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Over Christmas I stayed with family in Bath in the West of England giving the chance of taking some more shots of Bath Abbey. I noticed that their website had recently changed with a very sensible new policy about the use of Tripods. They permit Tripods to be used without prior consent between 9.00 and 10.00am. Outside those hours an advance permit applied for prior to the day of visit is required. Most serious Photographers would want to come early anyway to avoid a lot of tourists getting in the pictures. This image is an HDR Vertorama comprising 2 images looking down the central Aisle
Three different churches have occupied the site of today’s Abbey since 757 AD. First, an Anglo-Saxon monastery which was pulled down by the Norman conquerors of England; then a massive Norman cathedral which was begun about 1090 but lay in ruins by the late 15th century; and finally, the present Abbey Church as we now know it. Another claim to fame is that the first King of all England, King Edgar was crowned on this site in 973.
The weather conditions were ideal for taking this kind of interior image being dull with no sun to create excessive dynamic range. There was also the benefit of the interior being well lit giving a warm feel. The picture was taken with a tripod with a Sony A68 with a Sigma 10-20 wide angle zoom at 10 mm. I took 3 shots for HDR for each of the images both processed in Photomatix using the same settings of fusion Interior for a natural look. In Photoshop Elements which I have on my laptop I used the panorama function in Guided Edits to merge the images. More detail and adjustments with Topaz Clarity and also use of crop and clone tools
For my Photography books Understand Your Camera and Compose Better Pictures see My Author Page USA or My Author Page UK
Please visit my │ Facebook Page
For Galleries, Prints and Licences see Edwin Jones Photography
Happy New Year to all my followers and visitors
(more details later, as time permits)
*********************************
This is the continuation of a photo-project that I began in the summer of 2008 (which you can see in this Flickr set), and continued throughout 2009-2014 (as shown in this Flickr set, this Flickr set, this Flickr set, this Flickr set, this Flickr set)), this Flickr set)), and this Flickr set)): a random collection of "interesting" people in a broad stretch of the Upper West Side of Manhattan -- between 72nd Street and 104th Street, especially along Broadway and Amsterdam Avenue. These are the people in my neighborhood, aka "peeps in the 'hood."
As I indicated when I first started this project six years ago, I don't like to intrude on people's privacy, so I normally use a zoom telephoto lens in order to photograph them while they're still 50-100 feet away from me; but that means I have to continue focusing my attention on the people and activities half a block away, rather than on what's right in front of me. Sometimes I find an empty bench on a busy street corner, and just sit quietly for an hour, watching people hustling past on the other side of the street; they're almost always so busy listening to their iPod, or talking on their cellphone, or daydreaming about something, that they never look up and see me aiming my camera in their direction.
I've also learned that, in many cases, the opportunities for an interesting picture are very fleeting -- literally a matter of a couple of seconds, before the person(s) in question move on, turn away, or stop doing whatever was interesting. So I've learned to keep my camera switched on, and not worry so much about zooming in for a perfectly-framed picture ... after all, once the digital image is uploaded to my computer, it's pretty trivial to crop out the parts unrelated to the main subject. Indeed, some of my most interesting photos have been so-called "hip shots," where I don't even bother to raise the camera up to my eye; I just keep the zoom lens set to the maximum wide-angle aperture, point in the general direction of the subject, and take several shots. As long as I can keep the shutter speed fairly high (which sometimes requires a fairly high ISO setting), I can usually get some fairly crisp shots -- even if the subject is walking in one direction, and I'm walking in the other direction, while I'm snapping the photos.
With only a few exceptions, I've generally avoided photographing bums, drunks, crazies, and homeless people. There are plenty of them around, and they would certainly create some dramatic pictures; but they generally don't want to be photographed, and I don't want to feel like I'm taking advantage of them. There have been a few opportunities to take some "sympathetic" pictures of such people, which might inspire others to reach out and help them. This is one example, and here is another example.
The other thing I've noticed, while carrying on this project for the past six years, is that while there are lots of interesting people to photograph, there are far, far, far more people who are not so interesting. They're probably fine people, and they might even be more interesting than the ones I've photographed ... unfortunately, there was just nothing memorable about them. They're all part of this big, crowded city; but for better or worse, there are an awful lot that you won't see in these Flickr sets of mine...
The two ÖBB (Austrian Federal Railways) locomotives SIEMENS Vectron 1293 007 and 1144 119 travel uphill on the Ghega Semmering Railway (UNESCO World Heritage) with their mixed freight train. Photographed while driving through Eichberg station. (Lower Austria)
If you like the photo press "F"
Click on the photo to enlarge for a better view.
© Andreas Berdan - no unauthorized copying permitted
Delaware County
Liberty Township
(Legal access granted with OHIO DNR permit.)
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The original mill on this site was built in the 1840s and was what was commonly called a grist mill that ground corn and other grains into meal or flour using the flowing waters of the Olentangy River to turn a set of pulleys that could be used to grind. In 1848 that mill was sold to George Bieber and his son James. After his father's death, James purchased about 100 additional acres of land around the mill and erected a new, 3.5 story stone mill on the north side of the older frame mill. This mill also included a saw mill. However, the new mill's construction costs proved unmanageable for James to handle and he lost the entire site when it went up for auction at the Delaware County Court House in the late 1880s. After that it was operated by a number of different individuals, but none successfully. There were many problems associated with the river and being able to construct and maintain a damn that could provide a constant water supply.
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In the early 1900's a fire destroyed the older frame mill and the newer stone mill was partially destroyed in the fire. Since that event the mill has been abandoned, but not forgotten. Over the years the Olentangy River floods and recedes, leaving the lower section of the mill being covered over with mud and debris. Although visitors are not permitted on the site which is owned by the Ohio Department of Natural Resources. Plans are to restore the building at some point in the future. Some measures have been taken to preserve and stabilize the structure as it now stands. Future plans will be dependent upon funding.
Em ~comemoração ao Dia Nacional do Livro (ontem) resolvi aproveitar e tirar uma foto da minha estante (das, na verdade, já que são três lado a lado)...
Tive que ficar grudada feito uma lagartixa na parede, mas consegui pegar tudo XD
Quem tiver curiosidade é só clicar na foto que ela aumenta bastante e permite identificar a maioria dos livros e decorações \o/
Even though Wales is currently in the midst of one of the most rigorous lockdowns in Western Europe daily exercise is allowed. When the sun shone this morning I was out like a shot to take a walk along the Montgomery Canal between Welshpool and Pool Quay. Perfect conditions.
Every evening (clouds permitting) is the first sunset in the rest of your life.
This was the first sunset from our Holiday Gite in France.
2015 07 26 212404 France Brittany Tréal 1HDR
A demolition permit was issued for the property (38,498 square feet) at 2424 W. Grand Ave. in March 2021, and it appears this will be forthcoming. The property was sold for $2.03 million in February 2014, $1.55 million in October 2018 and $3.35 million in July 2021. Approval has been granted for a 4-story, 28-unit residential structure with ground-floor retail.
(more details later, as time permits)
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When we first arrived in Rapid City, South Dakota for a family reunion in July 2015, we stayed at the main downtown “Alex Johnson” hotel; and we walked along Sixth Street to dinner that evening with two of our family members. On the way back after dinner, I happened to notice the garish glow of graffiti on a side alley next to the hotel, and I took a couple of quick photos in the twilight, thinking that it might be worth exploring in more detail the next day.
Indeed, I did go back for a quick second look the next morning, but then we had to pack up and check out of the hotel, in order to drive to the rendezvous point near Spearfish (near Deadwood and Sturgis, and in the general vicinity of Mt. Rushmore and the Black Hills) where dozens of members of our extended family were planning to meet us. But when the reunion was over a few days later we drove back to Rapid City, and changed our hotel plans in order to stay at the Alex Johnson for one last night before our early flight back to New York City the next morning.
As a result, I had time for a much more thorough walk-through of the alley and its rich display of art on my final afternoon. I asked the front-desk clerk at the hotel if she knew anything about it, and she pointed me to a young man at the valet parking desk near the front entrance; there I learned that Rapid City is one of only three such spots in the country, where artist-inspired graffiti is not only tolerated, but legally allowed. Here is the website that explains more:
www.visitrapidcity.com/things-to-do/arts-culture/art-alle...
The Website provides much more detail, and in much more cogent form, than I could in these notes; so if you’re curious, I urge you to click on the link. But if you would like to see what the art looks like, in all its vivid colors, take a look at the images in this album.
