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Mejor es perder la cuenta enumerando tus bendiciones que perder tus bendiciones enumerando tus problemas.
Maltbie D. Babcock.
Poetography ... a weekly inspiration ... Theme - Trouble
(My texture)
You can help put a stop to the cruelty that billions of animals suffer every single day.
Act now. Sign the petitions to stop the Yulin dog slaughter.
Château de Versailles, Versailles, France.
El Château de Versailles es un edificio que desempeñó las funciones de una residencia real en siglos pasados. El palacio está ubicado en el municipio de Versalles, cerca de París, en la región Isla de Francia. Su construcción fue ordenada por el rey Luis XIV, y constituye uno de los complejos arquitectónicos monárquicos más importantes de Europa. Con 7,3 millones de visitantes en 2012, es también uno de los sitios turísticos más importantes de Francia.
Con sus tres palacios, sus jardines y su parque, Versalles es un dominio inmenso. Si bien Luis XIII hizo edificar allí un pabellón de caza con un jardín, Luis XIV es su verdadero creador, ya que le dio su amplitud y determinó su destino.
Luis XIV dejó París y decidió construir Versalles como una pequeña ciudad alejada de los problemas. Tendría varias etapas constructivas, marcadas por las amantes de Luis XIV.
Primera etapa (1661-1668): Sería un palacete de caza al que se añadieron dos alas laterales que, al cerrarse, conformaron la plaza de armas. Son fachadas de ladrillo y unifica la cubierta usando también la pizarra y las mansardas.
Segunda etapa (1668-1678): Luis XIV pretende trasladar definitivamente la corte a Versalles. Se añaden las dos alas laterales para dar prioridad visual al jardín, realizado por André Le Nôtre. La fachada que da al jardín está construida siguiendo el modelo italiano. Un primer piso de sillares almohadillados. Un piso noble de doble altura con crujías retranqueadas, jugando con entrantes y salientes y alternando columnas y pilastras. Por último, un tercer piso que sería el ático, rematado por una serie de figuras escultóricas (trofeos y jarrones) que casi no dejan ver la caída de la cubierta, la cual no es muy inclinada. Llegaron a vivir en él hasta 20.000 personas.
Tercera y última etapa (1678-1692): En esta ampliación, realizada por Mansart, se construyó la capilla real en el Ala Norte del Palacio, a doble altura y con acceso directo a cota cero desde el exterior, estando la Tribuna Real situada en el piso principal, desde donde el rey y su familia asistían a la misa.
El jardín de Versalles es clasicista, ordenado, racionalizado. Con el paisajismo se obliga a la circulación. Crea una organización que relaciona todas las esculturas y fuentes y ensalza la monarquía. Las esculturas se señalan unas a otras. Progresiva civilización del jardín: muy ordenado, podado y cuidado en la zona próxima al palacio, y después se va asilvestrando, es decir que se hace más silvestre a medida que nos alejamos del palacio.
Tres siglos después de su creación, el dominio sigue siendo considerable pues cuenta con 800 hectáreas (originalmente eran unas 8 000 hectáreas), 20 km de caminos, 200 000 árboles, 35 km de canalizaciones, 11 hectáreas de techumbre, 2 153 ventanas y 67 escaleras.
El conjunto del palacio y parque de Versalles, incluyendo el Gran Trianón y el Pequeño Trianón, fue declarado Patrimonio de la Humanidad por la Unesco en 1979.
The Château de Versailles is a building that served as a royal residence in past centuries. The palace is located in the municipality of Versailles, near Paris, in the Isle of France. Its construction was ordered by King Louis XIV, and is one of the most important monarchical architectural complexes in Europe. With 7.3 million visitors in 2012, it is also one of the most important tourist sites in France.
With its three palaces, its gardens and its park, Versailles is an immense domain. Although Louis XIII built a hunting pavilion with a garden there, Louis XIV is its true creator, since it gave him his amplitude and determined his destiny.
Louis XIV left Paris and decided to build Versailles as a small city away from problems. It would have several constructive stages, marked by the lovers of Louis XIV.
First stage (1661-1668): It would be a hunting palace to which two side wings were added that, when closed, formed the parade ground. They are brick facades and unifies the roof using also the slate and the mansards.
Second stage (1668-1678): Louis XIV intends to definitively transfer the court to Versailles. The two lateral wings are added to give visual priority to the garden, made by André Le Nôtre. The facade that overlooks the garden is built following the Italian model. A first floor of ashlar pillows. A double height noble floor with recessed bays, playing with entrances and projections and alternating columns and pilasters. Finally, a third floor that would be the attic, topped by a series of sculptural figures (trophies and vases) that almost do not let see the fall of the roof, which is not very inclined. Up to 20,000 people lived there.
Third and last stage (1678-1692): In this extension, made by Mansart, the royal chapel was built in the North wing of the Palace, at double height and with direct access to level zero from the outside, with the Royal Tribune located in the main floor, from where the king and his family attended the mass.
The garden of Versailles is classicist, orderly, rationalized. With landscaping, circulation is forced. Create an organization that relates all the sculptures and sources and extols the monarchy. The sculptures point to each other. Progressive civilization of the garden: very orderly, pruned and cared for in the area near the palace, and then it goes wild, that is to say it becomes wilder as we move away from the palace.
Three centuries after its creation, the domain is still considerable because it has 800 hectares (originally were about 8,000 hectares), 20 km of roads, 200,000 trees, 35 km of pipelines, 11 hectares of roof, 2 153 windows and 67 stairs.
The palace and park complex of Versailles, including the Grand Trianon and the Little Trianon, was declared a World Heritage Site by UNESCO in 1979.
Marishka: Sabe, meu amor... Ando achando a Cassie estranha. Ela mudou um pouco sua forma de agir desde que anunciamos o casamento.
Caius: Eu nunca converseir muito com ela. Acho que por isso não percebo essa mudança repentina.
