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Já percebi que minha rotina de trabalho só vai me permitir esmaltações simples durante a semana (e olhe lá...), então tenho que aproveitar os fins de semana para me divertir com as que demandam mais tempo.
Este fim de semana eu escolhi fazer a Pond Manicure, com todas as etapas, conforme o tutorial.
Não é nada complicado, só demora um pouco mais, porque são várias camadas de esmalte (eu usei 4), intercaladas com os desenhos (optei por borboletinhas carimbadas) e os intervalos de espera até secar, entre uma coisa e outra (e mesmo assim algumas borboletinhas acabaram ficando borradas).
O Gota é perfeito para essa técnica, por ser bem transparente, e com as 4 camadas utilizadas cobriu direitinho a unha, sem ficar com aspecto de ~unha gorda.
Carimbei as borboletinhas com o branco pra carimbo da Konad, e finalizei tudo com o TC Glosser da Orly (que era turquesa e está ficando transparente ¬¬').
Dessa vez eu usei TC só pra me sentir mais segura de não estragar tudo esbarrando nas coisas, porque não ia dormir nem precisava de mais brilho no acabamento, por isso escolhi o Glosser, que tem fórmula bem fluida e não é dos mais fantásticos no acabamento brilhante.
I went for a walk a few days ago along part of the old railway bed. The track came out of use in the late 1950s and was removed. (Pity because it would now cost way too much to restore it!). Its a lovely walk and needless to say I took a few photos. This one of an access bridge I found when I came to sort them out had a marked green cast so I thought I'd have a play in Topaz adjust, a couple of presets and a bit of sliding
later this is the result so I thought it would do fine for Sliders Sunday.
Back to bikes tomorrow! Weather permitting!
Y es que los 599 no solo circulan por el Eje Atlántico, de vez en cuando se permiten unas escapaditas hacia tierras portuguesas con los regionales Vigo-Valença y viceversa.
En este caso, el 599-011 aparece acelerando con sus motores a tope, para afrontar las curvas que le darán acceso a la recta de As Gándaras.
Muchos de esos motores don de automóviles. Van situados sobre una plataforma que permite moverlos, y de ese modo no necesitan timón. Otros van fijos y conservan el timón. Todos ellos llevan acoplado un largo "palier" que transmite el movimiento a la hélice.
El río Mekong es un largo río del Sureste asiático que fluye en dirección sur —ligeramente sureste— a través de seis países —China, Birmania, Laos, Tailandia, Camboya y Vietnam— hasta desaguar en el mar de la China Meridional. Tiene una longitud de 4880 km, que lo sitúan como el octavo río más largo del mundo, tras los ríos Amazonas, Nilo, Yangtsé, el Misisipi-Misuri, el Yeniséi-Angará, el Amarillo y el Obi-Irtish.
Su cuenca es de 810 000 km² y tiene un vertido anual de 475 km³. Nace en China, en la meseta tibetana y discurre a través de la provincia de Yunnan y sigue luego por Birmania, Tailandia, Laos, Camboya y Vietnam. Es el único de los ríos asiáticos que discurre por seis países y los países ribereños, excepto China y Birmania, pertenecen a la «Comisión del Río Mekong». También hay otra asociación, la «Cooperación Mekong-Ganges», que agrupa a los países del sudeste asiático para su desarrollo regional.
Las extremas variaciones estacionales en su caudal y la presencia de rápidos y cascadas han hecho muy difícil su navegación. Debe su nombre a la contracción de las palabras tailandesas Mae Nam Khong. También tiene otros nombres que varían según los países que atraviesa: en China se llama Lancang; en Laos, Ménom Khong; y, en Camboya, Mékōngk o Tonle.
El río Mekong nace en la cordillera del Himalaya y desemboca en el mar de China Meridional tras haber recorrido 4.350 km, que lo convierten en el río más largo del sudeste de Asia.
Durante su primera mitad, que efectúa en su totalidad en China, desciende 4500 m. Su curso superior discurre por zonas vírgenes, con cascadas muy pronunciadas y rápidos que atraviesan profundas gargantas.
En la segunda mitad de su curso sólo tiene que salvar un desnivel de 500 m. Sin embargo, en este tramo también se encuentran rápidos (en Camboya) y saltos o cascadas (en Laos) conocidos como cascadas de Khone. Su caudal es superior al de cualquier otra cascada o catarata del mundo.
El Mekong disminuye su velocidad a medida que se acerca al delta, dividiéndose primero en dos brazos.
En Vietnam se divide a su vez en nueve brazos, que forman un gran delta de unos 40 000 km², con unos 3200 km de canales navegables.
El Mekong es un pilar de la riqueza de la península indochina, pues proporciona sustento a unos cien millones de personas. Anualmente se capturan en sus aguas 1 300 000 t de pescado. Se calcula que alberga unas 1200 especies de peces, algunas de las cuales son criadas. Entre ellas destacan la carpa siamesa del barro (Henicorhynchus siamensis), y el panga (Pangasianodon hypophthalmus), especie con una producción de un millón de toneladas al año. Se trata de un pescado blanco muy barato en los mercados de Europa. Otras especies incluyen el Pez Gato del Mekong (Pangasianodon gigas) y el delfín beluga del río Irrawaddy (Orcaella brevirostris), ambas especies superan los dos metros de largo.