(more details later, as time permits)
***********************************
Sometime in 2014, I created Flickr album for photos that I had started taking with my iPhone5s; and a year later, in the fall of 2014, I started a new Flickr album for photos that I’ve begun taking with my iPhone6, and iPhone6+. But progress doesn’t stop (at least with Apple): as of October 2015, I’ve upgraded once again, to the iPhone6s and 6s+ (yes, both of them) and this new album contains photos created with those camera-phones
In last year’s Flickr album, I wrote, “Whether you’re an amateur or professional photographer, it’s hard to walk around with a modern smartphone in your pocket, and not be tempted to use the built-in camera from time-to-time. Veteran photographers typically sneer at such behavior, and most will tell you that they can instantly recognize an iPhone photo, which they mentally reject as being unworthy of any serious attention.
“After using many earlier models of smartphones over the past several years, I was inclined to agree; after all, I always (well, almost always) had a “real” camera in my pocket (or backpack or camera-bag), and it was always capable of taking a much better photographic image than the mediocre, grainy images shot with a camera-phone.
“But still … there were a few occasions when I desperately wanted to capture some photo-worthy event taking place right in front of me, and inevitably it turned out to be the times when I did not have the “real” camera with me. Or I did have it, but it was buried somewhere in a bag, and I knew that the “event” would have disappeared by the time I found the “real" camera and turned it on. By contrast, the smart-phone was always in my pocket (along with my keys and my wallet, it’s one of the three things I consciously grab every time I walk out the door). And I often found that I could turn it on, point it at the photographic scene, and take the picture much faster than I could do the same thing with a “traditional” camera.
“Meanwhile, smartphone cameras have gotten substantially better in the past few years, from a mechanical/hardware perspective; and the software “intelligence” controlling the camera has become amazingly sophisticated. It’s still not on the same level as a “professional” DSLR camera, but for a large majority of the “average” photographic situations we’re likely to encounter in the unplanned moments of our lives, it’s more and more likely to be “good enough.” The old adage of “the best camera is the one you have with you” is more and more relevant these days. For me, 90% of the success in taking a good photo is simply being in the right place at the right time, being aware that the “photo opportunity” is there, and having a camera — any camera — to take advantage of that opportunity. Only 10% of the time does it matter which camera I’m using, or what technical features I’ve managed to use.
“And now, with the recent advent of the iPhone5s, there is one more improvement — which, as far as I can tell, simply does not exist in any of the “professional” cameras. You can take an unlimited number of “burst-mode” shots with the new iPhone, simply by keeping your finger on the shutter button; instead of being limited to just six (as a few of the DSLR cameras currently offer), you can take 10, 20, or even a hundred shots. And then — almost magically — the iPhone will show you which one or two of the large burst of photos was optimally sharp and clear. With a couple of clicks, you can then delete everything else, and retain only the very best one or two from the entire burst.
“With that in mind, I’ve begun using my iPhone5s for more and more “everyday” photo situations out on the street. Since I’m typically photographing ordinary, mundane events, even the one or two “optimal” shots that the camera-phone retains might not be worth showing anyone else … so there is still a lot of pruning and editing to be done, and I’m lucky if 10% of those “optimal” shots are good enough to justify uploading to Flickr and sharing with the rest of the world. Still, it’s an enormous benefit to know that my editing work can begin with photos that are more-or-less “technically” adequate, and that I don’t have to waste even a second reviewing dozens of technically-mediocre shots that are fuzzy, or blurred.
“Oh, yeah, one other minor benefit of the iPhone5s (and presumably most other current brands of smartphone): it automatically geotags every photo and video, without any special effort on the photographer’s part. Only one of my other big, fat cameras (the Sony Alpha SLT A65) has that feature, and I’ve noticed that almost none of the “new” mirrorless cameras have got a built-in GPS thingy that will perform the geotagging...
“I’ve had my iPhone5s for a couple of months now, but I’ve only been using the “burst-mode” photography feature aggressively for the past couple of weeks. As a result, the initial batch of photos that I’m uploading are all taken in the greater-NYC area. But as time goes on, and as my normal travel routine takes me to other parts of the world, I hope to add more and more “everyday” scenes in cities that I might not have the opportunity to photograph in a “serious” way.”
***********************************
Okay, so now it’s October of 2015, and I’ve got the iPhone 6s/6s+. The the camera now has a 12-megapixel lens (instead of the older 8 MP version), and that the internal camera-related hardware/firmware/software is better, too. Obviously, I’ve got the newer iOS9, too, and even on the “old” phones, it now supports time-lapse videos along with everything else.
I’ve still got my pocket camera (an amazing little Sony RX-100 Mark IV, which replaces the Mark III I had last year), and two larger cameras (Sony RX-10 II, and Sony A7 II), but I have a feeling that I won’t even be taking them out of the camera bag when I’m out on the street for ordinary day-to-day walking around.
That will depend, obviously, on what kind of photos and videos the iPhone6s/6s+ camera actually capable of taking … so I’m going to try to use at leas one of them every day, and see what the results look like …
Like I said last year, “stay tuned…”
I have been to the Coyote Buttes Area about four times over the years.
Back then it was fairly easy to get a permit to visit the area.
Now, it has become near impossible. Way to popular.
I would always walk in before dawn.
You have to keep your eyes peeled for rattlesnakes.
I would hike back to the "Wave".
But, there are places along the way like in this shot that are so awesome.
The rock formations are mind boggling and so beautiful!!!
Always, take lots of water.
I learned the hard way, when I took my son with me on one trip.
He didn't take enough water and ended up drinking all of mine.
It was so hot!
I got so dehydrated that I wasn't sure I was going to make it back to the car and back then I was in great shape!
But, the heat, plus a heavy backpack, camera, tripod and walking in loose sand was really getting to me.
Camera Settings: f/7.1 - 1/200 - 24mm - ISO 200
Please view large.
We went for our permitted exercise over what was once the Southwood Golf Course and is now the Southwood Country Park open to the general public.
And as my shutter finger also felt that it was in need of some exercise, I took a camera along too...
Farnborough, Hampshire. Tuesday, 21st April, 2020. Copyright © Ron Fisher.
Picogordo
(Coccothraustes coccothraustes)
Paseriforme forestal de gran tamaño y reconocible por su pico, muy grueso y ancho, y de una robustez tal para su tamaño que le permite alimentarse de una gran variedad de frutos. Está ampliamente extendido en Europa, pero no es abundante. En España se observa de manera muy dispersa en bosques abiertos de altitudes intermedias del centro y sur peninsular.
Descripción
Clasificación
Orden Passeriformes
Familia Fringillidae
Longitud 18 cm
Envergadura 29-33 cm
Identificación
Se caracteriza por su cabeza voluminosa y con un pico muy grueso, de base notablemente ancha. A su vez, su cola corta potencia el volumen de la cabeza y el pico, además de otorgar al ave un aspecto compacto y robusto. En una observación detallada y cuidadosa se pueden diferenciar los sexos. Los machos tienen las manchas naranja y gris de la cabeza y la cara mucho más vivas que las hembras; además, las plumas internas de las alas están teñidas en los machos con un reflejo azul metálico, mientras que en las hembras es de color gris plata. Por otra parte, los jóvenes volantones se reconocen porque son de tonos pardos, sin colores vistosos en la cabeza y sin el bello tono anaranjado que poseen los adultos, tanto machos como hembras. Su vuelo es rápido y potente. Las alas desplegadas facilitan la identificación del picogordo, pues muestran con claridad dos grandes manchas blancas. En vuelo también se aprecia una característica banda terminal blanca. A pesar de sus peculiares rasgos, no resulta sencillo detectar al picogordo. Ya sea en parejas o en pequeños bandos, pasa inadvertido con facilidad, pues se trata de un ave tímida, esquiva y muy silenciosa que pulula por la parte alta de las copas de los árboles.
Canto
El canto y los reclamos de este pájaro son muy simples. Posado y en vuelo emite notas cortas (chiiit), perceptibles solamente a corta distancia.
(more details later, as time permits)
***********************************
Sometime in 2014, I created Flickr album for photos that I had started taking with my iPhone5s; and a year later, in the fall of 2014, I started a new Flickr album for photos that I’ve begun taking with my iPhone6, and iPhone6+. But progress doesn’t stop (at least with Apple): as of October 2015, I’ve upgraded once again, to the iPhone6s and 6s+ (yes, both of them) and this new album contains photos created with those camera-phones
In last year’s Flickr album, I wrote, “Whether you’re an amateur or professional photographer, it’s hard to walk around with a modern smartphone in your pocket, and not be tempted to use the built-in camera from time-to-time. Veteran photographers typically sneer at such behavior, and most will tell you that they can instantly recognize an iPhone photo, which they mentally reject as being unworthy of any serious attention.
“After using many earlier models of smartphones over the past several years, I was inclined to agree; after all, I always (well, almost always) had a “real” camera in my pocket (or backpack or camera-bag), and it was always capable of taking a much better photographic image than the mediocre, grainy images shot with a camera-phone.
