblock from an unknown artist, right
Ito Yuhan (1882 to 1951)
Perhaps most surprisingly, I was able to learn that all prints by Ito Yuhan are post-War, made around 1950!! Kuga Denkichi carved these various block-sets, which still exist and were used for occasional reprints until approximately 1990. The then later printer (for later posthumous editions) was a printer named Watanabe (not Eji Watanabe). These posthumous prints are also characterized typically by the use of newer paper and wide, cut margins.
Some Ito Yuhan Prints
Yuhan, I was able to learn, was very demanding as an artist--often he mixed the pigments for the printing process by himself, while supervising the printing personally. The earliest print designs of Yuhan included the incorporation of the typical black "key-block" for the outlines and details, whereas his later prints are known for their "soft, almost pastel-like" appearance, thusly imparting the look of hand-painted watercolor prints. However, interestingly I learned, even for these "soft" prints a "key-block" still existed, as it was essential for the registration and preparation of the many various individual color blocks. It simply was NOT imprinted later during the final printing. To learn more about how a print's "key-block" is needed to accurately produce the many other blocks required to produce a given print, see our website's January 2002 article titled ""Hanshita," or Black Ink "Key-block" Outlines."
Early Yuhan print with black "key-block"
Later design, without use of a "key- block"
The seal: Hanken shoyu (upper), Nishinomiya Yosaku
As with the "Night Scene" prints mentioned earlier, we were also able to purchase the remaining stock of Ito Yuhan's prints for Ukiyoe-Gallery.
Robert O. Muller's Ties to the Nishinomiya Family
As I was able to learn, Yusaku knew Robert Muller and his wife Inge very well. Bob had visited them three times in Tokyo, the last time, accompanied by his daughter Trudy, in May 1986, after a break of 23 years. Sometimes, Bob stayed overnight at the Nishinomiya family, but not in the old Victorian house. We talked about Bob Muller, his famous collection and the business story of Shima Art Company and the Robert Lee Gallery. Mr. Nishinomiya remembered, that occasionally he was asked to obtain Hasui prints from Doi Publisher for Bob Muller. Yusaku showed me some correspondence between Bob and himself, of which we are glad to display their content here, giving us deep insights of the sensitive and caring character of Robert Muller and his warm relationship with the Nishinomiya family. In return I gave him a set of printed copies from Marc Kahn's articles at his wonderful Shotei.com website about Robert Muller.
Robert Muller already bought prints before the War from Nishinomiya.
A handwritten letter by Robert Muller
Following immediately below are the transcripts of three letters between Robert Muller and Yusaku Nishinomiya. The handwritten letter above is shown last.
Letters between Robert Muller and the Nishinomiya Family
Mr. Yusaku Nishinomiya, Tokyo February 28, 1986
Dear Nishinomiya-San,
This winter, as all our winters, has been very cold. Every evening I take a hot bath, soaking up the wonderful heat; and then I think back to when I came to Japan twenty-three years ago, in February, and your father invited me to your home, and every evening I took a hot bath to prepare me for the cozy futon. I felt most privileged to be included in the warmth of your family life, and it is one of the happy memories of my life.
And now I am making plans for another visit to Japan, and I look forward to seeing you once more. This time one of my daughters has said she will not be left out. The two of us will be arriving May 17th, staying at the Hilltop Hotel. As usual the stay will be much too short, for we will be also going to Kyoto and further.
How is your family? Growing fast, I am sure. Kensaku must be about ten years old now. Are you still living in Gamo? And your parents? The years go by so fast, and I am afraid to ask.
Last year you wrote explaining about the Hasegawa artists. I understand that these facts of the past are not always easy to find.
All my best to your good wife.
Sincerely
Robert M.
Mr. Robert O. Muller May 7, 1986
Merwin's Art Shop
New Haven Conn. U.S.A.
Dear Mr. Muller,
I am wondering if this letter reaches you before you leave your place.
At any rate, we look forward seeing you soon, although we have some story which we have to tell you.
