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I remembered very little at Penshurst.
A painted font, lots of places named Leicester.
A nice pub.
The Leicester Arms, of course.
So, a day trip to the area and so a revisit. I checked the website to see if it would be open, it assured me it would be open though all daylight hours.
A bold claim.
Anyway, it was.
I came back because my thinking if the landed gentry were rich enough to have their own chapel, there were probably monuments and tombs worth looking at.
I was right, and indeed the tombs and memorials were of the highest quality.
I was the only person here, having walked through Leicester Square, under the alms houses into the churchyard.
The painted font is still here, but so much more to enjoy.
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A large sandstone church of nave, aisles, chancel and chapels that was restored by Sir George Gilbert Scott in 1864. It stands in an excellent position set back from the street in a large well-kept churchyard. The tower is of three stages with four pinnacles strangely set well back from the corners. Inside it is obvious that there have been many rebuildings and repairs, leaving a general character of the Victorian period. The good chancel screen is by Bodley and Garner and dates from 1897. Whilst it is well carved the florid design is more suited to a West Country church than to the Garden of England. The fifteenth-century font has been painted in bold colours in a way that can never have been imagined when it was new! Nearby is the Becket window designed by Lawrence Lee in 1970. It is quite unlike any other window in Kent and has an emphasis on heraldry - the figure of Becket and three knights are almost lost in the patchwork effect. Under the tower is the famous Albigensian Cross, a portion of thirteenth-century coffin lid with the effigy of a woman at prayer. The south chapel, which belongs to Penshurst Place, was rebuilt by Rebecca in 1820 and has a lovely painted ceiling. It contains some fine monuments including Sir Stephen de Pencester, a damaged thirteenth-century knight. Nearby is the large standing monument to the 4th Earl of Leicester (d. 1704) designed by William Stanton. It is a large urn flanked by two angels, above which are the heads of the earls children's floating in the clouds!
www.kentchurches.info/church.asp?p=Penshurst
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PENSHURST.
THE next parish eastward from Chidingstone is Penhurst, called in the Textus Roffenfis, Pennesherst. It takes its name from the old British word Pen, the height or top of any thing, and byrst, a wood. (fn. 1) It is called in some antient records, Pen cestre, and more vulgarly, Penchester, from some sortified camp or fortress antiently situated here.
There is a district in this parish, called Hallborough, which is within the lowy of Tunbridge, the manerial rights of which belong to Thomas Streatfeild, esq. and there is another part of it, comprehending the estate of Chafford, which is within the jurisdiction of the duchy court of Lancaster.
THIS PARISH lies in the Weald, about four miles Southward from the foot of the sand hills, and the same distance from Tunbridge town, and the high London road from Sevenoke. The face of the country is much the same as in those parishes last described, as is the soil, for the most part a stiff clay, being well adapted to the large growth of timber for which this parish is remarkable; one of these trees, as an instance of it, having been cut down here, about twenty years ago, in the park, called, from its spreading branches, Broad Oak, had twenty-one ton, or eight hundred and forty feet of timber in it. The parish is watered by the river Eden, which runs through the centre of it, and here taking a circular course, and having separated into two smaller streams, joins the river Medway, which flows by the southern part of the park towards Tunbridge. At a small distance northward stands the noble mansion of Penshurst-place, at the south west corner of the park, which, till within these few years, was of much larger extent, the further part of it, called North, alias Lyghe, and South parks, having been alienated from it, on the grounds of the latter of which the late Mr. Alnutt built his seat of that name, from whence the ground rises northward towards the parish of Lyghe. Close to the north west corner of Penshurst-park is the seat of Redleaf, and at the south west corner of it, very near to the Place, is the village of Penshurst, with the church and parsonage. At a small distance, on the other side the river, southward, is Ford-place, and here the country becomes more low, and being watered by the several streams, becomes wet, the roads miry and bad, and the grounds much covered with coppice wood; whence, about a mile southward from the river, is New House, and the boroughs of Frendings and Kingsborough; half a mile southward from which is the river Medway; and on the further side of it the estate of Chafford, a little beyond which it joins the parish of Ashurst, at Stone cross. In a deep hole, in the Medway, near the lower end of Penshurst-park, called Tapner's-hole, there arises a spring, which produces a visible and strong ebullition on the surface of the river; and above Well-place, which is a farm house, near the south-east corner of the park, there is a fine spring, called Kidder's-well, which, having been chemically analized, is found to be a stronger chalybeate than those called Tunbridge-wells; there is a stone bason for the spring to rise in, and run to waste, which was placed here by one of the earls of Leicester many years ago. This parish, as well as the neighbouring ones, abounds with iron ore, and most of the springs in them are more or less chalybeate. In the losty beeches, near the keeper's lodge, in Penshurst-park, is a noted beronry; which, since the destruction of that in lord Dacre's park, at Aveley, in Effex, is, I believe, the only one in this part of England. A fair is held here on July I, for pedlary, &c.