“But still … there were a few occasions when I desperately wanted to capture some photo-worthy event taking place right in front of me, and inevitably it turned out to be the times when I did not have the “real” camera with me. Or I did have it, but it was buried somewhere in a bag, and I knew that the “event” would have disappeared by the time I found the “real" camera and turned it on. By contrast, the smart-phone was always in my pocket (along with my keys and my wallet, it’s one of the three things I consciously grab every time I walk out the door). And I often found that I could turn it on, point it at the photographic scene, and take the picture much faster than I could do the same thing with a “traditional” camera.
“Meanwhile, smartphone cameras have gotten substantially better in the past few years, from a mechanical/hardware perspective; and the software “intelligence” controlling the camera has become amazingly sophisticated. It’s still not on the same level as a “professional” DSLR camera, but for a large majority of the “average” photographic situations we’re likely to encounter in the unplanned moments of our lives, it’s more and more likely to be “good enough.” The old adage of “the best camera is the one you have with you” is more and more relevant these days. For me, 90% of the success in taking a good photo is simply being in the right place at the right time, being aware that the “photo opportunity” is there, and having a camera — any camera — to take advantage of that opportunity. Only 10% of the time does it matter which camera I’m using, or what technical features I’ve managed to use.
“And now, with the recent advent of the iPhone5s, there is one more improvement — which, as far as I can tell, simply does not exist in any of the “professional” cameras. You can take an unlimited number of “burst-mode” shots with the new iPhone, simply by keeping your finger on the shutter button; instead of being limited to just six (as a few of the DSLR cameras currently offer), you can take 10, 20, or even a hundred shots. And then — almost magically — the iPhone will show you which one or two of the large burst of photos was optimally sharp and clear. With a couple of clicks, you can then delete everything else, and retain only the very best one or two from the entire burst.
“With that in mind, I’ve begun using my iPhone5s for more and more “everyday” photo situations out on the street. Since I’m typically photographing ordinary, mundane events, even the one or two “optimal” shots that the camera-phone retains might not be worth showing anyone else … so there is still a lot of pruning and editing to be done, and I’m lucky if 10% of those “optimal” shots are good enough to justify uploading to Flickr and sharing with the rest of the world. Still, it’s an enormous benefit to know that my editing work can begin with photos that are more-or-less “technically” adequate, and that I don’t have to waste even a second reviewing dozens of technically-mediocre shots that are fuzzy, or blurred.
“Oh, yeah, one other minor benefit of the iPhone5s (and presumably most other current brands of smartphone): it automatically geotags every photo and video, without any special effort on the photographer’s part. Only one of my other big, fat cameras (the Sony Alpha SLT A65) has that feature, and I’ve noticed that almost none of the “new” mirrorless cameras have got a built-in GPS thingy that will perform the geotagging...
“I’ve had my iPhone5s for a couple of months now, but I’ve only been using the “burst-mode” photography feature aggressively for the past couple of weeks. As a result, the initial batch of photos that I’m uploading are all taken in the greater-NYC area. But as time goes on, and as my normal travel routine takes me to other parts of the world, I hope to add more and more “everyday” scenes in cities that I might not have the opportunity to photograph in a “serious” way.”
***********************************
Okay, so now it’s October of 2015, and I’ve got the iPhone 6s/6s+. The the camera now has a 12-megapixel lens (instead of the older 8 MP version), and that the internal camera-related hardware/firmware/software is better, too. Obviously, I’ve got the newer iOS9, too, and even on the “old” phones, it now supports time-lapse videos along with everything else.
I’ve still got my pocket camera (an amazing little Sony RX-100 Mark IV, which replaces the Mark III I had last year), and two larger cameras (Sony RX-10 II, and Sony A7 II), but I have a feeling that I won’t even be taking them out of the camera bag when I’m out on the street for ordinary day-to-day walking around.
That will depend, obviously, on what kind of photos and videos the iPhone6s/6s+ camera actually capable of taking … so I’m going to try to use at leas one of them every day, and see what the results look like …
Like I said last year, “stay tuned…”
Continuing the early 2021 Lockdown, and weather permitting, whilst not at work i was walking from home to the farside of RSPB Dungeness.
The pools at Hanson ARC, to the left of the path before you reach the Water Tower, now Forbidden Territory as the RSPB don't like people going to them anymore!!! Nevermind, if I do visit them I just won't bother to tell the RSPB of any Species Records I find, anyway if I had not gone to the pools on this day, I would not have had the best ever/closest encounter with a Bittern that I have ever had, plus I would not have been standing there to look up moments later to see the White Tailed Sea Eagle fly over me!!!
I was permitted into the theater. Thankful for director. Universe as its theme, interior design is imagined from Star Wars, so audience feels like the spaceship.
ありがたいことに特別に入れていただきました。「宇宙」をテーマとした劇場ホールは異次元のかっこよさです。
座席の色は由利本荘市のごてんまりで使われる赤色を使用。座ると宇宙旅行に出かけられそうな感じでした。
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【写真】由利本荘市文化交流館 カダーレ／新居千秋都市建築設計 | 建築グラビア
photowork.jp/christinayan01/architectural/archives/7724
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Yurihonjo City Cultural Center KADARE (由利本荘市文化交流館 カダーレ).
Architect : Chiaki Arai Urban & Architecture Design (設計：新居千秋都市建築設計).
Contractor : Toda Corporation (施工：戸田建設).
Completed : 10 November 2011 (竣工：2011年11月10日).
Structured : Reinforced Concrete (構造：鉄筋コンクリート造、鉄骨造).
Costs : $80 million (総工費：約80億円).
Use : Public hall, Library (用途：ホール、図書館).
Height : 97 ft (高さ：29.765m).
Floor : 3 (階数：地上3階、地下1階).
Floor area : 126,475 sq.ft. (延床面積：11,750㎡).
Building area : 72,699 sq.ft. (建築面積：6,754㎡).
Site area : 143,536 sq.ft. (敷地面積：13,335㎡).
Owner : Yurihonjo City (建主：由利本荘市).
Location : 15 Higashimachi, Yurihonjo City, Akita, Japan (所在地：秋田県由利本荘市東町15).
Referenced :
kadare.net/wpress/?page_id=1255
www.nikkenren.com/kenchiku/bcs/detail.html?r=w&ci=885
施設関係者のお話しより。
Demolition permits were issued yesterday for both apartment buildings, constructed in 1881 and 1882, respectively. The owner is listed as Barrett Homes; its website has no listing for the properties, for which I can't find sales information either.
Manto oscuro (Heodes tityrus)
El tiempo no permite de momento salir mucho al monte,ni que haya todavía muchos bichos,así que tiramos de archivo mientras sigo comiéndome las uñas...
Esta palabra tiene muchos signifcados, me permito copiarlos todos:
sencillo, lla
Del lat. vulg. *singellus, y este dim. del lat. singŭlus 'uno cada vez', 'uno solo'.
1. adj. Que no ofrece dificultad.
2. adj. Que no tiene artificio ni composición.
3. adj. Dicho de una cosa: Que tiene menos cuerpo que otras de su especie. Tafetán sencillo.
4. adj. Que carece de ostentación y adornos.
5. adj. Dicho del estilo: Que carece de exornación y artificio, y expresa ingenua y naturalmente los conceptos.
6. adj. Dicho de una persona: Natural, espontánea, que obra con llaneza.
7. adj. Incauto, fácil de engañar.
8. adj. Ingenuo en el trato, sin doblez ni engaño, y que dice lo que siente.
9. adj. Dicho de una moneda: Pequeña, respecto de otra del mismo nombre, de más valor. Real de plata sencillo.
10. adj. Quím. Dicho de un enlace: Que es covalente y tiene lugar entre átomos que comparten un solo par de electrones.
11. m. Disco fonográfico de corta duración con una o dos grabaciones en cada cara. U. t. c. adj.
12. m. Am. Calderilla, dinero suelto.
Me quedo con los números 6 y 7, ya que. aplicado a las personas, es una de las cualidades que más aprecio ♥
Una palabra tan corta y que dice tanto. Que contiene tanto...
Proyecto Doce Palabras con Significado.
4/12
nikon FM2 35mm/f2 + Fuji Superia 100 film@norway's wood coffee, taipei, taiwan
my favorite place to have a coffee,
and read a book,
but it's not permitted smoking here anymore now. ^^;
(more details later, as time permits)
*****************************************
I’m not sure what I expected when I walked out of my hotel one morning during my vacation visit, jumped into a taxi, and asked the driver to take me to the Berlin Wall — but not this.
My driver patiently explained, in English that was far superior to anything I might have dreamed of attempting in German, that there was really one one section of the wall (also known as the East Side Gallery) that remained intact — on Mülenstraße, which was only a few kilometers from my hotel. So off we went, and my driver smiled as I got out of the cab, with a pleasant request to “Enjoy yourself!”