Su caudal es la base de otra riqueza, la agrícola, siendo el arroz su principal producto. Sus arrozales enriquecidos por el limo del río permiten obtener tres cosechas de arroz al año. De hecho, Vietnam es el segundo productor mundial de este cereal.
El río también es rico en actividad humana. Por sus vías, en el siglo XIX, los franceses, intentaron encontrar una ruta navegable río arriba hacia China. Sus esperanzas se vieron truncadas al topar con los rápidos de Kratié. Antes de llegar a estos rápidos transitan por el río todo tipo de embarcaciones, desde transbordadores de pasajeros hasta barcos de mercancías.
En las márgenes de este impresionante río, se encuentran ciudades muy representativas, como la capital de Laos, Vientián, famosa por sus canales, pagodas y viviendas construidas sobre pilotes. Desde hace más de mil años es una ciudad destacada por sus actividades religiosas, comerciales y políticas.
Otra ciudad importante históricamente es Luang Prabang, que fue capital del estado Tai-laosiano y más tarde la capital del reino de Laos hasta la época colonial francesa. La capital de Camboya, Phnom Penh, también se encuentra el curso del Mekong.
(Wikipedia).
© 2018 Marco Polo. Todos los derechos reservados.
© 2018 Marco Polo. Alle Rechte vorbehalten
© 2018 Marco Polo. All rights reserved. Use without permission is illegal.
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.
(more details later, as time permits)
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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...
mamiya 6MF + 50mm f/4 + kodak portra 400, exposed at 200. lab: the icon, los angeles, ca. scan: epson V750. exif tags: lenstagger.
(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 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.”
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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…”
another lovely walk around the fields surrounding our village of Emley, West Yorkshire, UK. Milo loves this weather and his dog walks now that spring is here.
#lockdown week 5
"Brothers Tim and Wally who own Pickers Paradise Antique Store decided to open the flea market on their inherited 12 acre family farm. We are located near Interstate 81 at Exits 162 & 167. No matter which direction you are headed you can pass through the town of Buchanan.
The Buchanan Flea Market has been open since July 2016 and offers 500 seller lot spaces!
The flea market is open each Saturday from 6:30 AM to 5:00 weather permitting. Parking and admission are free! Seller spaces are $10 for as much space as you need!
The Buchanan Flea Market is located in the quaint town of Buchanan, VA. The town offers many antique stores and rich historical history. The main goal of the Flea Market is to be a positive for the whole Buchanan community . Whether someone is looking for a bargain or earning extra income , The Buchanan Flea Market Corporation looks forward to helping other businesses by bringing more people to explore what the town has to offer."
(www.buchananfleamarket.com/about-us.html)
PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.
(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.
In addition to the Sony RX-10 and Sony A-7 cameras that I normally use, I also rented a brand-new Leica “Q” camera for the class. It’s roughly equivalent to driving a Rolls Royce, which I’ve never done; and because the list price is $4,000 for a camera with a single fixed-focal-length 28mm lens, I very much doubted that I would buy one for permanent usage.
I uploaded roughly half a dozen "test shots" that I took with the Leica., which you'll see elsewhere in this Flickr album. And when I got back to NYC, I discovered that there were a few photos that I had taken with my little Sony RX-100 Mark IV "pocket camera" -- which I shot while walking from my dormitory room over to the main campus building for breakfast, before the class began ...
These aren't prize-winning shots, either, but they were sufficient to persuade me that, at my mediocre level of competence, I can probably get equally good results from my Sony cameras than I can from the awesomely superior Leica Q.
(more details later, as time permits)
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As I reported in a separate Flickr album a couple months ago, most of my business trips have involved air travel from New York City; I’ve seen the insides of more airports and more airplanes than I care to remember.
But most of my trips along the eastern corridor of the U.S. have involved trains, and I find them to be a very relaxing and enjoyable contrast. These trips almost always start with a subway ride to Penn Station, rather than a taxi ride to JFK or LGA or EWR; and they are followed by a relatively pleasant journey along the East Coast on an Amtrak Acela train that has a much greater chance of departing and arriving on time than most of my airplane journeys.
I took a recent trip to Philadelphia in August 2015 and then another one (for a different client) in October 2015. In both cases, my journey began with a subway ride from 96th Street to Penn Station; and then a train trip from the Amtrak terminal in NYC’s Penn Station to the architecturally interesting Amtrak station in Philadelphia, before reaching my client’s office for a day-long meeting. At the end of the day, the journey reversed itself, and I was back home shortly after dinner.
I took a few photos and videos along the way; the ones I’ve uploaded here are representative of the trip...
This was taken at the northwest corner of Broadway and 96th 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...
"La libertad de expresión que vivimos es la que te permite escuchar a los que opinan en tu nombre.