Marishka: Viu?! Aí é que está o problema! Você nunca demonstrou muito afeto por ela e, bom, ela é como se fosse minha irmã mais nova ou até mesmo uma filha pra mim... Quando casarmos ela será parte da nossa família...
Caius: Hum, então você quer o que? Que eu passe mais tempo com ela? É isso?
Marishka: Que bom que você entendeu rápido, meu amor! *disse dando um beijo na testa do noivo e saindo cantarolando*
Caius: Espera? Você quer mesmo que eu faça isso? O.O
Marishka: Vai dar tudo certo. *já quase saindo do quarto para que ele não mude de ideia*
Caius: Mas eu não faço a menor ideia de como conversar com crianças... O.o
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Olá, pessoas! Como vocês estão?
Eu tive um inicio de crise asmática de novo. Pelo visto agora será algo rotineiro... Melhor eu ir me acostumando. T-T
Mas não foi pra falar essas coisas ruins que eu apareci. Tchan, tchan, tchatchaaaan... Tem gente nova a caminho!!! *--*
Quem será, quem será? Vou dar uma dica: não é a Pullip Akemi, até porque ela está em preorder ainda (mas como comentei que estava apaixonada por ela achei melhor confirmar =D). Também não é uma Dal e já foi mencionado na história algumas vezes.
Quero só ver se alguém vai descobrir quem é. ^u^
Uma noite maravilhosa para todos!!!
IN ENGLISH BELOW THE LINE
Com podeu veure, el número de serie correspon, com ha de ser.
La fàbrica Arsenal, de Kiev, en època sovietica produí una serie de càmeres de format mitjà (6x6cm) que serien el màxim exponent de producció d’una càmera professional de qualitat per part de la URSS. Es tracta de la Salyut, després renascuda com a Kiev 88, però també altres noms . Segons la teoria, o pràcticament la llegenda, aquestes càmeres s’iniciaren a partir d’un prototipus alemany disenyat durant la Segona Guerra Mundial, i capturat pels sovietics. Aquest mateix projecte acabaria, afirmen, en mans dels suecs, que llençaren la Hasselblad 1600 el 1948. Per això les Salyut/Kiev 88 s’assemblen tant a les Hasselblad. El problema es que mai s’ha vist cap prova d’aquesta càmera alemana original, i a sobre la Salyut sortí el 1957, molt després de la seva “cosina” Hasselblad. En fi.
L'objectiu és l'estandart per a la Salyut-S, el Vega-12B f2.8/80mm, i venia d'origen amb la càmera, com demostren els papers de fàbrica.
La Salyut era una càmera modular del tipus Hasselblad 1600, és a dir, amb un cos central amb l’obturador de pla focal i mirall reflex al que se li acoplen l’objectiu, visor i carregador de pel·licula. Això permet moltes variacions, i sobretot canviar de tipus de pel·licula a mig rodet. El problema principal ve del complex i delicat obturador; Hasselblad el canvià per un obturador central integrat en els objectius, naixent la Hasselblad 500C, però els sovietics manteniren l’obturador de pla focal fins als anys 90! Tot i els inconvenients de fiabilitat, això permet velocitats més altes així com un espectacular terrabastall sonor tant en disparar com en carregar l’obturador. Sona més com un fusell que com una càmera! Amb tot, les Salyut/Kiev88 s’assemblen tant a les Hasselblad que son popularment conegudes com “Hasselbladsky”.
En tot cas, son càmeres complexes, ja que cal respectar certs procediments d'operació: sempre avançar el rodet abans de canviar de velocitat, sempre treure la protecció del carregador per a poder disparar o canviar de carregador, sempre avançar el rodet abans de canviar d'objectiu... No fer qualsevol d'aquestes normes pot representar destroçar la càmera.
Aquesta en concret és la Salyut-S, segona variant produida entre 1972 i 1980. Apart de conexió per a flaix, incorporava diafragma automatic pels objectius, el que permetia enfocar sense necessitat d’enfosquir la imatge en tancar el diafragma (el diafragma només es tanca en disparar, com en les SLR modernes). També es denominà Kiev 80 per a la exportació. Posteriorment donà lloc a la Kiev 88, amb “peu” per al flaix incorportat, i visor TTL, amb fotometre incorportat. També sembla que la qualitat de la maquinaria disminuí, i les Kiev 88, tot i que molt nombroses, no semblen tant de fiar i han donat cert mal nom a aquestes càmeres. En tot cas, aquesta funciona força be, apart d’alguna fuita de llum puntual.
L’exemplar que veieu el vaig comprar amb el equipament complert a algú de Moldavia; de fet, de la “en-general-no-reconeguda” però ben real Transnistria. Tot i els dubtes, el paquet arribà sense cap problema des de Tiraspol. Com deia, junt amb la càmera venia l’estoig de cuiro, dos filtres, dos carregadors de pel·licula, un cable disparador i parasol. I un detall historicament rellevant, el “Passport” o certificat de fàbrica. En aquest Passport hi ha força informació sobre la historia particular d’aquesta càmera: fou fabricada el setembre de 1974 (quasi som de la mateixa quinta, vaja), i es va vendre el 27 de febrer de 1975. Tot i estar en rus, crec entendre alguns detalls; fou venguda per una cooperativa de consum al poble de Novopokrovka (Dniepropetrovsk oblast), a cert Victor Fedorovitx Antsybor.
=========================================
The Soviet-era Arsenal factory (Kiev) produced a series of medium-sized (6x6cm) cameras that would be the USSR's most serious project of a quality professional camera. This was the Salyut, later reborn as Kiev-88, but also other names. According to theory, or practically legend, these cameras were started from a German prototype designed during World War II, and captured by the Soviets. This same project would end up in the hands of the Swedes, who launched the Hasselblad 1600 in 1948. That is why the Salyut / Kiev 88 is so similar to the Hasselblad. The problem is that no evidence of this original German camera has ever been seen, and the Salyut came out in 1957, long after her "cousin" Hasselblad. So...