I’m not sure “enjoy” is how I would characterize this experience … but it was one that I’m certainly glad that I had. The section of the wall along which I walked was separated from the Spree River by a grassy knoll about 50 yards wide (though I subsequently learned that the border itself, back in those days, was the river) … so I could get some distance and perspective as I looked at some of the vivid artwork. And that was on the “back side” of the wall; there was more street art on the “front side” that ran along Mühlenstraße. I walked both sides, several times, and did my best to photograph everything…
I don’t think there’s much point in my translating, explaining, or even commenting on the photos you can see here; there are 105 altogether, and they speak for themselves, with messages that are pretty self-explanatory. There may be a few phrases in German that you don’t understand; but Google will help you out.
One of the signs commemorated the 25th anniversary of the reunification of Germany—which, of course, was an almost immediate consequence of the collapse of East Germany, and the dismantling of the wall. But it made me wonder: how long will any of this last? It’s obviously meaningful to me and my generation; and if my parents were alive, I’m sure it would take their breath away. As for my children’s generation, and their children’s generation … well, who knows?
And a hundred years from now, will any part of this one small stretch of the old wall, which runs for only 1.3 kilometers, still be standing?
A big BNSF stack train tops out at Goffs Hill westward. The silver device mounted on the ties on the engineer's side of the train is an ATS inductor, a component of the system that permits Amtrak trains to operate at 90 MPH.
- www.kevin-palmer.com - With about 15 miles of passages, Horsethief Cave is the longest cave in both Wyoming and Montana. The entrance sits in a very remote area almost exactly on the stateline. I did not go beyond the mouth of the cave because a permit is required and caving alone seems like a bad idea anyway.
(more details later, as time permits)
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Another year has elapsed since I last photographed the tango dancers gathering on Pier 45 (where Christopher Street runs into the Hudson River in New York City's West Village), on the weekend before Labor Day, late-August 2014. But the sun was shining one weekend in early June of 2015, and I decided to venture down to Greenwich Village once again...
As I've mentioned in other Flickr sets, I have now met a few of the dancers at previous tango event over the past several; years, and I used to make a point of introducing myself to some of them, handing out business cards with my Flickr address so that people would be able to find these pictures without too much difficulty. But the dancers have good reason to be more interested in the music, and the movement of their partners, than a guy on the sideline with a camera -- so most of them have simply ignored me…
Altogether, I've now taken a dozen sets of tango-related photos, and you can see a thumbnail overview of them in this Flickr collection. And if you'd like to watch some other examples NYC tango dancing, check out Richard Lipkin's Guide to Argentine Tango in New York City.
Even though the dancers seem fresh and enthusiastic each time I come down here to Pier 45, I have a definite sense of deja vu: arguably, I’ve seen it all, I’ve photographed it all, I’ve heard all the tango music several times before. So I decided to do something different this time: I took all of the photos with my iPhone6+ camera. I used the “burst mode” feature on the camera-phone, so even though I took some 4,000 separate images, there were only about 400 “bursts,” and the iPhone hardware was kind enough to tell me which one or two images were reasonably sharp in each burst. From that smaller subset, I was eventually able to whittle things down to 50 images that I thought were okay for uploading to Flickr; that’s what you’ll see here.
Actually, the reason I was motivated to do all of this was not Flickr, but Instagram: for reasons that I can only assume are a stubborn testament to the “culture” of its community, Instagram insists on a “square” format, rather than the 3:2 or 4:3 aspect ratio favored by most DSLR and point-and-shoot cameras. Even worse, it insists that the photos be uploaded one-at-a-time from a mobile device. Ironically, this last restriction may prove to be too much; I’m uploading the photos to Flickr from my desktop Mac, but I don’t know if I’ll have the patience to upload them individually to Instagram…
Aside from that, I’ve concluded that the iPhone6+ is a handy little device for casual, ad hoc photos and videos; but it really doesn’t have the features I’ve come to depend on for the photos I want to publish. I won’t go into all of the technical details; chances are that you either don’t know, or don’t care, about those details. And if you do, chances are that you’ve made up your mind one way or another. As for me, I will definitely keep using the iPhone for some of my photos — especially the ones that really are casual, unplanned, ad hoc photos when I’ve got no other equipment that I can use. But with sophisticated little “pocket cameras” like the Sony RX-100 and Canon G7X, those moments are pretty rare for me … still, it was an interesting experiment.
As I've also pointed out in some previous Flickr albums, you can see a video version of the tango dancers from 2011, complete with music (which isn’t really tango music, but that’s okay), on my YouTube page; it’s here: www.youtube.com/watch?v=rqmnTQuwn54&list=UUUXim5Er2O4...
This is Leake Street, also known as the "Banksy Tunnel" or "Graffiti Tunnel", it is a road in Lambeth, London. It is about 300 metres long, runs off York Road and under the platforms and tracks of Waterloo station. The walls are decorated with graffiti - initially created during the "Cans Festival" organised by Banksy on 3rd-5 May 2008.
en.wikipedia.org/wiki/Leake_Street It is now an area where graffiti is permitted.
This was taken near the corner of Broadway and 92nd Street
(more details later, as time permits)
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This is the continuation of a photo-project that I began in the summer of 2008 (which you can see in this Flickr set), and continued throughout 2009-2014 (as shown in this Flickr set, this Flickr set, this Flickr set, this Flickr set, this Flickr set), this Flickr set), and this Flickr set): a random collection of "interesting" people in a broad stretch of the Upper West Side of Manhattan -- between 72nd Street and 104th Street, especially along Broadway and Amsterdam Avenue. These are the people in my neighborhood, aka "peeps in the 'hood."
As I indicated when I first started this project six years ago, I don't like to intrude on people's privacy, so I normally use a zoom telephoto lens in order to photograph them while they're still 50-100 feet away from me; but that means I have to continue focusing my attention on the people and activities half a block away, rather than on what's right in front of me. Sometimes I find an empty bench on a busy street corner, and just sit quietly for an hour, watching people hustling past on the other side of the street; they're almost always so busy listening to their iPod, or talking on their cellphone, or daydreaming about something, that they never look up and see me aiming my camera in their direction.
I've also learned that, in many cases, the opportunities for an interesting picture are very fleeting -- literally a matter of a couple of seconds, before the person(s) in question move on, turn away, or stop doing whatever was interesting. So I've learned to keep my camera switched on, and not worry so much about zooming in for a perfectly-framed picture ... after all, once the digital image is uploaded to my computer, it's pretty trivial to crop out the parts unrelated to the main subject. Indeed, some of my most interesting photos have been so-called "hip shots," where I don't even bother to raise the camera up to my eye; I just keep the zoom lens set to the maximum wide-angle aperture, point in the general direction of the subject, and take several shots. As long as I can keep the shutter speed fairly high (which sometimes requires a fairly high ISO setting), I can usually get some fairly crisp shots -- even if the subject is walking in one direction, and I'm walking in the other direction, while I'm snapping the photos.
With only a few exceptions, I've generally avoided photographing bums, drunks, crazies, and homeless people. There are plenty of them around, and they would certainly create some dramatic pictures; but they generally don't want to be photographed, and I don't want to feel like I'm taking advantage of them. There have been a few opportunities to take some "sympathetic" pictures of such people, which might inspire others to reach out and help them. This is one example, and here is another example.
The other thing I've noticed, while carrying on this project for the past six years, is that while there are lots of interesting people to photograph, there are far, far, far more people who are not so interesting. They're probably fine people, and they might even be more interesting than the ones I've photographed ... unfortunately, there was just nothing memorable about them. They're all part of this big, crowded city; but for better or worse, there are an awful lot that you won't see in these Flickr sets of mine...
(more details later, as time permits)
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Sometime in 2014, I created Flickr album for photos that I had started taking with my iPhone5s; and a year later, in the fall of 2014, I started a new Flickr album for photos that I’ve begun taking with myiPhone6, and iPhone6+. But progress doesn’t stop (at least with Apple): as of October 2015, I’ve upgraded once again, to the iPhone6s and 6s+ (yes, both of them) and this new album contains photos created with those camera-phones
In last year’s Flickr album, I wrote, “Whether you’re an amateur or professional photographer, it’s hard to walk around with a modern smartphone in your pocket, and not be tempted to use the built-in camera from time-to-time. Veteran photographers typically sneer at such behavior, and most will tell you that they can instantly recognize an iPhone photo, which they mentally reject as being unworthy of any serious attention.
“After using many earlier models of smartphones over the past several years, I was inclined to agree; after all, I always (well, almost always) had a “real” camera in my pocket (or backpack or camera-bag), and it was always capable of taking a much better photographic image than the mediocre, grainy images shot with a camera-phone.