Sincerely yours,
Y. Nishinomiya
Via Air Mail
Robert O. Muller
Dear Nishinomiya-San,
It was good to see you and Takeshi one more in your old home and to catch up on family news, even though I was saddened to hear that your father is no longer with us. He was a fine gentleman for whom I had much respect, and he helped me much with my knowledge and collecting of Japanese prints. An he was very patient with my ignorance about many things.
Also I am sorry that Trudy and I have such a busy and short visit, for we would have liked to see your family, Tamiko and the children - giving Kensaku an opportunity to practice his English!
The present high rate of the yen, or rather the collapse of the dollar will have a big influence on the Japanese print market in the U.S.A.
All my best to your good wife, also from Trudy.
Sincerely,
Robert M.
5/21/86
If there is anything I can do for you in America be sure to let me know -
Closing Thoughts....
Yusaku Nishinomiya is for me one of the very few remaining symbols of the shin-hanga movement. Whenever I am able to find the occasion to visit with him, I always feel welcome and apparently Mr. Nishinomiya is also made happy, having found someone he too can talk to passionately about woodblock prints. Definitely I want to visit him again!!
© Andreas Grund and Thomas Crossland, June 2004
Gallery Terms Ordering About Us We Buy Prints Library
KOHO SHODA
Stars Over Lake Biwa
from the series Night Scenes
Date: not dated but thought to be 1910s-20s, published by Nishinomiya with publisher's seal in the lower left margin
Size: chuban, approx. 7.1" X 10"+ margins as shown
Condition: VG, no flaws, uncirculated print, never framed
Impression: Fine, solid key lines, and tight registration
Color: Fine, saturated color and bleed through to verso
A ferryman poles his passenger beneath the stars on Lake Biwa. The braced pine tree in the foreground is probably meant to be the famed Karasaki Pine Tree that was depicted many times by other Japanese woodblock artists including the great masters Hiroshige and Hasui.
ABOUT THE NIGHT SCENES SERIES:
The "Night Scene" series of prints published during the early 1900's by Hasegawa/Nishinomiya of Tokyo. There are 21 chuban-sized prints included in the series which is indicative of the early transitional style of shin-hanga, the dominant movement in Japanese print making during the first half of the twentieth century. The artists who created designs for the series were: Koho Shoda, Eijiro Kobayashi, Yoshimune Arai, Kiyochika Kobayashi, and Gyosui Suzuki.
The series is comprised of prints showing evening and night views of popular Japanese landscape tableaux often under a full moon. Variant editions employing sepia and brown tones are also known, but the series is printed primarily in blues and blacks with highlights of yellow, red and pink.
A different boat night scene:
www.flickr.com/photos/44852306@N06/10094375824/in/photoli...
Fabulous! Music Jam @ Milla Club / München
Feat.: Anna-Maria Hefele (Overtone singing, Harp), Hansi Enzensperger (Synth), Chris Stoeger (Drums), Ludo (Bass), Gene (Visuals)
Hot Dog Party
In Hot Dog Party, an image of rapid apocalypse is represented by a bacchanalia, an ultimate celebration of body and soul, when its participants seem to think that they are going to die the day after tomorrow.
As we come to the close of this tumultuous century it is clearer than ever that the human kind is in peril.
Our old values seem shaky and inadequate.
We try to catch the last chance of a total and final festival, as there is going to be no tomorrow.
So, today should be the fiesta. And every day is like the last day.
May be that is why every third American is overweight?
Jaisini's portrayal of the last bacchanalia is glorious and monumental, as a praise to the human flesh that is so eager to satisfy itself, as long as it exists.
The overtone of apocalypse is given by a presence of an idol and a devil, as the silent witnesses of all orgies at all times.
And, no matter for how long the Darvian evolution will go on, the human body is all the same, with its insatiable hunger, its uncertainty in the future.
Perhaps we need to seek the answers from those like Jaisini, who had retreated into a private recess of fantasy and imagination, to approach a more vivid reality.
A line connects all the picture's elements into a unity without central powers.
All the images are autonomous and equal.
The energy is everywhere, but there behind the canvas, exists the hidden central power of the artist, creator.
The work illustrates our human attachment to bodily pleasures, and the fear of physical termination. The fiesta is a way to catch a peak of eternity.
This phenomenon became an attitude of the everyday life, when each of us striving to stop the time and to gratify the body by any means, at any price.