The Salyut was a modular camera like the Hasselblad 1600, that is, with a central body with a focal plane shutter and a reflex mirror to which the lens, viewfinder and film magazine backs are attached. This allows for many variations, and most importantly switching of types of film at mid-roll. The main problem comes from the complex and delicate shutter; Hasselblad replaced it with a leaf shutter built into each lenses, and the Hasselblad 500C was born, but the Soviets kept the focal plane shutter until the 1990s! Despite the drawbacks of reliability, this allows for cheaper lenses, higher speeds as well as a spectacular and loud noise both when shooting and loading the shutter. Sounds more like a rifle than a camera! However, the Salyut / Kiev88 are so similar to the Hasselblads that they are popularly known as the "Hasselbladsky".
In any case, they are complex cameras, as it is necessary to respect certain operating procedures: always advance the film before changing speed, always remove the darkslide to take a picture or change the magazine, always cock the shutter before changing lenses... Failure to follow any of these rules may represent shredding the camera.
The lens is the standard for the Salyut-S, the Vega-12B f2.8 / 80mm, and came originally with the camera, as the factory papers show.
This particular camera is the Salyut-S, the second variant produced between 1972 and 1980. Apart from a PC port for flash, it incorporated automatic aperture for the lenses, which allowed to focus without having to obscure the image when closing the aperture (the aperture only closes when shooting, as in modern SLRs). It was also called Kiev 80 for export. It later gave rise to the Kiev 88, with hotshoe, and TTL viewfinder, with built-in photometer. It also seems that the quality of the machinery has decreased, and the Kiev 88, although very numerous, do not seem so reliable and have given some bad name to these cameras. In any case, this one works quite well, apart from some occasional light leakage in the backs.
I bought the one you see with the complete setfrom someone in "Moldova"; in fact, from the “generally-unrecognized” but real Transnistria. Despite the doubts, the package arrived without any problems from Tiraspol. As I said, with the camera came the leather case, two filters, two film backs, a trigger cable and a sunshade. And a historically relevant detail, the "Passport" or factory certificate. In this Passport there is a lot of information about the particular history of this camera: it was made in September 1974 (almost as old as I), and it was sold on February 27, 1975. Despite being in Russian, I think I understand some details; was sold by a consumer cooperative in the village of Novopokrovka (Dniepropetrovsk oblast), to a certain Victor Fedorovich Antsybor.
emulsive.org/reviews/camera-reviews/kiev-film-camera-revi...
www.sovietcams.com/index.php?996969233
Eso fue lo que expresaron algunos vecinos de Miraflores cuando A mediados de los años 20 del siglo pasado, el artista húngaro Lajos D’Ebneth estrenó una escultura vanguardista en el Parque Central de Miraflores. Pero, esta estaba desnuda, y lo cual resultó ofensivo e indecoroso, la escultura se retiró y hoy "Hacia la Gloria" se encuentra en el Parque Salazar.
Tomada en Parque Salazar, Miraflores, Lima, Perú
problemas de comunicación (con y sin palabras)
communication problems (with and without words)
ell@s saben a quien me refiero...
♫♪ Communication • The Cardigans ♪♫
For 27 years I've been trying to believe and confide in • Different people I've found.
Some of them got closer than others • And someone wouldn't even bother and then you came around
I didn't really know what to call you, you didn't know me at all • But I was happy to explain.
I never really knew how to move you • So I tried to intrude through the little holes in your veins
And I saw you • But that's not an invitation • That's all I get • If this is communication
I disconnect • I've seen you, I know you • But I don't know • How to connect, so I disconnect
You always seem to know where to find me and I'm still here behind you In the corner of your eye.
I'll never really learn how to love you • But I know that I love you through the hole in the sky.
Where I see you • And that's not an invitation • That's all I get • If this is communication
I disconnect • I've seen you, I know you • But I don't know • How to connect, so I disconnect
Well this is an invitation • Its not a threat • If you want communication • That's what you get
I'm talking and talking • But I don't know • How to connect • And I hold a record for being patient
With your kind of hesitation • I need you, you want me • But I don't know • How to connect,
so I disconnect • I disconnect.
blog Descartes&Discards • jesuscm in YouTube
Please don't use this image on websites, blogs or other media without my explicit permission. 2010©jesuscm. All rights reserved.
IN ENGLISH BELOW THE LINE
La fàbrica Arsenal, de Kiev, en època sovietica produí una serie de càmeres de format mitjà (6x6cm) que serien el màxim exponent de producció d’una càmera professional de qualitat per part de la URSS. Es tracta de la Salyut, després renascuda com a Kiev 88, però també altres noms . Segons la teoria, o pràcticament la llegenda, aquestes càmeres s’iniciaren a partir d’un prototipus alemany disenyat durant la Segona Guerra Mundial, i capturat pels sovietics. Aquest mateix projecte acabaria, afirmen, en mans dels suecs, que llençaren la Hasselblad 1600 el 1948. Per això les Salyut/Kiev 88 s’assemblen tant a les Hasselblad. El problema es que mai s’ha vist cap prova d’aquesta càmera alemana original, i a sobre la Salyut sortí el 1957, molt després de la seva “cosina” Hasselblad. En fi.
L'objectiu és l'estandart per a la Salyut-S, el Vega-12B f2.8/80mm, i venia d'origen amb la càmera, com demostren els papers de fàbrica.
La Salyut era una càmera modular del tipus Hasselblad 1600, és a dir, amb un cos central amb l’obturador de pla focal i mirall reflex al que se li acoplen l’objectiu, visor i carregador de pel·licula. Això permet moltes variacions, i sobretot canviar de tipus de pel·licula a mig rodet. El problema principal ve del complex i delicat obturador; Hasselblad el canvià per un obturador central integrat en els objectius, naixent la Hasselblad 500C, però els sovietics manteniren l’obturador de pla focal fins als anys 90! Tot i els inconvenients de fiabilitat, això permet velocitats més altes així com un espectacular terrabastall sonor tant en disparar com en carregar l’obturador. Sona més com un fusell que com una càmera! Amb tot, les Salyut/Kiev88 s’assemblen tant a les Hasselblad que son popularment conegudes com “Hasselbladsky”.
