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Niebla es un municipio y localidad española de la provincia de Huelva, en la comunidad autónoma de Andalucía. Dispone de un importante conjunto monumental histórico.
En 1982, fue declarada Conjunto Monumental Histórico-Artístico.
Villa milenaria, antigua capital del Condado de su nombre, que se levanta en una colina sobre el Rí¬o Tinto, dentro de un recinto jalonado de torres de planta cuadrada y octogonal y que constituye un conjunto de gran belleza y una de las poblaciones más bonitas de Huelva.
La ciudad intramuros conserva parte de su antiguo trazado, y entre sus monumentos cabe destacar el Alcázar de los Condes de Niebla, la Mezquita, la Iglesia de Nuestra Señora de la Granada, la Iglesia de San Martí¬n y el Hospital de Santa Marí¬a. Fuera del recinto, el Puente y el Acueducto romanos.
Su fundación parece ser que se debe a los ligures. Cuando la conquistaron los cartagineses era ya una población fortificada.
En la época romana se llamó Llipla. Fue una plaza romana de gran importancia en el camino de Itálica. Le fue permitido acuñar moneda propia.
Durante la época de los visigodos fue la primera sede episcopal de la Bética.
En el periodo de Al-Andalus fue una de las ciudades más importantes y hermosas que llegó a ser cabeza de un reino. Le dieron el nombre de Madina Labla.
La conquista cristiana fue llevada a cabo por el rey Alfonso X en el 1257. Parece ser que en su conquista se utilizó por primera vez la pólvora en España.
En 1364 se crea el Condado de Niebla.
En el siglo XV pasó a los dominios de la Casa de Medina Sidonia y finalmente a la Casa de Alba, hasta la disolución de los señorí¬os en el siglo XIX.
This image is my property and no downloads, copies or uses of are permitted without my prior consent. © sallycinnamon.. 2013
A curiosidade junto do ofuscado permiti cria a curiosidade o que realmente esta ali com pura nitidez, ou realmente achar simples ofuscado mas belo por ser misterioso.
Edição: Fotografia.
Local: Divinópolis.
Niebla es un municipio y localidad española de la provincia de Huelva, en la comunidad autónoma de Andalucía. Dispone de un importante conjunto monumental histórico.
En 1982, fue declarada Conjunto Monumental Histórico-Artístico.
Villa milenaria, antigua capital del Condado de su nombre, que se levanta en una colina sobre el Rí¬o Tinto, dentro de un recinto jalonado de torres de planta cuadrada y octogonal y que constituye un conjunto de gran belleza y una de las poblaciones más bonitas de Huelva.
La ciudad intramuros conserva parte de su antiguo trazado, y entre sus monumentos cabe destacar el Alcázar de los Condes de Niebla, la Mezquita, la Iglesia de Nuestra Señora de la Granada, la Iglesia de San Martí¬n y el Hospital de Santa Marí¬a. Fuera del recinto, el Puente y el Acueducto romanos.
Su fundación parece ser que se debe a los ligures. Cuando la conquistaron los cartagineses era ya una población fortificada.
En la época romana se llamó Llipla. Fue una plaza romana de gran importancia en el camino de Itálica. Le fue permitido acuñar moneda propia.
Durante la época de los visigodos fue la primera sede episcopal de la Bética.
En el periodo de Al-Andalus fue una de las ciudades más importantes y hermosas que llegó a ser cabeza de un reino. Le dieron el nombre de Madina Labla.
La conquista cristiana fue llevada a cabo por el rey Alfonso X en el 1257. Parece ser que en su conquista se utilizó por primera vez la pólvora en España.
En 1364 se crea el Condado de Niebla.
En el siglo XV pasó a los dominios de la Casa de Medina Sidonia y finalmente a la Casa de Alba, hasta la disolución de los señorí¬os en el siglo XIX.
(more details later, as time permits)
*********************************
As I have noted in several earlier Flickr albums, as long as I continue going to the same NYC dentist, you can count on two or three sets of photos of Bryant Park each year. The reason is simple: my dentist is located in mid-town Manhattan, about a block from the park — and when I'm done, I'm always tempted to walk over and see how the park looks. Consequently, I've collected almost a dozen separate sets of Bryant Park photos, which you can see summarized here on Flickr. (At least one or two of those other sets will provide you with the historical details of the park; or you can look it up here on Wikipedia.)