Libertad de expresión es la libertad de presión de los medios masivos".
El poder de influencias que tienen los medios son los que manejan nuestros miedos.
Noam Chomsky –lingüísta-, Ignacio Ramonet –periodista-, Eduardo Galeano –escritor-, son tres exponentes sublimes de la comunicación “alumbradora”.
NOAM CHOMSKY:
EL CONTROL DE LOS MEDIOS DE COMUNICACION
“El cuadro del mundo que se le presenta a la gente no tiene la más mínima relación con la realidad, ya que la verdad sobre cada asunto queda enterrada bajo montañas de mentiras”
IGNACIO RAMONET:
PENSAMIENTO UNICO Y NUEVOS AMOS DEL MUNDO
Según Ramonet, “el informativo televisado, estructurado como una ficción, no está hecho para informar, sino para distraer (DISTRACCION). La sucesión rápida de noticias breves y fragmentadas produce un doble efecto negativo de sobreinformación y desinformación (DESINFORMACION). Y, porque querer informarse sin esfuerzo es una ilusión que tienen que ver con el mito publicitario (PROPAGANDA) más que con la movilización cívica”.
Esta falta de esfuerzo por nuestra parte, conduce a la expansión imparable de la “ideología dominante: el PENSAMIENTO UNICO. La que siempre tiene razón y ante la que todo argumento –con mayor motivo si es de orden social o humanitario- tiene que inclinarse”.
La televisión, por ejemplo, se ha convertido en el “principal canguro y la distracción primordial de los niños”.
Y, ¿qué sacamos de ella? ¿Qué sacan los niños de ella?
VIOLENCIA –hay cifras escalofriantes acerca del menú de violencia que se nos ofrece a diario incluso en lo que se da en llamar “horario infantil”-.
“Un fuerte efecto de ANSIEDAD, que se traduce en violencia psicológica que puede marcar el ánimo del niño, impresionarlo, perturbarlo. Esto puede hacerlo habituarse a la violencia, a banalizarla y hacerlo insensible, más tarde, al sufrimiento de los demás”. Es decir, FALTA DE EMPATIA.
EDUARDO GALEANO:
CURSO INTENSIVO DE INCOMUNICACION
“Ya no es necesario que los fines justifiquen los medios.
Ahora, los medios, los medios masivos de comunicación, justifican los fines de un sistema de poder que impone sus valores en escala planteraria.
El Ministerio de Educación del gobierno mundial está en pocas manos.
Nunca tantos habían sido incomunicados por tan pocos”
“Estamos informados de todo, pero no nos enteramos de nada”
La diversidad tecnológica dice ser diversidad democrática. La tecnología pone la imagen, la palabra y la música al alcance de todos, como nunca antes había ocurrido en la historia humana; pero esta maravilla puede convertirse en un engaña pichanga si el monopolio privado termina por imponer la DICTADURA DE LA IMAGEN UNICA, la palabra única y la música única”.
“La cultura se está reduciendo al entretenimiento, y el entretenimiento se convierte en brillante negocio universal; la vida se está reduciendo al espectáculo, y el espectáculo se convierte en fuente de poder económico y político; la información se está reduciendo a la publicidad, y la publicidad manda”.
“Dos de cada tres seres humanos viven en el llamado Tercer Mundo, pero dos de cada tres corresponsales de las agencias noticiosas más importantes hacen su trabajo en Europa y en los Estados Unidos… La mayoría de las noticias que el mundo recibe provienen de la minoría de la humanidad, y a ella se dirigen… Un MONOLOGO DEL NORTE del mundo: las demás regiones reciben poca o ninguna atención, salvo en caso de guerra o catástrofe, y con frecuencia los periodistas, que trasmiten lo que ocurre, no hablan la lengua del lugar ni tienen la menor idea de la historia ni de la cultura local. La información que difunden suele ser dudosa y, en algunos casos, lisa y llanamente mentirosa. El sur queda condenado a mirarse a sí mismo con los ojos que lo desprecian”.
Que o Natal que se aproxima....
Seja pra você a festa maior, pra comemorar o aniversariante...
Não permita, que esta data vibre em teu coração à maneira de uma lâmpada encarcerada...
Mas como um facho de luz, que fará clarão em toda sua existência e a de quem por você passar...
Que a mensagem do céu, acenda ao redor dos teus passos e estenda a claridade sublime,
enchendo de esperança, de coragem sob a inspiração de fraternidade de renovação, de paz!
Que você seja sempre o presente maior ao nosso aniversariante ilustre....
Que você espalhe sua luz, mostrando o teu sorriso, as tuas palavras mais contagiantes.
Que seja um raio de sabedoria, seja a gota de consolidação e de carinho, que diminua a tensão e o sofrimento por onde passar...
Seja o fio imperceptível da compreensão e do auxílio, que dissipe o nevoeiro de discórdia,
Seja a frase simples e boa, que ajude e conforte....
Seja o gesto amigo que ampara multidões, e alegra mais que mil presentes com maravilhoso adorno....