En tot cas, son càmeres complexes, ja que cal respectar certs procediments d'operació: sempre avançar el rodet abans de canviar de velocitat, sempre treure la protecció del carregador per a poder disparar o canviar de carregador, sempre avançar el rodet abans de canviar d'objectiu... No fer qualsevol d'aquestes normes pot representar destroçar la càmera.
Aquesta en concret és la Salyut-S, segona variant produida entre 1972 i 1980. Apart de conexió per a flaix, incorporava diafragma automatic pels objectius, el que permetia enfocar sense necessitat d’enfosquir la imatge en tancar el diafragma (el diafragma només es tanca en disparar, com en les SLR modernes). També es denominà Kiev 80 per a la exportació. Posteriorment donà lloc a la Kiev 88, amb “peu” per al flaix incorportat, i visor TTL, amb fotometre incorportat. També sembla que la qualitat de la maquinaria disminuí, i les Kiev 88, tot i que molt nombroses, no semblen tant de fiar i han donat cert mal nom a aquestes càmeres. En tot cas, aquesta funciona força be, apart d’alguna fuita de llum puntual.
L’exemplar que veieu el vaig comprar amb el equipament complert a algú de Moldavia; de fet, de la “en-general-no-reconeguda” però ben real Transnistria. Tot i els dubtes, el paquet arribà sense cap problema des de Tiraspol. Com deia, junt amb la càmera venia l’estoig de cuiro, dos filtres, dos carregadors de pel·licula, un cable disparador i parasol. I un detall historicament rellevant, el “Passport” o certificat de fàbrica. En aquest Passport hi ha força informació sobre la historia particular d’aquesta càmera: fou fabricada el setembre de 1974 (quasi som de la mateixa quinta, vaja), i es va vendre el 27 de febrer de 1975. Tot i estar en rus, crec entendre alguns detalls; fou venguda per una cooperativa de consum al poble de Novopokrovka (Dniepropetrovsk oblast). actual Ucraïna, a cert Victor Fedorovitx Antsybor.
=====================
The Soviet-era Arsenal factory (Kiev) produced a series of medium-sized (6x6cm) cameras that would be the USSR's most serious project of a quality professional camera. This was the Salyut, later reborn as Kiev-88, but also other names. According to theory, or practically legend, these cameras were started from a German prototype designed during World War II, and captured by the Soviets. This same project would end up in the hands of the Swedes, who launched the Hasselblad 1600 in 1948. That is why the Salyut / Kiev 88 is so similar to the Hasselblad. The problem is that no evidence of this original German camera has ever been seen, and the Salyut came out in 1957, long after her "cousin" Hasselblad. So...
The Salyut was a modular camera like the Hasselblad 1600, that is, with a central body with a focal plane shutter and a reflex mirror to which the lens, viewfinder and film magazine backs are attached. This allows for many variations, and most importantly switching of types of film at mid-roll. The main problem comes from the complex and delicate shutter; Hasselblad replaced it with a leaf shutter built into each lenses, and the Hasselblad 500C was born, but the Soviets kept the focal plane shutter until the 1990s! Despite the drawbacks of reliability, this allows for cheaper lenses, higher speeds as well as a spectacular and loud noise both when shooting and loading the shutter. Sounds more like a rifle than a camera! However, the Salyut / Kiev88 are so similar to the Hasselblads that they are popularly known as the "Hasselbladsky".
In any case, they are complex cameras, as it is necessary to respect certain operating procedures: always advance the film before changing speed, always remove the darkslide to take a picture or change the magazine, always cock the shutter before changing lenses... Failure to follow any of these rules may represent shredding the camera.
The lens is the standard for the Salyut-S, the Vega-12B f2.8 / 80mm, and came originally with the camera, as the factory papers show.
This particular camera is the Salyut-S, the second variant produced between 1972 and 1980. Apart from a PC port for flash, it incorporated automatic aperture for the lenses, which allowed to focus without having to obscure the image when closing the aperture (the aperture only closes when shooting, as in modern SLRs). It was also called Kiev 80 for export. It later gave rise to the Kiev 88, with hotshoe, and TTL viewfinder, with built-in photometer. It also seems that the quality of the machinery has decreased, and the Kiev 88, although very numerous, do not seem so reliable and have given some bad name to these cameras. In any case, this one works quite well, apart from some occasional light leakage in the backs.
I bought the one you see with the complete setfrom someone in "Moldova"; in fact, from the “generally-unrecognized” but real Transnistria. Despite the doubts, the package arrived without any problems from Tiraspol. As I said, with the camera came the leather case, two filters, two film backs, a trigger cable and a sunshade. And a historically relevant detail, the "Passport" or factory certificate. In this Passport there is a lot of information about the particular history of this camera: it was made in September 1974 (almost as old as I), and it was sold on February 27, 1975. Despite being in Russian, I think I understand some details; was sold by a consumer cooperative in the village of Novopokrovka (Dniepropetrovsk oblast), now in Ukraine, to a certain Victor Fedorovich Antsybor.
emulsive.org/reviews/camera-reviews/kiev-film-camera-revi...
www.sovietcams.com/index.php?996969233
Problema byssus
Spring Creek, Taylor County, Florida
September 17, 2018
NABA field trip led by Eric Shaw.
28/52 Tema: Muchos. "rodeado de problemas"
Parece que cada vez que un problema desaparece, 3 más vuelven para unirse a la fiesta
28/52 Theme: Many. "surrounded by problems"
It seems that every time a problem goes away, 3 more come back to join the party
¿Cuál es el problema? nr 2. Jardines De Sabatini. Leica-M6 TTL 0,85 Elmarit-M 1:2.8/90mm
Nikon super Coolscan 5000ed.
Delta 100asa developer HC 110 1+31 (B)
🔴Leica my point of view.