In mid-June of 2015, I took another stroll through the park, not having been there for almost two years. I wandered mostly around the periphery of the park, looking for interesting scenes to capture with the Sony RX-1R camera whose results I'm showing in this album, and also a Sony RX-10 camera whose results you'll see in a separate album in a couple days. I locked the camera into a wide-angle setting and a fixed f/8 aperture, and I just pointed the camera in the general direction of an interesting scene, and pushed the shutter button. Of the several hundred shots that I took during these strolls, there were a handful that seemed worthy of uploading; that's what you'll be seeing in this set and the next one. All of this took roughly an hour, at the end of which I put away my camera, and headed back uptown, content that my teeth would survive for another several months...
Taking the shade, it was super sunny, just opened a bit for sunny sixteen on the "shady side of the street"
Delaware County
Liberty Township
(Legal access granted with OHIO DNR permit.)
.
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.
.
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.
(more details later, as time permits)
********************************
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.
A veces me permito hacer cosas sin sentido,”para muchos”, porque sí, porque me apetece, porque esas cosas terminan llevándome a algún lugar con más sentido del que se cree. Para mí alterar ese comportamiento ordenado, serio, clasificado, me hace abrir puertas a la creatividad, a lo que hay en mí, a la esencia del ser libre.
Me pueden llamar loco, pero no me importa en absoluto. Esa locura es perfecta, me despreocupa para ocuparme otra forma de ser y es entonces cuando la vida me sorprende y me regala con su abundancia.
Dedicada a mi mujer, Isabel y a mis dos hijas, Isabel e Irene por el agradable paseo nocturno por la Alhambra.
(more details later, as time permits)
***********************************
In August 2015, I had the great pleasure of taking a week-long photography workshop in Rockport, Maine under the tutelage of Peter Turnley. Its main theme was street photography, and we made several visits to working-class neighborhoods in several Maine towns where (unbeknownst to me) there are large populations of working-class immigrants from Somalia, Sierra Leone, and various other countries around the world.
Most of our “field” exercises were carried out in pairs, threesomes, or foursomes; and in many cases, we were lucky enough to follow along behind Peter Turnley and watch his amazing style and techniques.
But in some cases, I ended up alone — including the first afternoon of the workshop, where I drove a few miles up the road from our classroom, to spend the afternoon looking for photo-ops in the small town of Camden, Maine. Meanwhile, my classmates spent their time in such small Maine towns as Rockport, Rockland, and other picturesque spots along the water.
I’m slightly acquainted with the town, from several previous visits to attend the “PopTech!” technology conferences in the month of October. So I was able to spend far less time worrying about getting utterly lost in a strange place, and more time focusing on the people — mostly tourists, as it turned out — along the streets.
Of the hundreds of photos that I took during that first afternoon, I ended up with about a dozen that I felt were worth sharing with my classmates. This is one of them...
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!!!
(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…”
(more details later, as time permits)
********************************
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...
NAPOLEON-ART-PINTURA-ARTE-RETRATO-VISIONARIO-MIRADA-CONQUISTADOR-PERSONAJES-FRANCIA-ARTISTA-PINTOR-ERNEST DESCALS-
La mirada del visionario que se transformó en gran conquistador, el General NAPOLEON BONAPARTE, uno de los más atractivos personajes de la historia de Francia que nos permita Pintar su retrato con manchas que expresan la agresividad del hombre que quiso cambiar el mundo a través de los efectos de la Revolución Francesa. Detalle de la pintura del artista pintor Ernest Descals con acuarelas sobre papel.
Flybe DH4 G-ECOF departing Exeter International Airport, runway 26.
Exeter had been snow closed during the morning like most other airports in the South of England.
Flybe Limited (styled as flybe) is a British airline headquartered at the Jack Walker House at Exeter International Airport in Devon, England. It operates over 180 routes between 65 European airports. The airline's largest base is Southampton Airport and it has other large bases at Manchester Airport, Birmingham Airport and Belfast City Airport and 14 aircraft and crew bases across the United Kingdom, the Channel Islands and Isle of Man.
The company holds a United Kingdom Civil Aviation Authority Type A Operating Licence permitting it to carry passengers, cargo and mail on aircraft with 20 or more seats.