The GREATEST PART of this parish is within the jurisdiction of the honour of Otford, a subordinate limb to which is the MANOR of PENSHURST HALIMOTE, alias OTFORD WEALD, extending likewise over parts of the adjoining parishes of Chidingstone, Hever, and Cowden. As a limb of that of honour, it was formerly part of the possessions of the see of Canterbury, and was held for a long time in lease of the archbishops, by the successive owners of Penhurst manor, till the death of the duke of Buckingham, in the 13th year of king Henry VIII. in the 29th year of which reign, Thomas Cranmer, archbishop of Canterbury, exchanging Otford with the crown, this, as an appendage, passed with it, and it remained in the hands of the crown till the death of king Charles I. 1648; after which the powers then in being, having seised on the royal estates, passed an ordinance to vest them in trustees, to be sold, to supply the necessities of the state; when, on a survey made of this manor, in 1650, it appeared that the quit-rents due to the lord, from the freeholders in free socage tenure, were 16l. 18s. 3½d. and that they paid a heriot of the best living thing, or in want thereof, 3s. 4d. in money. That there were copyholders holding of it, within this parish, by rent and fine certain; that there was a common fine due from the township or borough of Halebury, and a like from the township of Penshurst, a like from the townships or boroughts of Chidingstone, Standford, and Cowden; and that there was a court baron and a court leet. The total rents, profits, &c. of all which amounted to 23l. and upwards. (fn. 2) After this the manor was sold by the state to colonel Robert Gibbon, with whom it remained till the restoration of king Charles II. when the possession and inheritance of it returned to the crown, where it remains, as well as the honour of Otford, at this time, his grace the duke of Dorset being high steward of both; but the see farm rents of it, with those of other manors belonging to the above mentioned honour, were alienated from the crown in king Charles II.'s reign, and afterwards became the property of Sir James Dashwood, bart. in whose family they still continue.