Wetzlar, Deutschland.
Leica-CL 1974 Rangefinder
Leica-M 6 TTL 0.72 1998 Rangefinder
Leica-M6 TTL 0.85 2001 Rangefinder
Piero's war
You sleep buried in a wheat field
it's not the rose, it's not the tulip
watching on you from the shadow of ditches
but it's a thousand red poppies (...)
Faber
La guerra di Piero - Fabrizio De André
La guerra di Piero
Dormi sepolto in un campo di grano
Non è la rosa, non è il tulipano
Che ti fan veglia dall'ombra dei fossi
Ma sono mille papaveri rossi (...)
Faber
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or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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“A story exists only if someone tells it.”
TITIAN TERZANI
... this aphorism to introduce this photographic story, which begins in Germany close to the Second World War, to end tragically in Sicily: the main protagonist of this "photographic" story is of German origin, his name is Carl Ludwig Hermann Long (known as Luz Long), but this story could not exist without another great protagonist, American, his name is Jesse Owens. Let's start in order, Luz Long is a brilliant law student at the University of Leipzig, he represents the incarnation of the Aryan man, he is tall, blond, has an athletic physique, his great passion is the long jump, he is a natural talent, this allows him to enter in a short time among the best long jumpers of the time (so much so that he won third place at the 1934 European Championships); Long will be one of the favorites in the long jump at the Berlin Olympics in 1936, whose historical context is that of Nazi Germany which would soon unleash the Second World War, including the racial hatred that resulted in the extermination camps with the Holocaust. Luz Long is remembered both for his great sportsmanship gesture towards his direct American opponent Jesse Owens, who, thanks to Long's unexpected help, will win the long jump competition, thus winning the gold medal (one of the four gold medals he won), while Long finished second by winning the silver medal, but Long is also remembered for his sincere friendship with Jesse, free from hatred and racial prejudice. The Berlin Olympics represent an extraordinary propaganda to the ideals of the Third Reich, it is a very important historical moment to show the superiority of the Aryan race to the whole world; the sports facilities were built with the utmost care by the architect of the Nazi regime Albert Speer (with architectural references from Ancient Greece), the sporting event was about to turn into an ideological tool of the regime, the documentary film " Olympia" of 1938 was also shot for this purpose directed by Leni Riefenstahl (author of films and documentaries that exalted the Nazi regime), where many innovative cinematographic techniques were used for the time, with unusual and original shots, such as shots from below, extreme close-ups, to the platforms in the Olympic stadium to photograph the crowd. Hitler wanted to demonstrate the supremacy of the Aryan race with the Olympics, the Aryan athlete had to correspond to a statuesque stereotyped figure, tall, blond, athletic, fair complexion, blue eyes, Luz Long was the ideal incarnation of him. Forty-nine countries participated in the Olympics, a number never reached before; German-Jewish athletes were expelled from all sports; even African Americans were discriminated against in their country, but they were allowed to compete, even if in smaller numbers, one of them was called James Cleveland Owens, but everyone knew him as Jesse (due to an error of interpretation by the his professor); it was his athletic abilities that allowed him to achieve several records, an important moment was the meeting with Larry Snyder, a good coach, and so thanks to his victories he had the opportunity to compete in the Berlin Olympics: he will be the protagonist of the Olympic Games, a 23-year-old boy originally from Alabama, who in a few days will win 4 gold medals, the 100m race, the 200m race, the 4x100m relay race and the long jump race in which there will be the story that will be worth all the gold medals in the world with Luz Long). Let's get to the point, on the morning of August 4, 1936 Luz qualifies for the long jump final, for Owens the qualification takes place in conjunction with the races of 200 mt. plans, Ownes is engaged in both races, the simultaneity of the two events, and a different regulation between the European and the US one entails him two null jumps, the first jump he thought was a test to test the terrain (as per the US regulation) , instead it was a valid jump for the competition, the second jump sees him very demoralized and makes the worst jump of his life. the elimination is now one step away, but Long interprets with great depth of mind the psychic state of prostration of his direct opponent, he sees him transformed into a face, dejected, Luz approaches him in a friendly way and suggests him to disconnect 20-30 cm before the serve line (and shows him the exact point by placing a handkerchief right next to the platform, at the height of the ideal take-off point, even if not all those who report the event in their chronicles remember the detail of the handkerchief), but also exhorts him by telling him that a champion like him shouldn't be afraid to take off first for the jump: for Owens the third jump if it had been void would have meant his elimination from the competition (and the certain victory of Luz), but, thanks to the suggestion of a technical nature (and perhaps the laying of the handkerchief...), but also affective-psychological ( !) by Luz, Owens following the advice of his direct rival, makes a formidable jump, which allows him to qualify. Long is the first to congratulate Jesse, both on the occasion of qualifying and after him with his final victory, which will result in his fourth gold medal. A deep, true friendship is born between Long and Jesse, in the videos available of the time it is really exciting to witness their handshakes and their embraces in those first moments, under the stern gaze of the Führer, a friendship that will consolidate in the following days, making a habit of dating in the olympic village. After the 1936 Olympics, in 1939 he became a lawyer, in 1941 he married, shortly after his son Kai was born, in 1942 he was called up as an officer of the Luftwaffe and sent to the front line, in April 1943 he was assigned to the Herman armored division Göring and the following month he was sent to Sicily immediately after the Allied landing on the island (Operation Husky): Long dies at the age of thirty, he is in Niscemi with the armored division, and is thus involved in the fighting for the defense of the Biscari-Santo Pietro airport; the causes of death are not certain, the most plausible is that of an aggravation due to wounds sustained in combat against the Anglo-Americans, he was found by a fellow soldier on the side of a road, from here he was transported to the nearby field hospital, where he died on July 14, 1943. He was first buried in a temporary cemetery, then his body was exhumed and then transferred in 1961 to the German military cemetery of Motta Sant'Anastasia while it was still under construction, now it is there that Luz Long rests: crypt 2 “Caltanissetta”, plate E, his name engraved on the slate slab preceded by the rank “Obergefreiter-dR" (Appointed of the Reserve), followed by the dates of birth 27 IV 13 and of death 14 VII 43; it is what remains of Luz Long, one of the 4,561 German soldiers who died in Sicily during the Second World War and are buried here. In his last letter to his friend Owens, Luz magining its end near, he asks him to go to her son and tell him who had been his father; his friend Jesse did as requested and even went to his son's wedding. And Owens….? … Jesse returned to his homeland did not have the respect he deserved after winning 4 gold medals (!), Those were the times when black people were considered "second class" (!); indeed, although with a nod the fuhrer saluted him (as Owens himself declared), the behavior of the American president Franklin Delano Roosevelt was unspeakable, he did not even deign to welcome the Olympic winner to the White House as tradition required (! ). Back in the United States, Jesse had to adapt to doing the most varied jobs, including being a boy at a gas station. To make a living he raced against horses, dogs and motorcycles, as a freak show; many years would pass before his value was recognized; he said «all the medals I have won could be melted down, but the 24-carat friendship that was born on the platform in Berlin could never be reproduced».