The quest for eternal enjoyment in the outside, physical world brings the emptiness in the inside world, and therefore the man's quest is never completed. It is a closed circle.
The only reality is the individual existence of the self. Jaisini uses the motif of fiesta to portray the all human problem of temptations, pleasures and miseries of the sense world. Meanwhile, the voice of inner soul, or God, is the artist's power that is unseen.
The driving force of our existence is this warring of the high and law that invariably goes on inside us.
Each participant of the "Hot Dog Party" is absorbed in his own realm of pleasure. The orgy is at a stage of lost control. Even Beelzebub wants to drink more and his eye is popping out for more wine and anticipation moistens his jaws. Down under a man puts an earthworm in his mouth.
A bare thigh of a woman in the black stockings is almost of the same color as the tablecloth that covers the rest of her body. Three emptied bottles stay on the table's edge. A yellow back light creates a serene, separate segment of a still life. The two turndown bottles may symbolize "vanitas" as does an overturn cup in the Holland still life. One of those bottles is pointed towards the inside of spread legs which belong to another young woman who lies on the table and bends sensually.
Next, the figure is of a ballerina extending her leg all the way to the turndown bottles. Her underwear shows the red marks.
A female figure at the left lower side is painted in an intense color of gold, yellow ochre. She widely spreads her legs and examines herself.
Next is a strange flaming creature that lies on a burning charcoal being deadly drunk and unconscious. A couple of cowboys sing while eating and drinking, as in a moment of their personal glory. Above them there is a red fat body of a person whose sex is defined by a sausage on a plate, covered by his heavy stomach. He is ready to swallow a
second sausage that he observes passionately. In turn an old goddess watches him. In this part of the painting the color contrast is rendered by an image of ghostly, pale man who looks avariciously at a young woman who sits on the table's edge and drinks wine directly from a bottle.
Her body is in purple color with red reflects. The light on her face and the highlights on her hair waves are yellow the shadow is deep.
"Hot Dog Party" is painted in a challenging color range. It demonstrates the artist's great mastery and command over color.
The red dominates the painting. It is refined and elaborated with a variety of correlating colors. The color formula of the work is fabulously laconic, but rich. Some amount of yellow light is spread around.
The white tablecloth bears pinkish casts and hints of surrounding color.
Just enough of some blue and green to ignite the painting with a gemlike color game.
Landscape shots with Eastman Kodak 250D 5205 Vision2 expired from 2005 or so.
Shot with Nikon N90s. Some sprocket hole drag, I believe because I predeveloped in black and white but I ran that process longer than before. Bleach bypass on C-41 cross process from ECN-2 motion picture negative film.
Developed bleach bypass in my alternate color process:
First, a B&W predeveloper para aminophenol ( PAP ).
Pre-wash, predeveloped, cross processed in Fuji C-41 color dev, bleach bypass / skip bleach, fixed, washed n stuff...
Predevelop was a simple non-Rodinal PAP para-aminophenol developer as follows:
(From Andresen's 1891 patent alongside original Rodinal)
PAP developer (use at 80 degrees F)
800 ML Water
50 gm sodium sulfite
25 gm sodium hydroxide
5 gm para aminophenol hydrochloride
Water to 1L
Dilute 1:4 for use one shot
Developed for 3:00 minutes with typical agitation
Rinse 1 1/2 minutes
C-41 developer 3:15 minutes
Rinse 2 minutes
Skip bleach
Fix in Ilford Hypam rapid 1:4 for 8 minutes continuous agitation
This gives a heavy GOLD overtone that has to be filtered out, loved, or lived with. It is easy to do in photoshop and vuescan does a good job as well.
The PAP predeveloper helps with the remjet, it's benefits to the process are unknown, if any, but I like the colors so there you are....
There are a number of different types of dogwoods on campus. This particular tree featured cream colored calyxes with a significant green overtone. Finding the right background is always a challenge on campus; buildings, bikes and people are everywhere and it can be quite hard to find a background that doesn't detract from the subject. Here, a row of pine trees provides a dark green wall behind a patchwork of branches and flowers from other dogwoods.