SOON AFTER the reign of William the Conqueror Penshurst was become the residence of a family, who took their name from it, and were possessed of the manor then called the manor of Peneshurste; and it appears by a deed in the Registrum Roffense, that Sir John Belemeyns, canon of St. Paul, London, was in possession of this manor, as uncle and trustee, in the latter part of king Henry III.'s reign, to Stephen de Peneshurste or Penchester, who possessed it in the beginning of the reign of king Edward I. He had been knighted, and made constable of Dover castle and warden of the cinque ports by Henry III. in which posts he continued after the accession of king Edward I. (fn. 3) He died without issue male, and was buried in the south chancel of this church, under an altar tomb, on which lay his figure in armour, reclining on a cushion. He left Margery, his second wife, surviving, who held this manor at her death, in the 2d year of king Edward II. and two daughters and coheirs; Joane, married to Henry de Cobham of Rundale, second son of John de Cobham, of Cobham, in this county, by his first wife, daughter of Warine Fitz Benedict; (fn. 4) and Alice to John de Columbers, as appears by an inquisition, taken in the 3d year of king Edward II. His arms, being Sable, a bend or, a label of three points argent, still remain on the roof of the cloisters of Canterbury cathedral. Alice, above mentioned, had this manor, with that of Lyghe adjoining, assigned to her for her proportion of their inheritance; soon after which these manors were conveyed to Sir John de Pulteney, son of Adam de Pulteney of Misterton, in Leicestershire, by Maud his wife. In the 15th year of that reign he had licence to embattle his mansion houses of Penshurst, Chenle in Cambridgeshire, and in London. (fn. 5) In the 11th year of king Edward III. Thomas, son of Sir John de Columbers of Somersetshire, released to him all his right to this manor and the advowson of the chapel of Penshurst; (fn. 6) and the year following Stephen de Columbers, clerk, brother of Sir Philip, released to him likewise all his right in that manor and Yenesfeld, (fn. 7) and that same year he obtained a grant for free warren within his demesne lands within the former. He was a person greatly esteemed by that king, in whose reign he was four times lord mayor of London, and is noticed by our historians for his piety, wisdom, large possessions, and magnificent housekeeping. In his life time he performed several acts of public charity and munificence; and among others he founded a college in the church of St. Laurence, since from him named Poultney, in London. He built the church of Little Allhallows, in Thamesstreet, and the Carmelites church, and the gate to their monastery, in Coventry; and a chapel or chantry in St. Paul's, London. Besides which, by his will, he left many charitable legacies, and directed to be buried in the church of St. Laurence above mentioned. He bore for his arms, Argent a fess dancette gules, in chief three leopards heads sable.
By the inquisition taken after his death, it appears, that he died in the 23d year of that reign, being then possessed of this manor, with the advowson of the chapel, Lyghe, South-park, and Orbiston woods, with lands in Lyghe and Tappenash, and others in this county. He left Margaret his wife surviving, who married, secondly, Sir Nicholas Lovaine; and he, in her right, became possessed of a life estate in this manor and the others above mentioned, in which they seem afterwards jointly to have had the see; for Sir William Pulteney, her son, in his life time, vested his interest in these manors and estates in trustees, and died without issue in the 40th year of the same reign, when Robert de Pulteney was found to be his kinsman and next heir, who was ancestor to the late earl of Bath. The trustees afterwards, in the 48th year of it, conveyed them, together with all the other estates of which Sir John Pulteney died possessed, to Sir Nicholas Lovaine and Margaret his wife, and their heirs for ever. Sir Nicholas Lovaine above mentioned was a descendant of the noble family of Lovaine, a younger branch of the duke of Lorraine. Godfrey de Lovaine, having that surname from the place of his birth, possessed lands in England in right of his mother, grand daughter of king Stephen, of whose descendants this Nicholas was a younger branch. He bore for his arms, Gules, a fess argent between fourteen billets or; which arms were quartered by Bourchier earl of Bath, and Devereux earl of Essex. (fn. 8) He died possessed of this manor, leaving one son, Nicholas, who having married Margaret, eldest daughter of John de Vere, earl of Oxford, widow of Henry lord Beaumont, died without issue, and a daughter Margaret, who at length became her brother's heir.
Margaret, the widow of Nicholas the son, on his death, possessed this manor for her life, and was afterwards re-married to Sir John Devereux, who in her right held it. He was descended from a family which had their surname from Eureux, a town of note in Normandy, and there were several generations of them in England before they were peers of this realm, the first of them summoned to parliament being this Sir John Devereux, who being bred a soldier, was much employed in the wars both of king Edward III. and king Richard II. and had many important trusts conferred on him. In the 11th year of the latter reign, being then a knight banneret, he was made constable of Dover castle and warden of the cinque ports. In the 16th year of that reign, he had licence to fortify and embattle his mansion house at Penshurst, the year after which he died, leaving Margaret his wife, surviving, who had an assignation of this manor as part of her dower. She died possessed of it, with Yensfield, and other lands, about the 10th year of king Henry IV. and was succeeded in them by Margaret, sister and heir of her husband, Nicholas Lovaine, who was twice married, first to Rich. Chamberlayn, esq. of Sherburn, in Oxfordshire; and secondly to Sir Philip St. Clere, of Aldham, St. Clere, in Ightham. (fn. 9) Both of these, in right of their wife, seem to have possessed this manor, which descended to John St. Clere, son of the latter, who conveyed it by sale to John duke of Bedford, third son of king Henry IV. by Mary his wife, daughter and coheir of Humphry de Bohun, earl of Hereford, Essex, and Northampton.