©sallycinnamon.. 2016 This image is my property and no downloads, copies or uses of any kind (including blogs!!) are permitted without my prior consent
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。
------------------------------------------
【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
------------------------------------------
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。
These images where taken during a walk along the the Shropshire Union Canal, Chester during 12-14th March 2021. All this was done during my permitted exercise which (following the current rules) was done alone and within my local area.
#ChesterCulture
Although the weather is not permitted, having a chance to be up here on the rooftop of the Ministry of Rural and Regional Development, Is a pleasure for me.
It's a two framed of panorama, consist of 5 exposure each, manually blended using luminosity mask method in Photoshop cs6.
2 secs | reduced hi-light(OE)
4 secs | based layer
8 secs x 2 | minimize light trail
15secs | lighten up shadow
Canon 10-22mm | f/8 | ISO 100 | FL 14mm
*I would appreciate any advise. Thank you.
Scoring a permit to The Wave is one of the rarest feats — only a limited number are issued daily. This year, we got incredibly lucky and secured three sets of coveted permits! Each of our groups were rewarded with spectacular conditions. Yesterday we hit the jackpot with surreal petalloid reflection pools that looked like something straight out of a dream.
Moments like these remind us why we do what we do — capturing the desert’s beauty in its most magical and fleeting forms.
(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…”
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...
Christ's College, Canterbury is an independent Anglican secondary day and boarding school for boys, located in the city centre of Christchurch, New Zealand.
Founded in 1850 by Reverend Henry Jacobs in Lyttelton as a school for early settlers, college is the oldest independent school in the country. The college currently caters for approximately 647 students from Year 9 to Year 13.
Christ's College is an International Member of The Headmasters' and Headmistresses' Conference (HMC). The Headmasters' and Headmistresses' Conference (HMC) represents the Heads of the leading independent schools in Ireland and the United Kingdom and International schools mainly from the Commonwealth. Christ's College is one of only three member schools in New Zealand.
Christ's College (formerly Christ's College Grammar School) was established in 1850 and directly modelled on the pedagogic vernacular of English public schools, such as Eton College and Radley College. The school was most likely named Christ's College by James FitzGerald, Canterbury's first Superintendent, after his old College at Cambridge (Christ's College, Cambridge). At its foundation, the school was run from two rooms at the immigration barracks at Lyttelton, and the emphasis was on a classical education, including Greek and Latin, Modern languages, Mathematics, English, History and Geography. Students were also expected to conduct scientific experiments, to draw and sing. It used to be closely associated with the Lyttelton Collegiate Grammar School which was also located in the Lyttelton Immigration Barracks.
The school left Lyttelton in 1852 and moved over the hill to the St Michael's parsonage in Oxford Terrace with 16 students. Henry Jacobs, the first headmaster, ensured that his school enabled both boarders and day boys to attend.
Christ's College moved to its present site in 1856, with 35 pupils and a staff of three. This location, adjacent to the Government Domain (now Hagley Park), provided the college with room to expand, and the school gradually began to acquire additional buildings. The first of these building were wooden, providing homes for the staff and their families and an increasing number of boarders. By 1863, Big School, the first of the stone buildings, had been built on the west side of the quadrangle in which all classes were taught (in present-day it is the school's library with additions by Sir Miles Warren and currently the oldest educational building still in use in New Zealand), followed in 1867 by the Chapel. The school developed slowly around this central quadrangle, and today the 'quad' is treated with reverence, and therefore students are not permitted to walk on it, only staff members and permitted visitors. The Cathedral Grammar School used to be the Lower School of Christ's College when it struggled financially from 1895 to 1922.
In its early days, the college taught boys as young as six, with each boy arriving with a different level of education. Subsequently, there was a wide age range in many classes and, until the number of classrooms increased, they were all taught together.
The school motto, Bene Tradita, Bene Servanda in Latin translates to "good traditions, well maintained".
(more details later, as time permits)
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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?
An unrecorded Class 40 locomotive heads south on the up through road at York station with an equally unrecorded service on Saturday 6th April 1974.
Despite the presence of passenger coaches in the consist, the setting of the disc headcode suggests this was a parcels train or express freight composed of vehicles permitted to run at 75 mph or over.