118/365
Lighthouse Bar sign. Bleach Bypass I shot this at F/11 and F/16 just in case the F/11 did not give infinity since this shot was at least 100 feet.
The F/11 shot was fine and these I just wanted to show how beautiful this lens worked at F/16.
Shot on Fuji 200. Shot in morning daylight at 1/100 at f/11. I set the lens focus to 25 feet figuring i'd get 12.5 feet to infinity. Lens performed brilliantly as seen.
Developed bleach bypass in my alternate color process:
First, a B&W predeveloper para aminophenol ( PAP ).
Pre-wash, predeveloped, processed in Fuji C-41 color dev, bleach bypass / skip bleach, fixed, washed n stuff...
Predevelop was a simple non-Rodinal PAP para-aminophenol developer as follows:
(From Andresen's 1891 patent alongside original Rodinal)
PAP developer (use at 80 degrees F)
800 ML Water
50 gm sodium sulfite
25 gm sodium hydroxide
5 gm para aminophenol hydrochloride
Water to 1L
Dilute 1:4 for use one shot
Developed for 2:15 minutes with typical agitation
Rinse 1 1/2 minutes
C-41 developer 3:15 minutes
Rinse 2 minutes
Skip bleach
Fix in Ilford Hypam rapid 1:4 for 8 minutes continuous agitation
This gives a heavy GOLD overtone that has to be filtered out, loved, or lived with. It is easy to do in photoshop and vuescan does a good job as well.
The PAP predeveloper helps with the remjet, it's benefits to the process are unknown, if any, but I like the colors so there you are....
With Halloween right around the corner, I thought I'd post this shot which has a bit of an ominous overtone to it. The pretty orange flowers beckon you to follow the path, but what lies further down the path may not be a treat.
As seen on Andrews Bald in Great Smoky Mountains National Park. Credit to Jeff for getting us to to this location. This was stop 2 on a long, but fruitful day of hiking.
I should have a slightly more proper Halloween shot later in the week.
Thanks for looking!
________________________________________________________
Comments and constructive criticism always appreciated.
Vintage sleaze paperback book - Visiting Nurse. There is something about a health care worker willing to violate their medical oath that makes medical sleaze the great genre it is. Nice touch with the good nurse getting down with some ‘hood action. Bonus points for the Florence Nightingale overtone. It’s always a thrill when it’s from Vinnie DeVille!
ROMAN GRYGORIV, ILIA RAZUMEIKO (UKRAINA) „IYOV” (HIOB) / ROMAN GRYGORIV, ILIA RAZUMEIKO (UKRAINE) “IYOV” (JOB)
PL:
ROMAN GRYGORIV, ILIA RAZUMEIKO (UKRAINA) „IYOV” (HIOB)
OPERA-REQUIEM NA FORTEPIAN PREPAROWANY, WIOLONCZELĘ, PERKUSJĘ I GŁOSY, POLSKA PREMIERA
Roman Grygoriv, Ilia Razumeiko – muzyka
Vlad Troitskyi – reżyseria
Występują:
Maryana Golovko – sopran
Anna Marych – sopran
Oleksandra Mailliet – mezzosopran
Andrey Koshman – baryton
Ruslan Kirsh – baryton
Yevgeniy Rakhmanin – bass
Jerzy Rogalski – głos
Janna Marchynskaya – wiolonczela
Andrey Nadolskiy – instrumenty perkusyjne
llia Razumeiko – fortepian
Roman Grygoriv – dyrygent
Tenpoint – wizualizacje na żywo
Max Kapusta – produkcja dźwięku
Premiera opery „Hiob” miała miejsce 21 września 2015 roku na głównej scenie festiwalu GogolFest 2015. Nowa wersja opery została zaprezentowana w Kijowie w marcu 2016 roku.
Hiob (po hebrajsku Iyov) jest główną postacią biblijnej Księgi Hioba, która opowiada historię jego życia, dumy, zwątpienia, poszukiwania sensu życia i śmierci, nadziei i żalu. Centralnym elementem przedstawienia jest fortepian, który zamienia się w prawdziwą orkiestrę. Pianista i wokaliści używają różnych instrument.w perkusyjnych, takich jak werble, marimba, pałki kotłowe, trójkąty, raidy, a także monet, kluczy, palców i paznokci do gry na strunach i na pudle fortepianu. Instrument brzmi jak klawesyn, perkusja, a czasem nawet jak syntezator i elektroniczny generator dźwięku.