The duke of Bedford was the great support and glory of this kingdom in the beginning of the reign of his infant nephew, king Henry VI. his courage was unequalled, and was followed by such rapid success in his wars in France, where he was regent, and commanded the English army in person, that he struck the greatest terror into his enemies. The victories he acquired so humbled the French, that he crowned king Henry VI. at Paris, in which city he died greatly lamented, in the 14th year of that reign, (fn. 10) and was buried in the cathedral church of Roan. He was twice married, but left issue by neither of his wives. He died possessed of the manors of Penshurst, Havenden-court, and Yensfield, as was then found by inquisition; in which he was succeeded by his next brother, Humphry duke of Gloucester, fourth son of king Henry IV. by Mary his wife, daughter and coheir of Humphry de Bohun, earl of Hereford, &c. who in the 4th year of king Henry V. had had the offices of constable of Dover castle and warden of the cinque ports, granted to him for the term of his life; and in the 1st year of king Henry VI. was, by parliament, made protector of England, during the king's minority; and the same year he was constituted chamberlain of England, at the coronation of that prince was appointed high steward of England.
The duke was, for his virtuous endowments, surnamed the Good, and for his justice was esteemed the father of his country, notwithstanding which, after he had, under king Henry VI. his nephew, governed this kingdom twenty-five years, with great applause, he was, by the means of Margaret of Aujou, his nephew's queen, who envied his power, arrested at the parliament held at St. Edmundsbury, by John lord Beaumont, then high constable of England, accompanied by the duke of Buckingham and others; and the night following, being the last of February, anno 25 king Henry VI. he was found dead in his bed, it being the general opinion that he was strangled; though his body was shewn to the lords and commons, with an account of his having died of an apoplexy or imposthume; after which he was buried in the abbey of St. Alban, near the shrine of that proto-martyr, and a stately monument was erected to his memory.
This duke married two wives; first Jaqueline, daughter and heir of William duke of Bavaria, to whom belonged the earldoms of Holand, Zeland, and Henault, and many other rich seignories in the Netherlands; after which he used these titles, Humphrey, by the grace of God, son, brother, and uncle to kings; duke of Gloucester; earl of Henault, Holand, Zeland, and Pembroke; lord of Friesland; great chamberlain of the kingdom of England; and protector and defender of the kingdom and church of England. But she having already been married to John duke of Brabant, and a suit of divorce being still depending between them, and the Pope having pronounced her marriage with the duke of Brabant lawful, the duke of Gloucester resigned his right to her, and forthwith, after this, married Eleanor Cobham, daughter of Reginald, lord Cobham of Sterborough, who had formerly been his concubine. A few years before the duke's death she was accused of witchcrast, and of conspiring the king's death; for which she was condemned to solemn pennance in London, for three several days, and afterwards committed to perpetual imprisonment in the isle of Man. He built the divinity schools at Oxford, and laid the foundation of that famous library over them, since increased by Sir Thomas Bodley, enriching it with a choice collection of manuscripts out of France and Italy. He bore for his arms, Quarterly, France and England, a berdure argent. (fn. 11)
By the inquisition, taken after his death, it appears, that he died possessed of the manors of Penshurst, Havenden-court, and Yensfield, in this county, and that dying, without issue, king Henry VI. was his cousin and next heir.