Posee un agudo sentido de la vista que le permite distinguir una abeja a aproximadamente veinte metros.[cita requerida] Suele escrudiñar los alrededores desde una atalaya sobre la que se posa en busca de insectos. Cuando divisa alguno que pasa cerca, se lanza sobre el y lo pinza con el pico.
Sus presas preferidas son sobre todo abejas, pero no le desagrada ningún otro insecto volador: mariposas, libélulas, tábanos, avispas y abejorros. A estos últimos, una vez pinzados con el pico, los mata y después los golpea hasta que el aguijón se desprende para poderlos engullir.
(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...
We went to get my residencial permit renewed.Also my German visum.You know how long it took?? 10 minutes!! the longest I had to wait here was 2 hours because of the queue.In UK they held my passport for 4 months and told me that I was lucky because it usually takes 6 .
(more details later, as time permits)
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In August 2015, I had the great pleasure of taking a week-long photography workshop in Rockport, Maine under the tutelage of Peter Turnley. Its main theme was street photography, and we made several visits to working-class neighborhoods in several Maine towns where (unbeknownst to me) there are large populations of working-class immigrants from Somalia, Sierra Leone, and various other countries around the world.
Most of our “field” exercises were carried out in pairs, threesomes, or foursomes; and in many cases, we were lucky enough to follow along behind Peter Turnley and watch his amazing style and techniques.
But in some cases, I ended up alone — including the first afternoon of the workshop, where I drove a few miles up the road from our classroom, to spend the afternoon looking for photo-ops in the small town of Camden, Maine. Meanwhile, my classmates spent their time in such small Maine towns as Rockport, Rockland, and other picturesque spots along the water.
I’m slightly acquainted with the town, from several previous visits to attend the “PopTech!” technology conferences in the month of October. So I was able to spend far less time worrying about getting utterly lost in a strange place, and more time focusing on the people — mostly tourists, as it turned out — along the streets.
Of the hundreds of photos that I took during that first afternoon, I ended up with about a dozen that I felt were worth sharing with my classmates. This is one of them...
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.
The Columbia Center, formerly named the Bank of America Tower and Columbia Seafirst Center, is a skyscraper in downtown Seattle, Washington, United States. The 76-story structure is the tallest building in Seattle and the state of Washington, reaching a height of 933 ft (284 m). At the time of its completion, the Columbia Center was the tallest structure on the West Coast; as of 2017 it is the fourth-tallest, behind buildings in Los Angeles and San Francisco.
The Columbia Center, developed by Martin Selig and designed by Chester L. Lindsey Architects, began construction in 1982 and was completed in 1985. The building is primarily leased for class-A office spaces by various companies, with the lower floors including retail space and the upper floors featuring a public observatory and private club lounge. The tower has the highest public viewing area west of the Mississippi River. It occupies most of the block bounded by Fourth and Fifth Avenues and Cherry and Columbia Streets.
Columbia Center was designed by Washington architect Chester L. Lindsey. The base of the building is clad in Rosa Purino Carnelian granite. The building's structure is composed of three geometric concave facades with two setbacks, causing the building to appear like three towers standing side by side.
Ground level elevation on the Fifth Avenue side of the building is higher than on the Fourth Avenue side; the part of Cherry Street it faces was identified as one of the steepest streets in the Central Business District with a slope of 17.1%. The tower was originally designed to be about 306.5 m (1,006 ft), but federal regulations by the Federal Aviation Administration (FAA) would not allow it to be that tall so close to the nearby Sea-Tac Airport. Although city land use regulations at the time were intended to limit skyscrapers to about 50 stories, the developer, Martin Selig, obtained the necessary permits for a 76-story skyscraper due to a part of the law that allowed bonus height for providing retail space with street access. Because three separate stories could access the street on the sloped site, the developers were allowed a bonus for each of the three stories they set aside for retail, which was reportedly an unintended loophole in the law. There is an observation deck on the 73rd floor which offers views of Seattle and environs. The top two floors of the building (75th and 76th) are occupied by the private Columbia Tower Club, which houses a restaurant, bar, library, and meeting rooms. The 40th floor is accessible to the public and features a Starbucks cafe. An underground concourse connects the building to the nearby Seattle Municipal Tower and Bank of America Fifth Avenue Plaza.