Muzyka „Hioba” łączy w sobie minimalizm i awangardę, neoklasycyzm i muzykę rockową. Polifoniczne fragmenty chóralne i instrumentalne
interludia przeplatają się z fragmentami, które wykorzystują pełny zakres ludzkiego głosu: śpiew klasyczny, jazzowy, tradycyjny, a nawet
oddech, krzyk, szept i śpiew alikwotowy.
EN:
ROMAN GRYGORIV, ILIA RAZUMEIKO (UKRAINE) “IYOV” (JOB)
OPERA-REQUIEM FOR PREPARED PIANO, CELLO, DRUMS AND VOICES, POLISH PREMIERE
Roman Grygoriv, Ilia Razumeiko – music
Vlad Troitskyi – director
Cast:
Maryana Golovko – soprano
Anna Marych – soprano
Oleksandra Mailliet – mezzosoprano
Andrey Koshman – baritone
Ruslan Kirsh – baritone
Yevgeniy Rakhmanin – bass
Jerzy Rogalski – voice
Janna Marchynskaya – cello
Andrey Nadolskiy – percussion
llia Razumeiko – grand piano
Roman Grygoriv – conductor
Tenpoint – live visual design
Max Kapusta – sound producer
The premiere of the opera “IYOV” was held on September 21, 2015 on the main stage of the biggest festival of contemporary art in Ukraine – 8th International multidisciplinary festival “GogolFest 2015.” The updated version of the opera was presented in Kiev in March 2016.
Job (Iyov in Hebrew) is the central character of the Book of Job in the Bible. This is a story of his life, pride, and disbelief, the search for the meaning of life and death, as well as the story of hope and regret. The central element is the piano that turns into a real orchestra.
The pianist and singers use a wide range of percussion instruments, such as snare drum, marimba and timpani sticks, triangle, and ride cymbal. They also use coins, keys, fingers and nails to play the strings and the body of the grand piano. The instrument sounds like
a harpsichord, drums and, occasionally, as a synthesizer or electronic sounds generator.
Music of “IYOV” combines minimalism and the avant-garde, neoclassicism and rock. Polyphonic choral episodes and instrumental interludes alternate with the parts that use a full range of human voice: from classical, jazz and folk singing to breathing, screaming, whispering and overtone singing.
The dramaturgy of music performance is based on the contrasting compilation of recitatives (based on the Book of Job) and parts of Requiem – a Catholic Mass that refers to traditional Latin texts. Opera-requiem “IYOV” is a synthesis of ancient Greek drama, baroque opera, oratorio, Requiem, and the techniques of postmodern theatre. It is the mystery of the birth of a new sound inside the piano and the demonstration of endless possibilities of the human voice.
In my next life I'm planning to come back the type of woman who would/could actually wear this very fun ensemble. What would you wear it with. Where would you go. Who would be seen in public with me. I can't wait to find out!!
On another note: This shot taught me the value of RAW and the wonderful ability to change white balance. The sliding tool in Capture NX2 changed the dark dead overtone hum of store lighting into something more like what I thought I saw. Now to find out how to get ISO working for me!!
Blue ice occurs when snow falls on a glacier, is compressed, and becomes part of a glacier. During its travels, all of the air bubbles that are trapped in the ice are squeezed out, and the size of the ice crystals increases, making it clear. The ice is blue for the same reason water is blue. Namely, it is a result of an overtone of a OH molecular stretch in the water which absorbs light at the red end of the visible spectrum.
The icebergs in the Jökulsárlón, Iceland, come from the glacier Breiðamerkurjökull. They break and melt and are floating via the lake to the sea. The white, light blue and through grit and volcanic matter grey and black colored icebergshave the most running out forms. They are drifted along hit by the stream or the wind till they hit the bottom of the lake. Only a small part of the iceberg is above the water. Beautiful scenes of the James Bond- film: 'A view to a kill' and 'Die another day' have been taken up here.
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