Postscript:
Long did not share the Nazi objectives and ideology, he was in complete antithesis with them, endowed with great sensitivity and profound nobility of mind, he was very far from the fanatical and cruel creed of Hitler's Germany, as demonstrated by the words he wrote in 1932 in a letter sent to his grandmother: “all the nations of the world have their heroes, the Semites as well as the Aryans. Each of them should abandon the arrogance of feeling like a superior race."
On his tombstone (as well as on others), under which his remains rest closed in a box, next to his name, today there are some small stones, they are small symbols, which recall the Jewish custom of leaving, instead of flowers, a pebble on the graves of the deceased, to demonstrate that his story has not been forgotten, it is a message of peace and brotherhood of which Luz was a promoter in life, his thoughts also reach us through his burial place, because, as stated on the plaque placed at the entrance to the German military cemetery of Motta Sant'Anastasia "the graves of the fallen are the great preachers of peace" (Albert Schweitzer, Nobel Peace Prize).
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“La storia esiste solo se qualcuno la racconta.”
TIZIANO TERZANI
… questo aforisma per introdurre questo racconto fotografico, che inizia in Germania a ridosso della seconda guerra mondiale, per terminare in maniera tragica in Sicilia: il protagonista principale di questa storia “fotografica” è di origine tedesche,si chiama Carl Ludwig Hermann Long, detto Luz (conosciuto come Luz Long), ma questa storia non potrebbe esistere senza un l’altro grande protagonista, statunitense, si chiama Jesse Owens. Iniziamo con ordine, Luz Long è un brillante studente di legge all'Università di Lipsia, rappresenta l’incarnazione dell’uomo ariano, è alto, biondo, ha un fisico atletico, la sua grande passione, è il salto in lungo, è un talento naturale, ciò gli permettendogli di entrare in breve tempo tra i migliori saltatori in lungo dell’epoca (tanto da conquistare il terzo posto agli Europei del 1934); Long sarà uno dei favoriti nel salto in lungo alle Olimpiadi di Berlino nel 1936, il cui contesto storico è quello della Germania nazista che da lì a poco avrebbe scatenato la Seconda Guerra Mondiale, incluso l’odio raziale sfociato nei campi di sterminio con l’Olocausto. Luz Long viene ricordato per il suo grande gesto di sportività verso il suo diretto avversario statunitense Jesse Owens, che, grazie all’inaspettato aiuto di Long, vincerà la gara del salto in lungo, così conquistando la medaglia d'oro (uno dei quattro ori da lui vinti), mentre Long arriverà secondo vincendo la medaglia d'argento, ma Long viene anche ricordato per la sua sincera amicizia verso Jesse, scevra da odi e pregiudizi raziali. Le Olimpiadi di Berlino rappresentano una straordinaria propaganda agli ideali del Terzo Reich, è un momento storico importantissimo per mostrare al mondo intero la superiorità della razza ariana; le strutture sportive vengono realizzate con la massima cura dall’architetto del regime nazista Albert Speer (con riferimenti architettonici dell’Antica Grecia), la manifestazione sportiva diviene uno strumento ideologico del regime, a tale scopo viene girato il film-documentario “Olympia” del 1938, diretto da Leni Riefenstahl (che oltre ad essere attrice, regista, fotografa, diventa autrice di film e documentari che esaltano il regime nazista), nel docu-film delle olimpiadi vengono impiegate molte tecniche cinematografiche innovative per l'epoca, con inquadrature insolite ed originali, come le riprese dal basso, con primi piani estremi, l'utilizzo di binari nello stadio olimpico per riprendere la folla. Hitler vuole quindi dimostrare con le Olimpiadi la supremazia della razza ariana, l’atleta ariano deve corrispondere ad una figura stereotipata statuaria, alto, biondo, atletico, carnagione chiara, occhi azzurri, Luz Long è la sua incarnazione ideale. Alle Olimpiadi partecipano quarantanove Paesi, un numero mai raggiunto prima; gli atleti ebreo-tedeschi vengono espulsi da tutte le discipline sportive; anche gli afroamericani, sono discriminati nel loro paese, però ad essi viene concesso di gareggiare, anche se in numero minore, uno di loro si chiama James Cleveland Owens, ma tutti lo conoscono come Jesse (per un’errore d’interpretazione da parte del suo professore); sono le sue capacità atletiche a consentirgli di realizzare diversi record, un momento importante è l’incontro con Larry Snyder, un bravo allenatore, e così grazie alle sue vittorie gli si presena l’opportunità di gareggiare alle Olimpiadi di Berlino: sarà lui il protagonista dei giochi olimpici, un ragazzo di 23 anni originario dell’Alabama, che in pochi giorni si aggiudicherà ben 4 medaglie d’oro, la corsa dei 100, dei 200, la corsa a staffetta dei 4x100 e quella del salto in lungo nella quale ci sarà la vicenda con Luz Long che varrà tutte le medaglie d’oro del mondo). Veniamo al dunque, la mattina del 4 agosto 1936 Luz si qualifica per la finale del salto in lungo, per Owens la qualificazione si svolge in concomitanza con la gare dei 200 