“But still … there were a few occasions when I desperately wanted to capture some photo-worthy event taking place right in front of me, and inevitably it turned out to be the times when I did not have the “real” camera with me. Or I did have it, but it was buried somewhere in a bag, and I knew that the “event” would have disappeared by the time I found the “real" camera and turned it on. By contrast, the smart-phone was always in my pocket (along with my keys and my wallet, it’s one of the three things I consciously grab every time I walk out the door). And I often found that I could turn it on, point it at the photographic scene, and take the picture much faster than I could do the same thing with a “traditional” camera.
“Meanwhile, smartphone cameras have gotten substantially better in the past few years, from a mechanical/hardware perspective; and the software “intelligence” controlling the camera has become amazingly sophisticated. It’s still not on the same level as a “professional” DSLR camera, but for a large majority of the “average” photographic situations we’re likely to encounter in the unplanned moments of our lives, it’s more and more likely to be “good enough.” The old adage of “the best camera is the one you have with you” is more and more relevant these days. For me, 90% of the success in taking a good photo is simply being in the right place at the right time, being aware that the “photo opportunity” is there, and having a camera — any camera — to take advantage of that opportunity. Only 10% of the time does it matter which camera I’m using, or what technical features I’ve managed to use.
“And now, with the recent advent of the iPhone5s, there is one more improvement — which, as far as I can tell, simply does not exist in any of the “professional” cameras. You can take an unlimited number of “burst-mode” shots with the new iPhone, simply by keeping your finger on the shutter button; instead of being limited to just six (as a few of the DSLR cameras currently offer), you can take 10, 20, or even a hundred shots. And then — almost magically — the iPhone will show you which one or two of the large burst of photos was optimally sharp and clear. With a couple of clicks, you can then delete everything else, and retain only the very best one or two from the entire burst.
“With that in mind, I’ve begun using my iPhone5s for more and more “everyday” photo situations out on the street. Since I’m typically photographing ordinary, mundane events, even the one or two “optimal” shots that the camera-phone retains might not be worth showing anyone else … so there is still a lot of pruning and editing to be done, and I’m lucky if 10% of those “optimal” shots are good enough to justify uploading to Flickr and sharing with the rest of the world. Still, it’s an enormous benefit to know that my editing work can begin with photos that are more-or-less “technically” adequate, and that I don’t have to waste even a second reviewing dozens of technically-mediocre shots that are fuzzy, or blurred.
“Oh, yeah, one other minor benefit of the iPhone5s (and presumably most other current brands of smartphone): it automatically geotags every photo and video, without any special effort on the photographer’s part. Only one of my other big, fat cameras (the Sony Alpha SLT A65) has that feature, and I’ve noticed that almost none of the “new” mirrorless cameras have got a built-in GPS thingy that will perform the geotagging...
“I’ve had my iPhone5s for a couple of months now, but I’ve only been using the “burst-mode” photography feature aggressively for the past couple of weeks. As a result, the initial batch of photos that I’m uploading are all taken in the greater-NYC area. But as time goes on, and as my normal travel routine takes me to other parts of the world, I hope to add more and more “everyday” scenes in cities that I might not have the opportunity to photograph in a “serious” way.”
*****************************************************************************
Okay, so now it’s October of 2015, and I’ve got the iPhone 6s/6s+. The the camera now has a 12-megapixel lens (instead of the older 8 MP version), and that the internal camera-related hardware/firmware/software is better, too. Obviously, I’ve got the newer iOS9, too, and even on the “old” phones, it now supports time-lapse videos along with everything else.
I’ve still got my pocket camera (an amazing little Sony RX-100 Mark IV, which replaces the Mark III I had last year), and two larger cameras (Sony RX-10 II, and Sony A7 II), but I have a feeling that I won’t even be taking them out of the camera bag when I’m out on the street for ordinary day-to-day walking around.
That will depend, obviously, on what kind of photos and videos the iPhone6s/6s+ camera actually capable of taking … so I’m going to try to use at leas one of them every day, and see what the results look like …
Like I said last year, “stay tuned…”
(more details later, as time permits)
*******************************
Another year has elapsed since I last photographed the tango dancers gathering on Pier 45 (where Christopher Street runs into the Hudson River in New York City's West Village), on the weekend before Labor Day, late-August 2014. But the sun was shining one weekend in early June of 2015, and I decided to venture down to Greenwich Village once again...
As I've mentioned in other Flickr sets, I have now met a few of the dancers at previous tango event over the past several; years, and I used to make a point of introducing myself to some of them, handing out business cards with my Flickr address so that people would be able to find these pictures without too much difficulty. But the dancers have good reason to be more interested in the music, and the movement of their partners, than a guy on the sideline with a camera -- so most of them have simply ignored me…
Altogether, I've now taken a dozen sets of tango-related photos, and you can see a thumbnail overview of them in this Flickr collection. And if you'd like to watch some other examples NYC tango dancing, check out Richard Lipkin's Guide to Argentine Tango in New York City.
Even though the dancers seem fresh and enthusiastic each time I come down here to Pier 45, I have a definite sense of deja vu: arguably, I’ve seen it all, I’ve photographed it all, I’ve heard all the tango music several times before. So I decided to do something different this time: I took all of the photos with my iPhone6+ camera. I used the “burst mode” feature on the camera-phone, so even though I took some 4,000 separate images, there were only about 400 “bursts,” and the iPhone hardware was kind enough to tell me which one or two images were reasonably sharp in each burst. From that smaller subset, I was eventually able to whittle things down to 50 images that I thought were okay for uploading to Flickr; that’s what you’ll see here.
Actually, the reason I was motivated to do all of this was not Flickr, but Instagram: for reasons that I can only assume are a stubborn testament to the “culture” of its community, Instagram insists on a “square” format, rather than the 3:2 or 4:3 aspect ratio favored by most DSLR and point-and-shoot cameras. Even worse, it insists that the photos be uploaded one-at-a-time from a mobile device. Ironically, this last restriction may prove to be too much; I’m uploading the photos to Flickr from my desktop Mac, but I don’t know if I’ll have the patience to upload them individually to Instagram…
Aside from that, I’ve concluded that the iPhone6+ is a handy little device for casual, ad hoc photos and videos; but it really doesn’t have the features I’ve come to depend on for the photos I want to publish. I won’t go into all of the technical details; chances are that you either don’t know, or don’t care, about those details. And if you do, chances are that you’ve made up your mind one way or another. As for me, I will definitely keep using the iPhone for some of my photos — especially the ones that really are casual, unplanned, ad hoc photos when I’ve got no other equipment that I can use. But with sophisticated little “pocket cameras” like the Sony RX-100 and Canon G7X, those moments are pretty rare for me … still, it was an interesting experiment.
As I've also pointed out in some previous Flickr albums, you can see a video version of the tango dancers from 2011, complete with music (which isn’t really tango music, but that’s okay), on my YouTube page; it’s here: www.youtube.com/watch?v=rqmnTQuwn54&list=UUUXim5Er2O4...
La iglesia de la Santa Cruz es una pequeña iglesia de Baeza (provincia de Jaén, España), de estilo tardo-románico, relativamente inusual en Andalucía oriental, edificada en el siglo XIII, tras la conquista del Valle Alto del Guadalquivir por Fernando III (capitulación de Baeza: 1227).
Forma parte del conjunto monumental renacentista de Baeza, que junto con el de Úbeda, fue declarado Patrimonio de la Humanidad por la Unesco en 2003.
Cierra por el este la Plaza de Santa Cruz situada en pleno casco histórico de la ciudad. Tiene en frente el Palacio de Jabalquinto, uno de los principales monumentos baezanos actualmente sede de la Universidad Internacional de Andalucía.
La planta presenta tres naves –cubiertas por artesonado de madera a dos aguas– sostenidas por columnas de piedra arenisca, con basas compuestas formadas por dos plintos. La nave central se prolonga en una bóveda de cañón cerrada por un ábside semicircular que estaba cubierto por pinturas al fresco probablemente de principios del s. XVI (aún se distinguen un Calvario y una Santa Cena); el alero del mismo presenta modillones de tipo zamorano. En el lado de la epístola de la mencionada prolongación, aparece un arco de herradura formado por dovelas lisas con rebaje lineal en las juntas y una sola arquivolta que se ha supuesto de origen visigótico, lo que ha permitido elucubrar que la fábrica románica se construyó sobre un edificio anterior. Por su parte, en el lado del evangelio hay dos ampliaciones góticas:
Una capilla de planta rectangular, y cubierta por bóveda de crucería, paralela a la extensión de la nave central cubierta por la bóveda de cañón (cuenta con pinturas al fresco probablemente de principios del s. XVI: Martirio de Santa Catalina, Virgen galactotrofusa, Martirio de San Sebastián);
Una capilla de planta cuadrangular, y cubierta por bóveda de terceletes, a la que se accede por el vano de la antigua puerta norte del templo.
