View allAll Photos Tagged Perceptions
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.
Shot in South Dakota in early February with most nights sub zero with -25 F wind chill. Used Dynamic Perception Stage Zero dolly and Milapse mount on most of the shots.
The Stage Zero Dolly worked great in the sub zero temps.
Canon 60D and T2i
Tokina 11-16 - Great Lens
Tamron 17-50
Shot in RAW format, most shots were 20 seconds exposure F2.8 with 1 second interval between shots, for about 300 frames or so (several hours). There were a few 30 second and one 15 second exposures. ISO 1600
Music is "Scorpio" By Simon Wilkinson www.thebluemask.com
Simon's music has also been used on Fox's "24"
For licensing contact
Watch this video on Vimeo. Video created by Randy Halverson.
A room installation which reflects to infinity in all directions - taken during Flickr meet at the Gallery of Modern Art in Brisbane - even freakier in large version
large size | original uploaded size | my portfolio
Look at the details: it's the front of a VW van. Look at the thumbnail to the right: it's the back of a Lada Niva. Gotcha! :-P
My models during recent trip. They are so innocent and cheerful. I guess, they are getting familiar with technical stuff too. Immediately after I took the picture, they rushed towards me and asked me to show the picture in preview mode. Once they have seen their faces in picture, smiles and giggles on their faces are price less.
Behind them was a huge tree with roots deep in to the land. Reminded me childhood stories. (బేతాళ కథలు)
"dread is the dizziness of freedom"
"we inevitably fall into sin and guilt whenever lofty possibility meets earthly limitations."
Photo showing the project "Hearo" by Marcial Koch (CH) at the "Infinite Nows" Exhibition at the Kunstuni Campus.
While our auditory system provides us with cues to perceive our surroundings, this ability stays rather passive to protect us from overstimulation. Hearo provides tools to actively explore our acoustic perception of space.
Credit: tom mesic
i thought i was being sneaky....on the sly....pointed and shot all around this amazing character, trying to catch him unaware....but in the end
In this exceptional amalgamation of photography, ai, and painting, Duncan Rawlinson’s work claims the spotlight. Strikingly rich hues pirouette across the intricate representation of an eye, composing a vibrant symphony that rivets the observer. Each precise brush stroke, imbued with influences from both photorealism and hyperrealism, crafts an enthralling fusion of styles. The piece stands as a testament to the power of creative vision, striking a perfect balance between art and the human gaze, enticing viewers into a realm that resonates with personal depth and universal appeal. Ultimately, this creation by Rawlinson isn’t merely an image of an eye—it serves as a portal into the artist’s soul.
For Zodizc (Sagittarius) maps.secondlife.com/secondlife/Mint%20Tulip/136/232/22
Comes in silver with gold accents and gold with silver accents. Each contains both long bow and short bow versions.
L$95 Each or L$165 for the set.
Photo Title: 2-Side Perception
Submitted by: Mess Terrius
Category: Amateur
Country: Philippines
Organisation: N/A
COVID-19 Photo: Yes
Photo Caption: There are two sides of perception: the clear and the dark. It depends on how people view things and on how they handle it. It is a decision to make whether to be blind and oblivious or to be clear and vivid. Whether to be strong or to be fragile in the midst of this pandemic crisis.
----
Photo uploaded from the #HopeInSight Photo Competition on photocomp.iapb.org held for World Sight Day 2020.
A view from a spy hole from a room at the Holiday Inn Armouries Dr Leeds. If you must know it was from room 420. I used a normal compact camera and placed the lens flush against the spy hole, no flash and this was the result.
As I saw the land around Marrakech from the plane as we flew in last week, I thought 'ooh, that looks dry.' Yesterday as we left I thought 'wow, so green.' Heh.
Artist & Best Friends Animal Sanctuary founder, Cyrus Mejia's show Pits & Perception opened in Los Angeles @ Artology 101 in Glendale. There were several live pit bulls in attendance at the festivities.
From cyrusmejia.com/art/pits-and-perception
"Art can present us with a different view, a new perspective, another way of thinking about things. In this series of paintings of Pit Bulls I’m challenging the current-day perception of these dogs. Not by changing their image, but by depicting them close-up, larger than life, and inviting the viewer to question how they see and perceive Pit Bulls."
This photo is part of The Watcher Project cyrusmejia.com/blog/the-watcher-project
Artology101
3108 Glendale Boulevard, Los Angeles, CA 90039-1806(323) 644-0101