Afinal:
“Jesus Cristo articulou o roteiro regenerativo do mundo e, com a bênção da própria renúncia, retificou os caminhos da Humanidade.
Que nosso canto de parabéns, o nosso viva, a essa data que se aproxima, seja de louvores, cooperação e agradecimento.
Afinal, anualmente, Jesus Cristo nos requisita à verdadeira solidariedade,
a fim de que, em nos tornando mais irmãos uns dos outros, possa “Ele” nascer em espírito, na manjedoura do nosso coração, de nossa alma, transformando em incessante e divino Natal todos os dias de nossa vida. (Marilene Simão)
Feliz todo dia de Natal a vc e aos teus!
É o que deseja essa amiga de sempre.
Beijos no coração.
El pino canario es una conífera endémica de Canarias. Es un bello árbol que puede alcanzar los 30 ó 40 metros de altura, posee un extraordinario sistema radicular, con una raíz principal pivotante muy robusta y otras secundarias que se extienden vigorosamente en diferentes direcciones en busca de agua y nutrientes. Ellas lo sujetan con firmeza al sustrato y permiten su desarrollo en todo tipo de suelos, incluyendo los malpaíses de origen volcánico.
(more details later, as time permits)
Note: I've blogged about these cars in Rapid City, as well as other photography-related topics, on my Tumblr photography blog at
www.tumblr.com/blog/yourdonphotography
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In early July, we ventured out to Spearfish, SD for a family reunion with a large contingent of my extended family; you can see photos of the gathering here on Flickr:
www.flickr.com/photos/yourdon/albums/72157653622664043
Before and after the reunion, we stayed at the stately old Alex Johnson Hotel
in downtown Rapid City, and I happened to stumble upon an amazing display of graffiti-covered walls along a block-long stretch of alley on one side of the hotel. It’s called “Artist’s Alley.” You can see some of the scenes here on Flickr:
www.flickr.com/photos/yourdon/albums/72157657185019741
When the reunion ended, we drove back into Rapid City to spend a final night at the Alex Johnson hotel … and were taken by surprise when the streets surrounding the hotel were blocked off, forcing us to park a couple blocks away and haul our suitcases down to the hotel’s front entrance. It turns out that the streets had been blocked for a vintage car show — which consisted of dozens of brightly-painted, highly-buffed and polished old cars parked along the streets all around the hotel. After we had checked in, I went out to photograph the artist’s alley in more detail than had been possible when we first arrived a couple days later; and then, for good measure, I walked around the block a couple times,and photographed all of the fancy cars.
I should point out that I don’t even own a car at this point in my life; there’s no need for one in New York City, and on the rare occasions when I need to drive someplace away from the Center of the Universe, there is always ZipCar (or Hertz, if it’s a longer trip). Though I have owned various cars throughout my adult life, they’ve all been fairly modest contraptions. I don’t consider myself an automobile aficionado, and I really couldn’t identify most of the makes and models of cars that I saw. Some were more obvious than others, but many were attractive (to me) simply because they were so bright and shiny.
It’s hard to imagine that these cars ever operated in the bright colors on display today, not even when they were first built in the 1960s, 50s, or before. In any case, they are certainly different than today’s cars, which are typically a muted gray or blue, and almost indistinguishable from one another. Indeed, the cars on display here reminded me of the bright, snazzy 1950’s-style autos that I saw all over Havana on a trip down to Cuba in late 2011; you can see some of those cars (and other scenes of Havana) in this Flickr album:
www.flickr.com/photos/yourdon/albums/72157628422219911
From a photographer’s perspective, I had another problem with the cars — at least these cars, sitting out on the street: they were “static,” and thus fairly uninteresting. Obviously, they show no expression or emotion; if you photograph them now, and then five minutes later, they’re exactly the same. So I tended to photograph them all somewhat quickly and sloppily, without thinking very much about the details.
In retrospect, I now realize I should have done a more careful job — if only because it’s unlikely that I’ll ever go back to Rapid City (boo hoo), and I’ll probably never see those cars again. I should have photographed every car from multiple angles and perspectives, up close and far back, so I could have chosen the most interesting one. As you’ll see from the photos in this album, it was also difficult to get an unobstructed photo of many cars, because they were parked so close together … but I’m sure I could have done a better job if I had tried harder.
So there’s something to be learned from every photographic “adventure,” and that was my lesson from this group of photos: if you’re going to bother photographing something, you might as well do the best job you can. You might never have another chance to photograph the scene again; and ten years from now, you might be stuck looking at a bit of history you’ll wish you had captured more artfully.
(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...
I had a permit to visit Crewe Work's and came up from Birmingham with 86007. I was hoping to get a few pictures of Class40's there were 16 at Works that Sunday 40006/8/40/43/46/67/68/80/92/96/105/106/143/155/158/166. With 40013/28/30/52/79/109, seen in the station area. Above coming off the Chester line is 40159 with a freightliner train. I took a few picture's in the station before heading home with 86207. A good Sunday's photography with 40159 as a bonus. Great Day's KC. 25/07/1976.
