View allAll Photos Tagged Perceptions
I wouldnt know what to do with another chance If you gave it to me
I couldnt take the embrace of a real romance.
But how can I fight, when we're on the same side?
How can I fight beside you?
(Fiona Apple)
shot with a YASHIKA TL
ORWO ASA 120 b&w film
the black corners are from the film...don't know how i obtained that :))
All of us see the world around from a different viewpoint based on our experiences. Many have seen this pic taken today, so far none have been able to discern the subject matter.
It is a solo cup with water......
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
Testing out my new Dynamic Perception gear. This is the DP carbon fiber setup. Two 20's and two 40's to make up 60" of slide/rail. Cam on rig: Nikon D600 and a Samyang 14mm f/2.8 - And I love how the Nikon 35mm f/1.8 DX lens looks on a D810 - I took this photo with that setup.
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Leather Overbust Corset and Neck Corset. 7 sizes: Standard sizes XXS-L, plus special sizes M+ and Bx. Copy/Mod
maps.secondlife.com/secondlife/Mint Tulip/24/203/22
Customer Satisfaction: It's not just about listening to your customers- it's about engaging with them and taking action.
Directed by Val Guest and stars Forrest Tucker, Peter Cushing and Maureen Connell.
Brief Synopsis
Botanist Dr. John Rollason, his wife and colleague Helen and his assistant, Pete Fox, venture into the rugged Himalayan mountains in search of rare plants. One day, after they establish camp at a village, the Lhama, the spiritual leader of the village who possesses extrasensory perception, forecasts the imminent arrival of a climbing expedition and asks John if he intends to join them. When Helen learns about the expedition, she fears that John plans to hlep them search for the mythical creature known as the Abominable Snowman. Soon after, Tom Friend, an American adventurer, arrives with his guide Kusang and his colleagues, Jacques McNee and Ed Shelley, and a band of porters. When Helen denies the existence of the creatures, known as the "Yeti" by the natives, McNee rebuts that he has seen their footprints in the snow. As proof of their existence, Friend produces a stolen silver cylinder bearing an inscription about "powerful beings." Inside is a giant tooth, allegedly belonging to a Yeti. Friend then explains that he plans to lead a small party of five men into the heights of the Himalayas in search of the Yeti, and invites John to be their fifth member. When they present the tooth to the Lhama, however, the holy man claims that it is not real, but carved from ivory. Disregarding Helen's objections, John joins Friend's expedition, and the next morning, they begin their trek into the treacherous snow-covered peaks. That night, as they camp, John hypothesizes that the Yeti may have developed in parallel to mankind. When the crude, unthinking Shelley displays a trap he has brought to capture the creature, John is distressed to discover that he has been enlisted in a hunting party. The mercenary Friend then admits that his goal, far from being scientific, is to catch the Yeti and then make money by exhibiting him on television. In the village below, meanwhile, the porters that Friend left behind clamor for their unpaid wages. The next day, the expedition continues their trek, and McNee confesses to John that he has been obsessed by the creatures ever since spotting their footprints in the snow. Soon after, McNee, an inexperienced climber who has paid Friend for the privilege of joining the expedition, falls into a trap set by Shelley and injures his foot. John denounces the use of traps until Shelley claims that he has caught one of the creatures. When John examines Shelley's catch, however, he identifies it as a Himalayan monkey. As they pitch their tent that night, a radio broadcast warns of an approaching blizzard. Later, the monkey, locked in the cage outside, begins wildly chattering, and is accompanied by snarls and growls. When Kusang, Shelley, John and Friend run out to investigate, they find a huge footprint in the snow. McNee, left behind in the tent, sees a huge, hairy claw slip under the tent flap. Returning to the tent for his rifle, Kusang spots the Yeti and goes berserk, streaking down the mountain to the village below, while McNee, hypersensitive to the creature, goes into a trance. Firing at a figure fleeing on the ice, Shelley wounds the creature and they follow a trail of blood to find the fallen Yeti, dead. When Kusang returns to the village, Helen, fearing for her husband's safety, requests an audience with the Lhama, who confirms that John is in danger but pronounces that his outcome will be governed by his own nature. Determined to find John, Helen offers to pay the porters' back wages if they will lead her into the mountains. At the camp, meanwhile, McNee regains consciousness and questions John about the dead Yeti. After John reports that he saw sadness and wisdom in the slain creature's face, McNee sneaks out of the tent. Continuing his quest for the Yeti, the weakened McNee strikes out through the snow and plunges to his death from a precipice. After Shelley is attacked by two other creatures, Friend hits upon the idea of using him as bait and instructs Shelley to sequester himself in the cave while Friend watches from the tent, gun in hand. In a blinding blizzard, Friend and John hear the snarls of the creatures, and Shelley, confronted by the charging Yeti, aims his rifle, but the weapon fails to fire. By the time John and Friend reach the cave, Shelley has died from a heart attack. When the creatures return for the body of their compatriot, John surmises that they are more civilized and intelligent than man, and sense they must hide from man, the destroyer. Soon after, Friend, hallucinating, hears Shelley calling for help and runs out of the cave, firing his gun, thus triggering an avalanche that buries him alive. John remains in the cave, and when the two creatures come to claim their friend's body, he stares into their faces and then passes out. In a tent nearby, Helen hears the creatures' cries and runs out into the blizzard, where she finds John unconscious in the snow, and a giant footprint near his body. After John is rescued, he meets with the Lhama and affirms that the Yeti does not exist.