The tower, originally proposed as Columbia Center, opened under the name Columbia Seafirst Center after its largest tenant and financier, Seafirst Bank, and then changed to the Bank of America Tower, when Seafirst, which had been owned by Bank of America since 1983, was fully integrated into Bank of America. That name gave it the nickname "BOAT" (Bank of America Tower). In November 2005, the building's name was changed back to Columbia Center after the bank reduced its presence in the building. Bank of America still maintains office space within the building, but has since closed the bank branch at the base of the tower.
Development and construction
Martin Selig, a local real estate developer who had recently opened the Fourth and Blanchard Building, announced plans for a 75-story office building at 4th Avenue and Columbia Street in October 1980. The $120 million project, named the "Columbia Center", would be funded by the Seafirst Mortgage Company and constructed by Howard S. Wright. Selig borrowed $205 million in 1981 to develop the property. The Columbia Seafirst Center, as it came to be known, was constructed by Howard S. Wright starting in 1982 with a 120-foot (37 m) deep excavation hole that required 225,000-cubic-yards of dirt and soil to be removed. This was one of the largest foundations for a building in Seattle along with concrete footings extending 134 feet (41 m) below street level. While the structural steel of the building was built at a rate of 2 floors per week, the building itself was completed on January 12, 1985,[10] and opened on March 2 of that same year. U.S. Steel Corporation was contracted to provide 16,000 short tons (15,000 t) of steel for construction. It was approximately 50% taller than the previous tallest skyscraper in Seattle, the 630-foot (190 m) Seattle First National Bank Building (now Safeco Plaza) that opened in 1969.
Financial issues and height controversy
Selig continued to own and manage the building until 1989, when financial problems forced him to sell it to Seafirst Corporation for $354 million. Management was taken over by the Tishman West Company of Los Angeles.
Controversy regarding the skyscraper's size contributed to the passage of a 1989 law called the Citizen's Alternative Plan (CAP) that enforced more stringent restrictions on the size of buildings in Downtown Seattle. In 1990, after rejecting earlier plans for 300-foot (91 m) antennas, Seattle and the FAA granted permission to erect two 192-foot (59 m) antennas on top of Columbia Center, which were expected to be used for broadcasting radio and television throughout the region. Though the FAA was originally worried about the tower's height encroaching the airspace, they deemed the addition of the antennas not problematic. The antennas were not built before the permits expired in 1994, however.
Ownership changes
EQ Office bought Columbia Center from Seafirst in 1998 for $404 million. The New York State Common Retirement Fund bought a 49.9% stake in the building and then several years later sold its share back to EQ Office. In 2007, Columbia Center was sold by EQ Office to Boston-based Beacon Capital Partners for $621 million; Beacon later defaulted on a loan in 2010, the height of the Great Recession, at a time when vacancies reached 40%. On August 7, 2015, Hong Kong-based Gaw Capital Partners purchased the building for $711 million.
Renovations
On July 1, 2013, the Columbia Center's observation deck, known as the Sky View, was remodeled from 270 degrees to a 360 degree viewing area. The observation deck underwent further renovations in 2018, adding two express elevators and a new lounge. The 4th Avenue entrance was also renovated.
(Wikipedia)
Das Columbia Center ist das höchste Gebäude in Seattle und im US-Bundesstaat Washington. Mit einer Gesamthöhe von 285 Metern war es bei der Fertigstellung 1985 der höchste Wolkenkratzer westlich des Mississippi, wurde allerdings 1989 durch den U.S. Bank Tower in Los Angeles mit 310 Metern übertroffen. Die Höhe des Columbia Centers beträgt einschließlich einer Antennenkonstruktion auf dem Dach 295 Meter. Diese wird jedoch nicht als Teil des Gebäudearchitektur angesehen, und somit nicht zur formalen Höhe gewertet.
76 oberirdische Etagen dienen als Büroraum, die sieben Kellergeschosse werden vielseitig genutzt. Der Wolkenkratzer sollte ursprünglich etwa 306,5 Meter hoch werden. Die FAA erlaubte die Höhe nicht, da sich das Gebäude dafür zu nah am Flughafen Seattle/Tacoma befände, wodurch ein höheres Sicherheitsrisiko entstünde. Es wurde in das Projekt Raum für die Öffentlichkeit und Einzelhandel einbezogen, damit die zulässige Höhe nicht zu sehr eingeschränkt werden kann. Das 73. Stockwerk dient nun teilweise als Aussichtspunkt, von dem sich Seattle und seine Umgebung überblicken lässt. Der Columbia Tower Club verteilt sich auf die beiden obersten Stockwerke (75 und 76) und besteht aus einem Restaurant, einer Bar, einer Bibliothek und einigen Tagungsräumen. Ein unterirdischer Gang verbindet das Columbia Center mit dem nahegelegenen Seattle Municipal Tower und dem Bank of America Fifth Avenue Plaza.