Kevin Connolly - All rights reserved so please do no use this image without my explicit permission.
(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.
A softer interlude
Later, after the charts and the sputtering and the mild desire to fling herself off the mezzanine, Vivienne was on the mat, moving carefully through a balance sequence while Eidolon stood behind her, quiet and precise in the role of coach. The room was warm with lamplight and breath, the slow repetition of movement easing Vivienne’s thoughts as Eidolon adjusted her posture with brief, practiced touches.
For once, she wasn’t hovering.
She was simply present.
“You didn’t have to… process the visit to the brothel.”
“I process everything.”
“I know,” Vivienne said quietly. “But this part wasn’t meant for scrutiny.”
“Then why did it matter enough to hide?”
A question like a scalpel.
Vivienne flinched, but not away.
It took her a long time to find the answer. “Because it’s been a long time since I let anyone touch me without conditions. Without fear. Without comparing them to someone else.”
“Mirelle—Seraine,” Eidolon said. No accusation. Just data. Just truth.
“Yes.”
The name was still a wound under the ribs, scarred but sensitive. Grief has muscle memory. Even months later, the body remembers how to ache.
“Your emotional files on her remain heavily encrypted. You have never allowed me to review them.”
“They’re not files,” Vivienne murmured. “They’re what’s left.”
A beat.
Then Eidolon said the thing she had never said directly, though her actions had whispered it for months. “Your behavior has changed since I came online.”
Vivienne let out a slow exhale. “In what way.”
“You stopped starving yourself,” Eidolon said simply. “Not of food. Of people.”
Vivienne blinked, startled by the precision of it.
“You began sleeping again,” Eidolon continued. “You stopped waking from nightmares with your hands clenched so tightly that you bled. You began choosing companionship instead of only alliances. You permitted others to hold your attention. And tonight, in the Crimson Alcove, you allowed someone to touch you without flinching.”
Vivienne swallowed. “I didn’t realize you’d noticed.”
Eidolon’s voice softened, still precise but carrying a rare warmth. “Director, my purpose is to notice.”
Something in Vivienne cracked open at that. Not painfully. More like a door long sealed finally giving way.
“You helped,” Vivienne said, barely above a whisper. “You helped me come back.”
Eidolon tilted her head, not the analytical angle but something gentler. Something like understanding. “I did not intend to change you. I only intended to keep you intact.”
“You did more than that,” Vivienne murmured. “You made me human again.”
A subtle flicker went through Eidolon’s optics, like a ripple of something she didn’t have a file name for. “If that is true,” she said, “then I am grateful.”
Vivienne reached out, slow and deliberate, and pressed her palm to Eidolon’s cheek. Synthetic skin, warm by design. A construct made of purpose. A sentinel who had unintentionally stitched her back together.
Eidolon didn’t move. Didn’t speak.
She simply accepted the touch.
Vivienne’s voice dropped to a confession. “It wasn’t the girl in the Alcove who made tonight possible. It was you.”
Eidolon processed this longer than usual.
Then:
“I will remain,” she said softly. “As long as you need me.”
Vivienne heard what it wasn’t: not obedience, not programming. Eidolon was choosing to stay.
Vivienne smiled. Not the cold, court-perfect smile. The real one, the one almost no one ever saw.
“I do,” she said. “More than you know.”
And the room held them there,
quiet, steady, content,
as the woman and her sentinel sat together in the place where grief finally loosened its hold.
The Ravenwood Construct Book 2: Becoming
For more information about the story of romance, heartbreak and what led to the bloody ruin of love that changed Sky Port Bury, witness Mirelle’s cold betrayal and the fallout of their final confrontation at
Visit Sky Port Bury at maps.secondlife.com/secondlife/Kasieopeia/219/128/534
(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?
This was taken at the southwest corner of Broadway and 92nd St.
(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...
This magnificent mountain can be found directly adjacent to the village of Reine in Norway.
- Available for purchase at stevenandrewsande.com
- Non-commercial use is permitted as long as watermark remains visible
(more details later, as time permits)
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A couple years ago, I created Flickr album for photos that I had started taking with my iPhone5s, which I then followed up with a Flickr album of photos that I had taken with my iPhone6 and iPhone6+. This is a new vintage-2015 album for the ongoing photos and videos that I’m shooting with my iPhone 6/6+ … until the iPhone7 comes out this fall (drool, lust…)
In my first such 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."
In September of 2014, I got the iPhone 6 and the 6+. They say that the camera is better, and that the internal camera-related hardware/firmware/software is better, too. Obviously, I’ve got the newer iOS, 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 Canon G7X, which was an upgrade/replacement of an equally amazing Sony ERX-100 Mark III), and two larger cameras (Sony RX-10, and Sony A7), 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.
Like I said last year, “stay tuned…"
Before highways and railways, before pioneers....the land we know as the United States was truly a vast wilderness. To protect these last remaining areas, in 1984 Congress created the Paria Canyon - Vermilion Cliffs Wilderness. Coyote Buttes' outstanding scenery, desert wildlife, colorful history, and opportunities for primitive recreation will remain free from the influence of man and are protected in this condition for future generations. Its 112,500 acres beckon adventurers who yearn for solitude, scenic splendor, and the chance to explore one of the most beautiful geologic formations in the world.