Second opinion.synopsis
This is a so-so early Hammer horror film from Nigel Kneale, who also wrote The Quatermass Experiment. Forrest Tucker and botanist Peter Cushing lead an expedition to the Himalayan Mountains (actually the Pyrenees, but who's complaining?) in search of the legendary Yeti. Several mysterious locals tell them to stay away with the sort of cryptic warnings found only in horror movies, but they carry on regardless. As expected, the furry beast is alive and well; meanwhile, members of the expedition begin to die from a series of accidents. The monster isn't shown very often and looks silly when it finally shows up, but there is a fair amount of atmosphere, and the stars are always fun to watch. Director Val Guest's career continued to slide from its 1940's highs until, by the '70s, he was making leering nonsense like The Au Pair Girls.
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
Another version of this photo I did a while back. Exploring, again, the effect that photoshop can have on our perceptions of beauty.
The left side is SOOC (minus slight brightening). The right was edited for 2 hours. Skin retouching (I even removed my beauty marks which I never do.. ever), smoothed and brightened, under eye bags completely removed, brow evened (by adding individual digital hairs) and shaped, mouth/lips shaped to be symmetrical and fuller, eye enhanced, eyelashes added (by adding individual digital lashes) to be fuller and completely digital makeup applied.
Bustier-Dresses in color with silver contrast are now up in-world!.
7 sizes, the five standard sizes plus special sizes M+ for very curvy shapes and Bx for top-heavy shapes.
:$285 each or L$985 per fatpack of 5.
Copy/Mod, No Transfer.
If your mind is not looking for good, even the prettiest things will seem dark. Perception determines of you see the world.
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
so my boyfriend of five years leaves for Africa for five weeks on Feb 2nd... and my other roommate leaves for Ohio in a few weeks, so I'm going to be all allooonnneeee.... so you should see many many more pictures in the near future. it's always easier when there aren't people watching.
At a university fair I found a mirror box made by an art student. The idea was to promote creativity by attracting kids who'd like to have selfies "like no other" :)) But as someone interested in the working of the mind I found it to be one of the best things at the fair. I've just couldn't resist taking a selfie in the mirror box, to show that right angles can make space distortions ... it's all about perception.
English below..
Perception Triumph 13. Caiac "SOT" ("eistedd arno"), yn hytrach na'r math eistedd ynddo. Mae wedi'i ddylunio efo gwaelod a blaen ar gyfer rhwyfo'n bell ac yn syth. Serch hynny, ma'n troi yn ddigon rhwydd. Yn y pen blaen, mae lle "sych" er mwyn cadw pethau rhag gwlychu (dan y caead hirgrwn llwyd), ac yn y cefn, mae lle (pant agored) i roi pethau eraill ar gyfer siwrnai. Oherwydd amgylchiadau (diogi) rwy'n defnyddio'r cefn ar gyfer cario troli, sy'n ffitio caiacs SOT, a heb hwnnw, ni fyddwn yn gallu symud y caiac ar dir sych. Mae'n pwyso 27Kg, ac yn lletchwith i'w godi a'i gario. Tydi'r Triumph ddim yn dod efo sêt (o leia doedd o ddim gan y cwmni "Shore")- rhaid prynu hwnnw ar-wahân, ac yn y llun mae sêt "uchel" gan wneuthurwr gwahanol, sy'n well ar gyfer fy nghefn i. Mae lle ar ochr chwith y caiac i ddal y rhwyf yn sownd - sy'n hynod o ddefnyddiol. Ar ganol y caiac, rhwng coesau'r rhwyfwr, mae "lle sych" ychwanegol, sy'n bosib ei gyrraedd wrth rwyfo. Mae'n ddigonol i ddal ffôn, chwiban, goriadau ac ambell i beth bach, ond mae'n rhy fach i ddal camera.