mt. piani, Ownes è impegnato in entrambe le gare, la contemporaneità dei due eventi, ed un diverso regolamento sportivo tra quello Europeo e quello Statunitense gli comportano due salti nulli, il primo salto egli pensa fosse di prova per saggiare il terreno (come da regolamento Statunitense), invece è un salto valido per la gara, il secondo salto lo vede molto demoralizzato e compie il peggiore salto della sua vita, l’eliminazione è oramai ad un passo, ma Long interpreta con grande profondità d’animo lo stato psichico di prostrazione del suo diretto avversario, lo vede trasformato in volto, abbattuto, Luz gli si avvicina con fare amichevole e gli suggerisce di staccare 20-30 cm prima della linea di battuta, gli mostra il punto esatto dove staccare poggiando un fazzoletto proprio di fianco alla pedana, all’altezza dell’ideale punto di stacco (anche se non tutti coloro che riportano nelle loro cronache l’evento, ricordano il particolare del fazzoletto), ma anche lo esorta dicendogli che un campione come lui non deve temere di staccare prima per il salto, qualche centimetro in meno per lui non sono certo un problema!: per Owens se il terzo salto diviene nullo comporterebbe la sua eliminazione dalla gara (e la sicura vittoria di Luz!), ma, grazie al suggerimento di carattere tecnico (e forse della posa del fazzoletto…), ma anche affettivo-psicologico (!) di Luz, Owens seguendo il consiglio del suo diretto rivale, compie un formidabile salto, il che gli consente di qualificarsi. Long è il primo a congratularsi con Jesse, sia in occasione della sua qualificazione, sia dopo, con la sua vittoria finale, che gli comporterò la conquista della quarta medaglia d’oro. Tra Long e Jesse nasce una profonda, vera amicizia, nei video disponibili dell’epoca è davvero emozionante assistere alle loro strette di mano ed ai loro abbracci di quei primi istanti, sotto lo sguardo severo del Führer, amicizia che si consoliderà nei giorni successivi, prendendo l’abitudine di frequentarsi nel villaggio olimpico. Dopo le Olimpiadi del 1936, nel 1939 Luz diventa avvocato, nel 1941 si sposa, poco dopo nasce suo figlio Kai, nel 1942 è richiamato alle armi come ufficiale della Luftwaffe e spedito in prima linea, nell’aprile del 1943 viene assegnato alla divisione corazzata Herman Göring ed il mese successivo è inviato in Sicilia subito dopo lo sbarco degli Alleati sull’isola (chiamata Operazione Husky): Long muore così a trent'anni, si trova a Niscemi con la divisione corazzata, viene coinvolto nei combattimenti per la difesa dell'aeroporto di Biscari-Santo Pietro; le cause della morte non sono certe, la più plausibile è quella di un suo aggravamento dovuto alle ferite riportate in combattimento contro gli Anglo-Americani, viene trovato ferito da un suo commilitone sul ciglio di una strada, da qui viene trasportato nel vicino ospedale da campo, dove morirà il 14 luglio 1943. Dapprima viene sepolto in un cimitero provvisorio, poi la sua salma viene riesumata e quindi trasferita nel 1961 nel cimitero militare germanico di Motta Sant'Anastasia mentre è ancora in costruzione, adesso è li che Luz Long riposa: cripta 2 “Caltanissetta”, piastra E, il suo nome inciso sulla lastra di ardesia preceduto dal grado “Obergefreiter-dR" (Appuntato della Riserva), seguito dalle date di nascita 27 IV 13 e di morte 14 VII 43; è quanto resta di Luz Long, uno dei 4.561 soldati tedeschi morti in Sicilia durante la Seconda Guerra Mondiale e qui sepolti. Nell'ultima lettera all'amico Owens, Luz immaginando che il suo destino a presto si sarebbe compiuto, gli chiede di andare da suo figlio e dirgli chi è stato suo padre; l'amico Jesse fa quanto richiesto, va persino alle nozze del figlio.
Ed Owens….? … Jesse rientrato in patria non riceve dal suo Paese il rispetto che merita dopo aver vinto ben 4 medaglie d'oro (!), sono i tempi in cui le persone di colore vengono considerate di “serie B” (!); addirittura, sebbene con un solo cenno, dal Führer viene salutato (così dichiara lo stesso Owens), invece il comportamento del presidente americano Franklin Delano Roosvelt, è inqualificabile, non si degna di accogliere il vincitore olimpico alla Casa Bianca come prevede la tradizione (!). Tornato negli Stati Uniti Jesse deve adattarsi a fare i lavori più disparati, fra i quali anche il garzone in una pompa di benzina. Per guadagnarsi da vivere gareggia contro cavalli, cani e motociclette, come fenomeno da baraccone; passeranno molti anni prima che gli venga riconosciuto il suo reale valore; egli ebbe a dire «si potrebbero fondere tutte le medaglie che ho vinto, ma non si potrebbe mai riprodurre l’ amicizia a 24 carati che nacque sulla pedana di Berlino».
Post Scriptum:
Long non condivideva gli obiettivi e l'ideologia nazisti, lui era in completa antitesi con esse, dotato di grande sensibilità e profonda nobiltà d’animo, lui era lontanissimo dal credo fanatico e crudele della Germania di Hitler, lo dimostrano le parole che egli scrisse nel 1932 in una lettera inviata a sua nonna: “tutte le nazioni del mondo hanno i propri eroi, i semiti così come gli ariani. Ognuna di loro dovrebbe abbandonare l’arroganza di sentirsi una razza superiore".