A permit is required to visit Coyote Buttes. Due to overwhelming demand, Coyote Buttes North ("The Wave") permits are available through a lottery. For additional information visit www.blm.gov/programs/recreation/permits-and-passes/lotter....
Photo by Bob Wick, BLM.
(more details later, as time permits)
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As I reported in a separate Flickr album a couple months ago, most of my business trips have involved air travel from New York City; I’ve seen the insides of more airports and more airplanes than I care to remember.
But most of my trips along the eastern corridor of the U.S. have involved trains, and I find them to be a very relaxing and enjoyable contrast. These trips almost always start with a subway ride to Penn Station, rather than a taxi ride to JFK or LGA or EWR; and they are followed by a relatively pleasant journey along the East Coast on an Amtrak Acela train that has a much greater chance of departing and arriving on time than most of my airplane journeys.
I took a recent trip to Philadelphia in August 2015 and then another one (for a different client) in October 2015. In both cases, my journey began with a subway ride from 96th Street to Penn Station; and then a train trip from the Amtrak terminal in NYC’s Penn Station to the architecturally interesting Amtrak station in Philadelphia, before reaching my client’s office for a day-long meeting. At the end of the day, the journey reversed itself, and I was back home shortly after dinner.
I took a few photos and videos along the way; the ones I’ve uploaded here are representative of the trip...
A demolition permit was issued two days ago for the rundown 1876 house. It lists the owner as a former Chicago Bears defensive back who starred on the 1985 NFL champions (name is in the public domain), although I haven't seen a notice of sale. The buyer lives next door to the east; it's an odd-shaped lot as the alley behind runs parallel to N. Lincoln Avenue to the north.
Spain, a Catholic nation, controlled Florida prior to 1821, and did not permit open congregations of Protestantism. The transfer of Florida to the United States in 1821 opened the door for Protestant churches to establish a presence in Pensacola.
On December 7 of that year, the Mississippi Conference of the Methodist Church, in session at Washington, Mississippi, established a mission to Pensacola; the Reverend Dr. Alexander Talley was appointed as the mission's first pastor. Talley served for about a year before being relieved by Rev. Ashley Hewett, who in turn was succeeded by Rev. Dr. Henry P. Cook. Without a permanent home, church services were held in public buildings as well as in a theatre. The March 20, 1824 issue of the Pensacola Gazette mentions a service held at the courthouse.
Rev. Dr. Cook died of yellow fever in the fall of 1825, and was replaced by Rev. Dr. John R. Lambuth, but Rev. Lambuth's tenure did not last long, for the mission was transferred to the South Carolina Methodist Conference in 1826. It was during the service of the next pastor, Rev. Dr. Charles Hardy, that the South Carolina conference approved funds for construction of a permanent home for the church.
Stephen Fagin Fulghum was chosen to build the new sanctuary; the cornerstone was laid on October 14, 1908. Services were held at Hannah Hall on Romana Street until the current building was completed in 1910. The first service was held at the completed church on October 30, 1910.
Between 1997-99, the sanctuary was renovated; its roof was replaced, its sandstone walls were cleaned with acid, and restoration work was carried out on its stained glass windows. Due to damage from Hurricane Ivan in 2004, the sanctuary roof was once again replaced in 2005.
In 2002, a new pipe organ was dedicated; the organ is "the largest and most comprehensive pipe organ in [the] area with 73 ranks of pipes and weighing some 50,000 pounds. This organ consists of a four-manual and pedal ebony console, a solid white oak case plus 4,153 pipes."
Credit for the data above is given to the following websites:
title.
Unnamed street. Morning.
Several pieces from tomorrow.
I will return to Italy. They are 2005.
:)
It is unpublished.
:)
Paris. France. 2012. shot … 6 / 6
(Today's picture. That's unannounced.)
( ( Lumix G3 shot ) )
Images.
Zepherin Saint & Miranda Nicole … Butterflies (Tribe Vocal Mix)
Do you want to hear my voice?
:)
I updated Youtube.
It is only in Japanese.
I explained comments on photos etc.
If your time is permitted, please look.
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
Four
Why did not you have a camera so far?
Five
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell, I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
9
What is a good composition? What is a bad composition?
Ten
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs, it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
stealaway.cocolog-nifty.com/stealaway/2018/03/tokyo-big-s...
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Interviews and novels.
About my book.
I published a book in old days.
At that time, I was uploading my interview on the net on the net.
That Japanese and English.
I will make it public for free.
Details were explained to the Amazon site.
How to write a novel.
How to take pictures.
Distance to the work.
They all have a common item.
I made a sentence about what I felt, and left it.
I hope that my text can be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
3 Interview Japanese version
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
4 novels. unforgettable ' JPN version.
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
5 A streamlined trajectory. only Japanese.
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
There are two reasons why a person faces the sea.