Mehrere größere Unternehmen mieten Büros im Columbia Center. Dazu zählen vor allem die Bank of America, Heller Ehrman LLP und Amazon.com.
Ursprünglich trug der Wolkenkratzer seinen heutigen Namen. Später wurde er nach der dort ansässigen Seafirst Bank als Columbia Seafirst Center bezeichnet. Diese gehörte seit 1983 zur Bank of America, wurde im Laufe der 1980er Jahre jedoch vollständig integriert. Daher bekam das Gebäude den Namen Bank of America Tower mit dem Spitznamen BOAT. Im November 2005 wurde es wieder in The Columbia Center (TCC) umbenannt.
Am 16. Juni 2004, noch vor Herausgabe ihres 9/11 Commission Report, machte die Untersuchungskommission zum 11. September 2001 nicht in die Tat umgesetzte Pläne der Terroristen bekannt, die vorsahen mit zehn entführten Passagierflugzeugen die höchsten Gebäude in Kalifornien und im Staate Washington zu beschädigen bzw. zu zerstören. Neben dem Columbia Center in Seattle habe auch der U.S. Bank Tower in Los Angeles zu den Zielen gehört.
(Wikipedia)
Zoo.
Esclarecendo dúvidas:
Não saí do limite permitido de afastamento da jaula.
Não usei lentes, nem tripé.
Mistérios de uma velha filmadora!! hehehe
Bom dia!!
Beijosssss.
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.
In speaking with one of my counterparts we both agree that since mid November we have seen a decline in the presence of the Great White visitor from the North.
Going from 12 plus in a single day to yesterday with only 3 owls spotted...and only 1 that permitted to be photographed.
Hopefully there will be some that setup on a territory and stick around...so the search continues.
This was taken near the corner of 46th and Third Avenue
(more details later, as time permits)
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
She is the only woman permitted in this 1,000 year old kasbah situated in the Atlas mountains to be the bread maker & here she is telling me her story. The women in her family go back many generations baking bread here. Her son was kind enough to translate for me.
Me alegró que me permitiera hacerle varias series antes de emprender vuelo. Su nombre científico significa Ave de cuerpo atigrado que proviene de México. Tigrisoma mexicanum se compone del género con raíces del latín y el griego así: El latín Tigris: tigre + el Griego sôma: cuerpo y el epíteto mexicanum que significa que proviene de México.
Orden: PELECANIFORMES
Familia: Ardeidae
Genero: Butorides
Nombres comunes: Vaco Mejicano, Avetigre Mejicana
Nombre en ingles: Bare-throated Tiger-Heron
Nombre científico: Tigrisoma mexicanum
Lugar de captura: Ciénagas de Lorica, Borde de Carretera
Región: Departamento de Córdoba, Colombia
Por: Carlos Iván Restrepo Jaramillo
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。
(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... (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...
Permit are required to visit the narrow in summer, so we decided to do it in winter. It is actually quite warm with wetsuit.
(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...
In seeing a demolition permit for 1224 W. Loyola Ave., I had no idea about the controversy for the almost 100 year-old building.
Roman Susan, a gallery of just 280 square feet located in a wedge-shaped space on the ground floor, was an artist-run nonprofit opened by Nathan and Kristin Abhalter Smith. It closed September 30, 2025, because the building had been emptied out and slated for demolition by Loyola University Chicago, its new owner. The property housed 30 apartments, many of its residents on Social Security. Three community spaces occupied the ground floor: Archie’s Café, Edge Art, and Roman Susan. Protests were held by residents, neighbors, supporters and elected officials, including Illinois state senator Mike Simmons and 49th Ward alderwoman Maria Hadden. Because of future renovations of the adjacent CTA Loyola Red Line station, construction cannot proceed for a number of years.