La portada oeste procede de las ruinas de la parroquia de San Juan, mientras la portada sur (única original del templo aún subsistente) tiene características salmantinas.
Algún tratadista ha estimado que esta Iglesia perteneció a la Orden del Temple. En cualquier caso, fue parroquia hasta el siglo XIX, cuando primero pasó a albergar la trasladada parroquia de El Sagrario de la catedral, para más tarde convertirse en ermita auxiliar de la parroquia de El Salvador. En julio de 1936 fue asaltada, siendo destruidos sus bienes muebles. Fue salvada de la consiguiente ruina por la restauración realizada en la década de 1950, momento en que se añadió la portada oeste.
es.wikipedia.org/wiki/Iglesia_de_la_Santa_Cruz_(Baeza)
Baeza es un municipio de España, la ciudad capital de dicho municipio y cabeza del partido judicial homónimo. Se encuentra en el mismo centro geográfico de la provincia de Jaén (en el noreste de la Comunidad Autónoma de Andalucía) enclavada en la comarca de La Loma de la que se considera su capital occidental.
En la actualidad es conocida por su ingente producción olivarera, su abundante legado monumental, y por ser sede universitaria desde el siglo XVI, albergando hoy día una de las sedes de la Universidad Internacional de Andalucía.
Denominada "Nido Real de Gavilanes" por el romancero, fue un punto clave en la conquista de al-Ándalus por los reyes cristianos; pasando definitivamente al reino de Castilla en 1227. Atalaya sobre el Guadalquivir, la posesión de su alcázar (considerado como inexpugnable) aseguró la retaguardia castellana, la vez que supuso una amenaza constante para los reinos islámicos situados al oeste y al sur del Guadalquivir; una amenaza que se hizo efectiva durante los más de dos siglos de lucha fronteriza que separaron la incorporación de Baeza al reino de Castilla y la caída del reino nazarí de Granada (1492).
Durante el período de gran crecimiento demográfico y económico que supuso la mayor parte del siglo XVI, y aún en parte del XVII, Baeza construyó sus edificios públicos y administrativos con alto sentido de capitalidad y con la más alta dignidad, conformando así, junto con las construcciones eclesiásticas, un tejido urbano caracterizado por una monumentalidad que ha dado a la ciudad un encanto especial a los ojos del visitante.
En 1943 se fundó en Baeza la academia de las escalas de Cabos y Guardias y de Suboficiales de la Guardia Civil.
Se encuentra a unos 48 km al noreste de la capital provincial, y limita por el este con el municipio de Úbeda, con el que comparte la capitalidad de la histórica Comarca de La Loma.
El 3 de julio de 2003, y tras varios años de intentos, la UNESCO declara finalmente a Baeza (junto a Úbeda) Patrimonio de la Humanidad. Este acontecimiento profundiza el relanzamiento de la ciudad al incrementar considerablemente el interés del sector turístico.
es.wikipedia.org/wiki/Baeza_(España)
www.lonelyplanet.com/spain/andalucia/baeza
Baeza se asienta sobre un terreno que ha estado continuamente habitado, al menos desde la Edad del Bronce. Por esta razón, y a pesar de las sucesivas destrucciones sufridas por las construcciones de todos los períodos, la ciudad aún retiene un destacado patrimonio monumental en el que están representadas diversas culturas, períodos y estilos artísticos. En Baeza pueden contemplarse restos de la Edad del Bronce, de la Época Romana, y de la Hispania visigoda, islámica y cristiana. No obstante, el más rico patrimonio monumental conservado corresponde a los diversos estilos artísticos presentes en la Baeza cristiana: desde el tardo-románico y el gótico, al renacentista, manierista, barroco y neoclásico. No en vano en 2003 el casco histórico de la población, con su antigua ciudad intramuros, fue declarado Patrimonio Mundial por la Unesco.
Baeza, situada en la cornisa sur de la gran meseta que es La Loma, se asoma al valle del Guadalquivir desde un acantilado que domina un paisaje de cerros infinitos; dicho acantilado, visto desde el llano parece sustentar la catedral como un faro.
La ciudad originaria estaba edificada sobre este cerro y en torno a una ciudadela, hoy desconocida: el celebérrimo alcázar de Baeza, reputado como inexpugnable y dentro del cual se encontraban el castillo-palacio de la autoridad real y la iglesia (luego colegiata) de Santa María del Alcázar. Estas construcciones, lejos de surgir ex novo, fueron una continuación de similares edificaciones de los períodos oretano, cartaginés y romano; restos de los cuales aún pueden contemplarse en el cerro junto a otros de la precedente Edad del Bronce.
Desde esta atalaya entendemos que la ciudad fuera una gran plaza fuerte donde, un día, se remansó la gran epopeya reconquistadora revitalizada por Las Navas de Tolosa. No obstante, a fines del s. XV el alcázar fue derribado por mandato de la reina Isabel la Católica de modo que no siguiera siendo utilizado como defensa con ocasión de las pugnas nobiliarias que enfrentaban por entonces (como en toda Castilla) a los linajes dominantes de la ciudad (Carvajales y Benavides).
Consecuencia del derribo del alcázar, el cerro fue perdiendo pobladores hasta el punto de estar casi despoblado en el s. XVIII y trasladarse por ello la colegiata a la parroquia de San Andrés. También desaparecido el frente sur de la muralla, adyacente al alcázar, el paseo que lo reemplaza es hoy día un mirador excepcional sobre el valle alto del Guadalquivir, y el cerro mismo, un parque arqueológico de primer nivel pendiente de excavaciones más ambiciosas.
Su centro neurálgico es la Plaza de Santa María establecida en la baja edad media, y hasta el s. XIX, como sede de los poderes que rigen la ciudad: el civil y el religioso; en ella se encuentran hoy:
La Catedral de la Natividad de Nuestra Señora: edificada sobre la antigua mezquita que (según tradición histórica) había sido construida a su vez sobre un templo visigodo anterior, fue la primera consagrada en Andalucía con ocasión de la reconquista castellana.
Las Cancillerías góticas o Casas Consistoriales Altas: sede del concejo de la ciudad entre fines del s. XV y el s. XIX, cuando el consistorio municipal traslada su sede al antiguo palacio del corregidor.
La Fuente de Santa María: situada en el centro de la plaza fue edificada en el año 1564 para marcar la finalización de las obras de traída de aguas a la ciudad.
El Seminario de San Felipe Neri (1660): tiene fachada de buena sillería, puerta de medio punto, frontón partido y vítores estudiantiles.
Al norte de este conjunto, y junto a la Puerta del Barbudo, se halla la sede de la antigua universidad Santísima Trinidad, otra importante Institución eclesiástica de la Edad Moderna hoy Instituto. El edificio es de estilo manierista (fines del s. XVI) y consta de claustro, en torno al cual se organizan las dependencias universitarias, y una amplia capilla; contando cada uno de estos elemento con portada propia. Destaca, sobre la puerta de acceso al claustro, el medallón labrado con el tema de la Santísima Trinidad. En esa misma fachada pueden verse los escudos del canónigo Fernández de Córdoba (donante del edificio) timbrados con un impropio galero arzobispal.
De las primeras parroquias intramuros han desaparecido por completo la colegiata de Santa María, San Miguel y San Gil; solo permanecen:
Las Ruinas de la parroquia de San Pedro: iglesia románica de la que sólo se conservan el ábside (parcialmente visible al exterior) y restos considerables de la portada norte (dentro de propiedad particular). Parcelada en viviendas desde el s. XIX, su fábrica ha ido deteriorándose y se han abierto nuevos vanos en el ábside.
Las Ruinas de la parroquia de San Juan: iglesia tardorrománica de la que sólo se conservan los tres ábsides de la cabecera, el muro del lado del evangelio y los capiteles y basas de sus seis columnas. Recientemente, estos restos han sido consolidados y su acceso abierto al público.
La Iglesia de Santa Cruz
Esta última se halla en la plaza del mismo nombre frente al Palacio de Jabalquinto, el más destacado de la ciudad intramuros y uno de los emblemas de Baeza. Pero la ciudad intramuros está, además, plagada de rincones con otros palacios y casonas de interés, como la Casa de Avilés (mediados del s. XVI), la Casa de los Galeote (segunda mitad del s. XVI), la Casa de los Ávila (comienzos del s. XVII), la Casa de los Fuentecilla, la Casa de los Canónigos, el Palacio de los Obispos (todos del s. XVIII) o el Palacio Rubín de Ceballos (principios del s. XIX).
El trazado de la muralla históricamente conocida, y de la que aún subsisten importantes elementos, obedece a un diseño islámico del s. XI. No obstante, las edificaciones conservadas responden más bien a reconstrucciones cristianas posteriores.