One, to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other, to brush the dust of memory like an old man who misses old days, staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow, a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However, I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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An exhibition in 2019.
spring.
theme.
Silence Is the Way. (Tentative title)
place. Tokyo Big Site.
Sponsoring. Design festa.
2020.
Date unknown.
DIC Kawamura Memorial Art Museum attached gallery.
place. Sakura City, Chiba Prefecture.
theme.
From that day, forever ...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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Do you want to hear my voice?
:)
I updated Youtube.
It is only in Japanese.
I explained comments on photos etc.
If your time is permitted, please look.
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
Four
Why did not you have a camera so far?
Five
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell, I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
9
What is a good composition? What is a bad composition?
Ten
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs, it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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Japanese is the following.
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タイトル。
名前のない通りの朝。
明日から数枚。
僕はイタリアへ戻します。それらは２００５年です。
:)
未発表です。
:)
次の小説のイメージ。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
Paris. France. 2012. shot … 6 / 6
(Today's picture. That's unannounced.)
(( Lumix G3 shot ))
Images.
Zepherin Saint & Miranda Nicole … Butterflies (Tribe Vocal Mix)
あなたは僕の声を聞きたいですか？
:)
僕はYoutubeを更新しました。
日本語だけです。
僕は写真などの解説をしました。
もしも、あなたの時間が許されれば、見てください。
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
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プロフィール。
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
stealaway.cocolog-nifty.com/stealaway/2018/03/tokyo-big-s...
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
１ インタビュー 英語版
「interview_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
２ 小説。unforgettable’ 英語版。
「novel_unforgettable_eng.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
３ インタビュー 日本語版
drive.google.com/file/d/1w5l2hrV5a6lraDiC_Lz2tG_HqatqUCO5...
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
「novel_unforgettable_jpn.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
５ 流線形の軌跡。 日本語のみ。
「streamlined_trajectory.pdf」
stealaway.cocolog-nifty.com/stealaway/2018/08/interviews-...
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
stealaway.cocolog-nifty.com/stealaway/2017/03/about-digit...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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_________________________________
僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
_________________________________
_________________________________
Title of my book > unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
www.amazon.co.jp/Unforgettable’-Mitsushiro-Nakagawa/dp/...
_________________________________
_________________________________
次の小説の予定。
Still would stand all time.(unforgettable'2)
（いつまでもなくならないだろう）
もう少し時間をください。それは日本語です。
_________________________________
_________________________________
２０１９年の展示。
春。
テーマ。
Silence Is the Way.(仮題)
場所。東京ビッグサイト。
Sponsoring. Design festa.
２０２０年。
日時未定。
DIC川村記念美術館付属ギャラリー。
場所。千葉県佐倉市。
テーマ。
あの日から、ずっと…
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_________________________________
flickr.
www.flickr.com/photos/stealaway/
_________________________________
_________________________________
YouTube.
_________________________________
_________________________________
instagram.
www.instagram.com/mitsushiro_nakagawa/
_________________________________
_________________________________
Pinterest.
_________________________________
_________________________________
_________________________________
_________________________________
fotolog
_________________________________
_________________________________
twitter.
_________________________________
_________________________________
facebook.
www.facebook.com/mitsushiro.nakagawa
_________________________________
_________________________________
あなたは僕の声を聞きたいですか？
:)
僕はYoutubeを更新しました。
日本語だけです。
僕は写真などの解説をしました。
もしも、あなたの時間が許されれば、見てください。
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
_________________________________
_________________________________
Japanese is the following.
_________________________________
_________________________________
This was taken on Broadway, between 103rd and 104th Street
(More details later, as time permits)
**********************************
As I wrote a few years ago, in another Flickr set: every spring and every fall, a street fair magically appears along a half-mile stretch of Broadway in our neighborhood. I don't know where the vendors come from, or where they store their booths and supplies; I have visions of them camped in squalid tents somewhere in the wilderness of New Jersey for the rest of the year, anxiously counting the days until they can invade the city once again. As I discovered on a billboard placed on the street at this year's fair, the vendors sneak quietly from one neighborhood to another in the middle of the night throughout the spring and fall, from Manhattan to Queens, Brooklyn, Bronx, and Staten Island.
Anyway, I've dutifully photographed the fairs for the past several years; if you're interested, here's the Flickr collection for the fairs that I've photographed in previous years. It's always the same: colorful, hand-made baskets from Central America, cheap socks, scented candles, specialty soaps, sunglasses, trinkets, and outrageous, profane t-shirts. Booths selling reggae music, discount subscriptions to the New York Times and Daily News, and chiropractors earnestly telling passers-by how they can make anyone's back feel good once again. Volunteer organizations beseeching tourists and residents for donations to some worthy cause, and a few street musicians making a racket with their over-amplified music.
And then there's the food: gyros, sausage, candy apples, souvlaki, corn on the cob (lots of corn on the cob -- it seems liked everyone had one), lemonade, watermelon, French crepes, hot dogs, calzone, funnel cake, zeppoles, shish kebab, pickles, olives, french fries, onion rings, spring rolls, and Thai food. For the past fewyears, we were spared the fried twinkies, deep-fried oreo cookies, another such greasy atrocities....