Sulla sua lapide (così come su altre), sotto la quale riposano i suoi resti chiusi dentro una cassetta, accanto al suo nome, è posta oggi qualche piccola pietra, sono piccoli simboli, che ricordano l’usanza ebraica di lasciare, al posto dei fiori, un ciottolo sulle tombe dei defunti, per dimostrare che la sua storia non è stata dimenticata, è un messaggio di pace e di fratellanza del quale Luz è stato promotore in vita, il suo pensiero ci giunge anche attraverso il suo luogo di sepoltura, perché, come riporta la targa posta all’entrata del cimitero militare germanico di Motta Sant’Anastasia “i sepolcri dei caduti sono i grandi predicatori della pace” (Albert Schweitzer, premio Nobel per la pace).
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Buenos días a todos! Estoy de nuevo con todos vosotros tras solucionar unos problemas con flickr que me han tenido bloqueado durante una semana. Como si me acabara de tomar el cafetito de la imagen, vengo con las pilas cargadas y con material para mostraros.
Good morning everyone! I am back after solving some problems with flickr that have been blocked me for a week. As if I'd just take a cup of coffee, I come with the batteries recharged and material to show you.
Buongiorno a tutti! Sono tornato con tutti voi dopo la risoluzione di alcuni problemi con flickr che mi sono stati bloccati per una settimana. Come se avessi appena prendere una tazza di caffè, arrivo con le batterie ricaricate e materiale per mostrare.
El tren de Sóller es una línea de tren, con un ancho de vía de 914 mm, que enlaza Palma de Mallorca y Sóller, pasando por Son Sardina y Buñola.
La línea se inauguró el 6 de abril de 1912 y es actualmente una de las pocas líneas ferroviarias privadas de España (la gestiona la empresa Ferrocarril de Sóller S.A.), manteniéndose en activo por utilizar la maquinaria de principios del siglo XX, lo que hace que esta línea tenga interés turístico por sí misma. Fue construido gracias a la contribución de mucha gente de Sóller, aunque fuese humilde.
La línea está dividida en dos tramos: el tren de Sóller propiamente dicho, entre Palma y Sóller con un recorrido de 27,3 km y el tranvía entre Sóller el Puerto de Sóller con 4,9 km de recorrido.
Poco después de que se comenzara a construir el tren de Sóller surgió la posibilidad de alargar su trazado hasta el puerto, pero no era posible, ya que las vías tendrían que atravesar el pueblo y no había espacio suficiente para estas. Además, en aquella época las subvenciones estatales para ferrocarriles tan sólo se concedían a aquellas cuyo recorrido superase los 30 kilómetros. La línea Palma-Sóller abarcaba 27 km, por lo que le faltaban tres para poder optar a las subvenciones. Esto hizo que la compañía Ferrocarril de Soller S.A. encargara al ingeniero Pedro Garau la construcción de un tranvía que uniese el centro del pueblo con el puerto de éste, para superar los 30 km de longitud que exigía la legislación del momento para poder acceder a ciertos beneficios estatales y solventar el problema de espacio.
La inauguración se llevó a cabo el sábado 4 de octubre de 1913 y el tranvía entró en servicio el 13 de octubre del mismo año. Se tendieron 4.868 metros con un ancho de vía idéntico al utilizado por el ferrocarril. Entre las infraestructuras construidas, destaca el puente de hierro erigido sobre el torrente Major, construido por la empresa Maquinista Terrestre y Marítima. En un principio contaba con su propia central eléctrica, situada en la estación de Sóller, alimentada por un motor de explosión de 65 caballos que accionaba una dinamo de la casa Siemens-Schuckert dando una corriente continua de 600 voltios. En 1929, a instancias de Jerónimo Estades, se electrificó el tren y el tranvía, siendo el primer tren eléctrico de Mallorca.
A pesar de que el tranvía estaba pensado para el transporte de pasajeros, también se usó para el tráfico de mercancías hacia el puerto, teniendo un pequeño vagón isotérmico utilizado para el pescado, remolques cargados de carbón hacia la antigua base de submarinos, incluso cargamentos de minas y torpedos, que eran trasladados por el ferrocarril desde el polvorín de Caubet hasta la estación de Sóller, y desde ésta el tranvía era el encargado de remolcar dicho cargamento militar hasta el puerto.
El fotógrafo y empresario Josep Truyol Otero (1868 - 1949) realizó una serie de películas bajo el título de Excursiones por Mallorca, entre las que se conservan, se encuentra el documental De Palma al puerto de Sóller. Fue estrenada en el año 1913 y en la segunda parte del filme se muestra la escena de la inauguración del tranvía de Soller y su recorrido.
El 12 de mayo de 2009, en torno a las dos de la tarde, dos convoyes, uno procedente del puerto y otro procedente de Sóller, colisionaron frontalmente cerca del punto conocido como Cruce del Monumento, en las cercanías del puerto. Debido a la reducida velocidad a la que circulaban ambos tranvías únicamente hubo tres heridos leves.
Actualmente el tranvía de Soller es uno de los principales elementos representativos de la localidad balear. Es usado principalmente por los turistas que visitan el pueblo, sobre todo durante el verano. (Wikipedia)
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Primero de una serie que he hecho ultimamente en la que se ven reflejados los problemas que estamos causando en los diferentes habitats de los animales salvajes.
40x80 cm
Leica M2
Leica Summicron 35mm f/2 IV "King of Bokeh"
Kodak Portra 400
Bellini Foto C-41
Scan from negative film
Ciertas cosas no tienen explicaciones solo hay que vivirlas en todas sus proyecciones, en todos sus rincones y en todas sus formas, en todas sus tramas, en todas sus normas. Empaparse de lo que llaman locura y si es locura es la más bella y la más pura, la que procura hacerte sentir luego sin censura que te sulfura como los angeles en altura. No estabas en mis planes, ni estabas en mis manos, no estabas en mis cartas repartidas de este año, tú buscas de mi enigma yo busco tu mecanismo que importa si al final tu y yo somos lo mismo . . . ( 8 )!