La Plaza del Pópulo (o de Los Leones) está inmediatamente al norte de la ciudad amurallada y al oeste de El Paseo, organizándose en torno a la Puerta de Jaén, única construcción de la plaza perteneciente a la muralla; las otras edificaciones de la misma han ido añadiéndose en distintas épocas:
El Arco de Villalar: directamente a continuación de la Puerta de Jaén, fue erigido con ocasión de la visita del rey Carlos I (1526) y conmemora la victoria real en la batalla de Villalar.
La Casa del Pópulo: edificio plateresco que albergaba la audiencia civil y las escribanías públicas; hoy, oficina de turismo.
La Fuente de los Leones: manantial natural que la interpretación histórica tradicional postula monumento arqueológico procedente de la antigua ciudad iberorromana de Cástulo, hipótesis que se sustenta en la continuidad histórica deliberadamente mantenida con ocasión del traslado a Baeza de la capitalidad administrativa y episcopal de la desaparecida Cástulo. Según esta interpretación, parejas de felinos y équidos (actuando como surtidores) rodean una figura femenina identificada como Himilce. Más recientemente, se ha propuesto identificar esta fuente como previamente proveniente de un patio del alcázar.
La Antigua Carnicería (s. XVI): trasladada a su emplazamiento actual en los sesenta del s. XX, estaba originalmente apoyada contra la muralla en la antaño populosa plaza intramuros sita al otro lado de la Puerta de Jaén; hoy cumple las funciones de palacio de justicia del Partido judicial de Baeza.
Al este del conjunto anterior, más allá de El Paseo (plaza cuyo lado sur se antepone a la Puerta del Barbudo) encontramos:
La Torre de los Aliatares (o de los Altares): denominada así de acuerdo con la tradición que la hace, en tiempos anteriores a la reconquista, posesión del linaje musulmán de ese mismo nombre. Tiene veinticinco metros de altura, con almenas copiadas del Arco de Villalar y ostenta el reloj público de la ciudad.
Hacia el sureste de la anterior hallamos:
La Puerta de Úbeda: de las principales de la muralla; protegida por su torre albarrana hoy sólo conserva uno de sus arcos, habiendo sido desmantelados los otros dos en el s. XIX.
La actual Plaza de España, situada en el extremo noreste de lo que fue la ciudad amurallada; se conoce como tal la gran plaza edificada sobre la rambla por la que vienen a desaguar las tres colinas sobre las cuales se asienta la urbe. Su fisonomía es porticada, muy castellana. Servía de escenario para los eventos taurinos, fiestas y ajusticiamientos públicos. A partir del s. XIX fue cuando se convirtió en un paseo romántico.
En su lado sur encontramos la mencionada torre de Los Aliatares y La Alhondiga, e inmediatamente tras ella El Pósito. En su cara norte se hallan las Casas Consistoriales Bajas o Balcón del Concejo (s. XVII), lugar desde donde los munícipes presenciaban las corridas de toros celebradas en la plaza. Finalmente, y de este a oeste, también encontramos en las inmediaciones de su lado septentrional:
La Iglesia de la Purísima Concepción: capilla del antiguo hospital homónimo edificada a principios del s. XVII (el hospital desapareció en el s. XX).
Convento de San Francisco y Ruinas de la Capilla de los Benavides: sustituyendo un templo gótico construido en el que era tercer solar ocupado en Baeza por la comunidad franciscana, Diego de Valencia Benavides encargó en 1538 a Andrés de Vandelvira la construcción de la cabecera de un nuevo templo conventual, que habría de albergar su capilla funeraria y que acabó siendo la obra maestra de aquel artista y un hito de la arquitectura renacentista española. Lamentablemente el terremoto de Lisboa quebrantó la bóveda cruzada y la invasión napoleónica acabó de arruinar el templo.
Ayuntamiento de Baeza: magnífico edificio plateresco construido originalmente como Palacio de Justicia y Cárcel del Corregidor.
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La fotografía traslada las apariencias y permite interpretarlas fuera del espacio y del tiempo al que pertenecían.
Early morning shot taken in the North Coyote Buttes permit area in Vermilion Cliffs National Monument.
Forget The wave, there is cool stuff everywhere you look here! Was helpful to have stunning blue skies with interesting clouds too!
(more details later, as time permits)
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Sometime in 2014, I created Flickr album for photos that I had started taking with my iPhone5s; and a year later, in the fall of 2014, I started a new Flickr album for photos that I’ve begun taking with myiPhone6, and iPhone6+. But progress doesn’t stop (at least with Apple): as of October 2015, I’ve upgraded once again, to the iPhone6s and 6s+ (yes, both of them) and this new album contains photos created with those camera-phones
In last year’s Flickr album, I wrote, “Whether you’re an amateur or professional photographer, it’s hard to walk around with a modern smartphone in your pocket, and not be tempted to use the built-in camera from time-to-time. Veteran photographers typically sneer at such behavior, and most will tell you that they can instantly recognize an iPhone photo, which they mentally reject as being unworthy of any serious attention.
“After using many earlier models of smartphones over the past several years, I was inclined to agree; after all, I always (well, almost always) had a “real” camera in my pocket (or backpack or camera-bag), and it was always capable of taking a much better photographic image than the mediocre, grainy images shot with a camera-phone.
“But still … there were a few occasions when I desperately wanted to capture some photo-worthy event taking place right in front of me, and inevitably it turned out to be the times when I did not have the “real” camera with me. Or I did have it, but it was buried somewhere in a bag, and I knew that the “event” would have disappeared by the time I found the “real" camera and turned it on. By contrast, the smart-phone was always in my pocket (along with my keys and my wallet, it’s one of the three things I consciously grab every time I walk out the door). And I often found that I could turn it on, point it at the photographic scene, and take the picture much faster than I could do the same thing with a “traditional” camera.
“Meanwhile, smartphone cameras have gotten substantially better in the past few years, from a mechanical/hardware perspective; and the software “intelligence” controlling the camera has become amazingly sophisticated. It’s still not on the same level as a “professional” DSLR camera, but for a large majority of the “average” photographic situations we’re likely to encounter in the unplanned moments of our lives, it’s more and more likely to be “good enough.” The old adage of “the best camera is the one you have with you” is more and more relevant these days. For me, 90% of the success in taking a good photo is simply being in the right place at the right time, being aware that the “photo opportunity” is there, and having a camera — any camera — to take advantage of that opportunity. Only 10% of the time does it matter which camera I’m using, or what technical features I’ve managed to use.
“And now, with the recent advent of the iPhone5s, there is one more improvement — which, as far as I can tell, simply does not exist in any of the “professional” cameras. You can take an unlimited number of “burst-mode” shots with the new iPhone, simply by keeping your finger on the shutter button; instead of being limited to just six (as a few of the DSLR cameras currently offer), you can take 10, 20, or even a hundred shots. And then — almost magically — the iPhone will show you which one or two of the large burst of photos was optimally sharp and clear. With a couple of clicks, you can then delete everything else, and retain only the very best one or two from the entire burst.
“With that in mind, I’ve begun using my iPhone5s for more and more “everyday” photo situations out on the street. Since I’m typically photographing ordinary, mundane events, even the one or two “optimal” shots that the camera-phone retains might not be worth showing anyone else … so there is still a lot of pruning and editing to be done, and I’m lucky if 10% of those “optimal” shots are good enough to justify uploading to Flickr and sharing with the rest of the world. Still, it’s an enormous benefit to know that my editing work can begin with photos that are more-or-less “technically” adequate, and that I don’t have to waste even a second reviewing dozens of technically-mediocre shots that are fuzzy, or blurred.
“Oh, yeah, one other minor benefit of the iPhone5s (and presumably most other current brands of smartphone): it automatically geotags every photo and video, without any special effort on the photographer’s part. Only one of my other big, fat cameras (the Sony Alpha SLT A65) has that feature, and I’ve noticed that almost none of the “new” mirrorless cameras have got a built-in GPS thingy that will perform the geotagging...
“I’ve had my iPhone5s for a couple of months now, but I’ve only been using the “burst-mode” photography feature aggressively for the past couple of weeks. As a result, the initial batch of photos that I’m uploading are all taken in the greater-NYC area. But as time goes on, and as my normal travel routine takes me to other parts of the world, I hope to add more and more “everyday” scenes in cities that I might not have the opportunity to photograph in a “serious” way.”
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Okay, so now it’s October of 2015, and I’ve got the iPhone 6s/6s+. The the camera now has a 12-megapixel lens (instead of the older 8 MP version), and that the internal camera-related hardware/firmware/software is better, too. Obviously, I’ve got the newer iOS9, too, and even on the “old” phones, it now supports time-lapse videos along with everything else.