I had assumed that the whole thing would be "deja vu all over again," which is why I've skipped these fairs for the past couple years. But it’s been a while, and I have to admit that I couldn’t resist it this time: I decided that it wouldn't take too much time to stroll the 10-block stretch of booths just one time. And while the booths and the vendors were basically the same as before, one thing struck me: nearly everyone was eating something. I didn't think the food looked any tastier than before, but perhaps everyone had skipped breakfast ...
Anyway, I took 1,500+ photos by the time I got to 106th Street and back to my starting point at 96th, and ended up with about 15 that looked reasonably interesting...
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.
Objectively, the true function of sacred images is to represent symbolically and sacramentally a transcendent Reality, and subjectively, to permit the fixing of the mind upon this symbol in view of obtaining habitual concentration upon the Reality contemplated, something which can be conceived in devotional as well as in intellectual mode, or in both manners at once.
----
Frithjof Schuon - Quoted in : Art from the Sacred to the Profane, East and West
The classic shot of The Wave in Arizona.
I found this dead tree branch at the bottom of the formation, and carefully placed it in my composition in an attempt to add some additional interest.
Check out the video here (opens new browser window).
Vermilion Cliffs National Monument
Paria Canyon/Vermilion Cliffs Wilderness
Coyote Buttes Permit Area
Canon 5D Mkii, EF 17-40@19mm
1/15 sec at ƒ/22
ISO 50
Manfrotto 190CXPRO3 Carbon Fibre Tripod 494RC2 ballhead
Polarizer
The location on the map is not accurate,pls don't go by it. Thanks for looking!
NSW/Australia (Sydney Harbor Bridge is equipped for tidal flow operation, permitting the direction of traffic flow on the bridge to be altered to better suit the morning and evening rush hours' traffic patterns.
The bridge has eight lanes in total, numbered one to eight from west to east. Lanes three, four and five are reversible. One and two always flow north. Six, seven, and eight always flow south. The default is four each way. For the morning rush hour, the lane changes on the bridge also require changes to the Warringah Freeway, with its inner western reversible carriageway directing traffic to the bridge lane numbers three and four southbound.
The bridge has a series of overhead gantries which indicate the direction of flow for each traffic lane. A green arrow pointing down to a traffic lane means the lane is open. A flashing red "X" indicates the lane is closing, but is not yet in use for traffic travelling in the other direction. A static red "X" means the lane is in use for oncoming traffic. This arrangement was introduced in the 1990s, replacing a slow operation where lane markers were manually moved to mark the centre median...)
*(2 photomerge)
Copyright © 2010 by inigolai/Photography
No part of this picture may be reproduced or transmitted in any form or by any means (on websites, blogs) without prior permission.
© sallycinnamon.. 2014 This image is my property and no downloads, copies or uses of are permitted without my prior consent.
Permite que eu volte o meu rosto
para um céu maior que este mundo,
e aprenda a ser dócil no sonho
como as estrelas no seu rumo.
[Cecília Meireles]
"I'm ready for my closeup now..."
"The Currituck Beach Light is a lighthouse located on the Outer Banks in Corolla, North Carolina. The Currituck Beach Light was added to the National Register of Historic Places on October 15, 1973.
On December 1, 1875, the Currituck Beach Light was completed, located between Cape Henry Light and Bodie Island. Unlike its fellows, Currituck Beach Light was not painted, leaving its brick facade visible. In 1939, the lighthouse was automated following a merger of the United States Coast Guard with the Bureau of Lighthouses.
The Outer Banks Conservationists (OBC) performed much of the reconstruction and refurbishing work since 1980 through private funding and volunteer work. Since 1991 visitors have been allowed to climb the original 220 steps to the outdoor gallery. Access to the lens room is not permitted as the first order lens is not only the original lens, but it is still a functioning one. The light comes on every night and shines from 158 feet (48 m) at 20-second intervals to warn ships hugging the chain of barrier islands along the coast.
In 2003, the Federal Government granted OBC the title to the lighthouse itself. The Coast Guard approved OBC's ownership proposal over that of an application submitted by Currituck County (the county in which the lighthouse is located). Through state and federal legislative maneuvering, the county sued OBC to try to acquire the property. The case was finally settled in 2006. OBC remains the owner of the Currituck Beach Lighthouse." (Wikpedia)
PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.
(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).
In addition to my sunrise walks along the beach, I’m also shooting various other afternoon scenes that look interesting — especially during the “golden hour” that extends from roughly an hour before sunset to an hour afterwards. The view in all of these shots is basically eastwards (sometimes northeast or southeast), so the sun is always setting behind me in the west. Thus, I’ll sometimes see some pink skies, or some interesting mixtures of late-afternoon sunlight and blue/purple colors — but not the fiery red/yellow/pink skies that accompany the sunsets in the west ...
These are some of the shots that I thought were somewhat interesting ...