Rwy'n newydd i'r busnes caiacio, ac ar hyn o bryd mae pob siwrnai yn dal yn antur ac yn wefr. Serch hynny rwyf wedi defnyddio gwahanol fathau o gaiacs, ac mae hwn yn rhwydd iawn i'w rwyfo mewn cymhariaeth a sawl un eistedd arno, er nad wyf yn hyderus o gwbl i geisio ei droi'n chwim wrth wyro drosodd - rwy'n argyhoeddidig y byddai'n troi drosodd pe bawn yn ceisio gwneud y fath beth - techneg a fyddai'n rhwydd ac yn ail-natur mewn caiac 'eistedd ynddo'.
Y diweddaraf - rwyf bellach wedi bod allan nifer o weithiau mewn gwahanol dywydd. Mae'r Triumph yn ymateb yn wych wrth rwyfo i mewn i donnau - y tro i fyny yn y pen blaen yn gwneud ei waith yn rhagorol. Er cael fy ngwthio i'r ochr sawl gwaith wrth fynd yn groes i'r llif a'r tonnau, mae'r cwch wedi profi'n sefydlog iawn - ond mae'r tonnau yn torri drosodd yn syndod o rhwydd. O'r profiadau hynny, fyddwn i ddim yn mentro allan efo "bungs" yn y tyllau draenio tra ar y môr. Ar lyn efallai, ond nid ar y môr.
Ceir adolygiad yn fan yma www.canoekayak.co.uk/Reviews/Perception-Triumph-13-Sit-on...
This is a UK made Perception Triumph 13 touring kayak. It's a "sit on top", rather than a "sit in", and is therefore a bit of a compromise. In front of the paddler, there's a dry bow void under the waterproof oval hatch which can be used for storing items not required while on the move, while behind the cockpit is an open "basin" for storing items that don't mind getting wet. Pictured is a SOT carrier axle which is a must for moving the boat on dry land. At around 27Kg the Triumph is much too heavy to lug around solo. The kayak didn't come with a seat, and the one pictured is a high back model from another manufacturer, which suits my back. Two handy touches are a groove along the left side for attaching the paddle (really handy when launching from a beach, or when taking a breather), and a small easy to access dry storage cylinder, which is useful for keys, phone, whistle and so forth, but too small for a camera.
I've only taken the kayak out five times, and apart from getting the beast on and off the car roof, the experience has been great. The boat goes well in a straight line, turns fairly easily, and cuts through swell. It's much less hassle than a "sit in", but doesn't manouvre half as easily. I just don't feel confident enough with it to try "edging" - the equivalent to "banking" on a motorbike, to help make tight turns.
I'd like to try the kayak with the optional rudder, to see if that would make it easier and less of a paddle-fest to counter the affect of strong sideways currents. But at £175 I doubt I'll bother..
Update
I've been out and about on the sea in slightly more challenging weather and I've noticed a couple of things. The boat really cuts into waves very well - the upturn of the bow doing an impressive job. A number of times have seen me pushed sideways by the waves/swell/tide, and I'm surprised at how easily waves enter the kayak "over the side" in these circumstances. Stability hasn't been a problem, but I'm pretty sure that running with bungs in place is would be a BAD IDEA on the sea. On a quiet lake - probably fine, but no way would I go out to sea with bungs in place.
Photo adventure with art model, Rosie Neuharth in 29 Palms, Calif. October 22, 2011.
I can never decide between black and white (my favorite) or color. Feedback please?