I’ve still got my pocket camera (an amazing little Sony RX-100 Mark IV, which replaces the Mark III I had last year), and two larger cameras (Sony RX-10 II, and Sony A7 II), but I have a feeling that I won’t even be taking them out of the camera bag when I’m out on the street for ordinary day-to-day walking around.
That will depend, obviously, on what kind of photos and videos the iPhone6s/6s+ camera actually capable of taking … so I’m going to try to use at leas one of them every day, and see what the results look like …
Like I said last year, “stay tuned…”
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Some friends permitted me to use their greenhouse as a backdrop for a self portrait. The green stuff was so thick I couldn't get past the doorway, but it served as an eye catching backdrop nonetheless.
(more details later, as time permits)
This was taken outside the entrance to the 96th Street IRT station on Broadway
This was one of several photos that I took with a little Sony RX-1R full-frame camera that I had rented for a few days ... I was curious to see if the full-frame format would make any noticeable difference.
It did make a difference, though not one that you would notice right away: because of the sensor and full-frame size, I had a lot more freedom in terms of cropping out all of the distractions that I did not want to include in the final picture.
On the other hand, the camera has no zoom capability: it's a wide-angle lens whether you like it or not. Perhaps more important, the LCD display screen does not swivel or tilt -- and that meant I had to actually hold the camera up to my face in order to see what the camera lens was pointing at. So much for "candid" photos. Conclusion: it's not a camera I want to buy.
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This is a continuation of a Flickr set that I started in the summer of 2009, and continued in 2010 (in this Flickr set), 2011 (in this Flickr set), 2012 (in this Flickr set), and 2013 (in this Flickr set). As I noted in those earlier sets of photos, I still have many parts of New York City left to explore -- but I've also realized that I don't always have to go looking elsewhere for interesting photographs. Some of it is available just outside my front door.
I live on a street corner on the Upper West Side of Manhattan where there's an express stop on the IRT subway line, as well as a crosstown bus stop, an entrance to the West Side Highway, and the usual range of banks, delis, grocery stores, mobile-phone stores, drug-stores, McDonald’s, Two Boots Pizza, Dunkin' Donuts, Starbucks, Subway, 7-11, and other commercial enterprises. As a result, there are lots of interesting people moving past my apartment building, all day and all night long.
It's easy to find an unobtrusive spot on the edge of the median strip separating the east side of Broadway from the west side; nobody pays any attention to me as they cross the street from east to west, and nobody even looks in my direction as they cross from north to south (or vice versa). In rainy weather, sometimes I huddle under an awning of the T-Mobile phone store on the corner, so I can take pictures of people under their umbrellas, without getting my camera and myself soaking wet...
So, these are some of the people I thought were photo-worthy during the past few weeks and months; I'll add more to the collection as the year progresses ... unless, of course, other parts of New York City turn out to be more compelling from time to time.
(more details later, as time permits)
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I'm spending the winter months of 2014-2015 in a warm spot on the beach in Indialantic, FL (if I have Internet access, it doesn't matter too much where I'm physically located).
I'm trying to get up about an hour before sunrise every morning, and be out on the beach for a morning walk just as the sun peeks up above the horizon.
On the very first morning, and every morning thereafter, I've immediately noticed that I was not the only person on the beach. There are joggers and walkers out getting their exercise, and *lots* of fishermen casting their lines out into the surf. But down by the 5th Avenue boardwalk -- where you can park your car and get a cup of coffee/latte/whatever from the local Starbucks -- there are lots and lots of people who clearly come down here just to watch the sunrise
These are some of the people...
(more comments later, as time permits)
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This is a continuation of Flickr sets that I created in 2014 (shown here), 2013 (shown here) 2012 (shown here), 2011 (shown here), 2010 (shown here), 2009 (shown here), and 2008 (shown here) -- which, collectively, illustrate a variety of scenes and people in the small "pocket park" known as Verdi Square, located at 72nd Street and Broadway in New York City's Upper West Side, right by the 72nd St. IRT subway station.
I typically visit a local gym once or twice a week, and I get there by taking the downtown IRT express from my home (at 96th Street) down to the 72nd Street stop. Whenever possible, I try to schedule an extra 30-60 minutes to sit quietly on one of the park benches, and just watch the flow of people coming in and out of the park -- sometimes just passing through, to get from 72nd Street up to 73rd Street, sometimes coming down Broadway to enter the park at 73rd Street, but mostly entering or exiting the subway station.
You see all kinds of people here: students, bums, tourists (from New Jersey and from all four corners of the globe), office workers, homeless people, retired people, babysitters, children, soldiers, sanitation workers, lovers, friends, dogs, cats, pigeons, and a few things that simply defy description. Sometimes you see the same people over and over again; sometimes they follow a regular pattern at a particular time of the day, which always makes me smile — even though I never go up to them and introduce myself.
If I focus on the people coming south on Broadway, and entering the park at 73rd Street, and then continuing to walk southwards toward the subway entrance, I typically have five or ten seconds to (a) decide if they're sufficiently interesting to bother photographing,(b) wait for them to get in a position where I can get a clear shot of them, and (c) focus my camera on them and take several shots, in the hope that at least one or two of them will be well-focused and really interesting.
While you might get the impression that I photograph every single person who moves through this park, it's actually just the opposite: the overwhelming majority of people that I see here are just not all that interesting. (It's not that they're ugly, it's just that there's nothing interesting, memorable, or distinctive about them.) Even so, I might well take, say, 200 shots in the space of an hour. But some of them are repetitive or redundant, and others are blurred or out-of-focus, or technically defective in some other way. Of the ones that survive this kind of scrutiny, many turn out to be well-focused, nicely-composed, but ... well ... just "okay". I'll keep them on my computer, just in case, but I don't bother uploading them.
Typically, only about 1-2% of the photos I've taken get uploaded to Flickr -- e.g., about 5-10 photos from a one-hour session in which a thousand, or more, people have walked past me. There are some exceptions to this rule of thumb -- but in general, what you're seeing it is indeed only a tiny, tiny subset of the "real" street scene in New York City. On the other hand, it is reassuring to see that there are at least a few "interesting" people in a city that often has a reputation of being mean, cold, and heartless...
This telemacro photo was taken yesterday on a very last-minute, totally unexpected trip out to Bow Valley Provincial Park. By 11:00 pm the previous evening, I still wasn't sure if I was going to be ready in time and also because I had only had about an hour and a half the sleep the night before that. The thought of going out there on a beautiful, sunny day was just too tempting and, after less than three hours sleep that night, I was up and ready to go the next morning. Today had to be a time for catching up on a little of the lost sleep this week, which is why I am posting so late today.
If I hadn't gone yesterday, I would have missed this find (not by me) and I know I would have been so disappointed. I haven't seen a Morel mushroom for several years and this absolutely made my day. The five friends I went with are all specialists in their fields of fungi, lichens, mosses and liverworts, so not only did they enjoy our day, but I did, too. They have special permits to collect specimens for their work, so I made the most of it by taking a telemacro shot. It was growing in such a "cluttered" place, that photos were difficult to get, though of course I did take several of it growing in place before it was "pulled". This year probably isn't going to be much good for fungi, as everywhere is bone dry, with a hot, dry summer in the forecast. The temperature this day got up to 22C.
"Morchella, the true morels, is a genus of edible mushrooms closely related to anatomically simpler cup fungi. These distinctive mushrooms appear honeycomb-like in that the upper portion is composed of a network of ridges with pits between them. The ascocarps are prized by gourmet cooks, particularly for French cuisine. Commercial value aside, morels are hunted by thousands of people every year simply for their taste and the joy of the hunt.
Morels have been called by many local names; some of the more colorful include dryland fish, because when sliced lengthwise then breaded and fried, their outline resembles the shape of a fish; hickory chickens, as they are known in many parts of Kentucky; and merkels or miracles, based on a story of how a mountain family was saved from starvation by eating morels. In parts of West Virginia, they are known as molly moochers. Due to the partial structural and textural similarity to some species of the Porifera sponges, a common name for any true morel is sponge mushroom. Genus Morchella is derived from morchel, an old German word for mushroom, while morel itself is derived from the Latin maurus meaning brown." From Wikipedia.
(more details later, as time permits)
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I'm spending the winter months of 2014-2015 in a warm spot on the beach in Indialantic, FL (if I have Internet access, it doesn't matter too much where I'm physically located).
I'm trying to get up about an hour before sunrise every morning, and be out on the beach for a morning walk just as the sun peeks up above the horizon.
On the very first morning, and every morning thereafter, I've immediately noticed that I was not the only person on the beach. There are joggers and walkers out getting their exercise, and *lots* of fishermen casting their lines out into the surf. But down by the 5th Avenue boardwalk -- where you can park your car and get a cup of coffee/latte/whatever from the local Starbucks -- there are lots and lots of people who clearly come down here just to watch the sunrise