¶The manor of Penshurst thus coming into the hands of the crown, was granted that year to Humphrey Stafford, who, in consideration of his near alliance in blood to king Henry VI. being the son of Edmund earl of Stafford, by Anne, eldest daughter of Thomas of Woodstock, duke of Gloucester, sixth and youngest son of king Edward III. Mary, the other daughter and coheir, having married Henry of Bullingbroke, afterwards king Henry IV. and grandfather of king Henry VI. (fn. 12) as well as for his eminent services to his country, had been, in the 23d year of that reign, created duke of Buckingham. He was afterwards slain in the battle of Northampton, sighting valiantly there on the king's part. By the inquisition, taken after his death, it appears that he died in the 38th year of that reign possessed of this manor of Penshurst, among others in this county and elsewhere; which afterwards descended down to his great grandson, Edward duke of Buckingham, but in the 13th year of Henry VIII. this duke being accused of conspiring the king's death, he was brought to his trial, and being found guilty, was beheaded on Tower-hill that year. In the par liament begun April 15, next year, this duke, though there passed an act for his attainder, yet there was one likewise for the restitution in blood of Henry his eldest son, but not to his honors or lands, so that this manor, among his other estates, became forseited to the crown, after which the king seems to have kept it in his own hands, for in his 36th year, he purchased different parcels of land to enlarge his park here, among which was Well-place, and one hundred and seventy acres of land, belonging to it, then the estate of John and William Fry, all which he inclosed within the pale of it, though the purchase of the latter was not completed till the 1st year of king Edward VI. (fn. 13) who seems to have granted the park of Penshurst to John, earl of Warwick, for that earl, in the 4th year of that reign, granted this park to that king again in exchange for other premises. In which year the king granted the manor of Penshurst, with its members and appurtenances, late parcel of the possessions of the duke of Buckingham, to Sir Ralph Fane, to hold in capite by knight's service, being the grandson of Henry Vane, alias Fane, of Hilsden Tunbridge, esq. but in the 6th year of that reign, having zealously espoused the interests of the duke of Somersee, he was accused of being an accomplice with him, and being found guilty, was hanged on Tower-hill that year.
PENSHURST is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop of Canterbury, is as such within the deanry of Shoreham.
The church, which is a large handsome building, is dedicated to St. John Baptist. It consists of three isles, a cross isle, and three chancels, having a tower steeple at the west end.
Among other monuments and inscriptions in this church are the following:—In the middle isle, a grave-stone, with the figure of a man and his two wives, now torn off, but the inscription remains in black letter, for Watur Draynowtt, and Johanna and Anne his wives, obt. 1507; beneath are the figures of four boys and three girls, at top, arms, two lions passant, impaling or, on a chief, two lions heads erased; a memorial for Oliver Combridge, and Elizabeth his wife, obt. 1698. In the chancel, memorials on brass for Bulman and Paire; within the rails of the altar a gravestone for William Egerton, LL. D. grandon of John, earl of Bridgwater, rector of Penshurst and Allhallows, Lombard-street, chancellor and prebendary of Hereford, and prebendary of Can terbury, he left two daughters and one son, by Anne, daughter of Sir Francis Head, obt. Feb. 26, 1737; on the south side of the altar, a memorial in brass for John Bust, God's painful minister in this place for twenty-one years; on the north side a mural monument for Gilbert Spencer, esq. of Redleafe-house, obt. 1709, arms, Spencer, an escutcheon of pretence for Combridge; underneath is another stone, with a brass plate, and inscription for William Darkenol, parson of this parish, obt. July 12, 1596; on grave-stones are these shields in brass, the figures and inscriptions on which are lost, parted per fess, in chief two lions passant guardant in base, two wolves heads erased; on another, the same arms, impaling a chevron between three padlocks; another, a lion rampant, charged on the shoulder with an annulet, and another, three lions passant impaling parted per chevron, the rest defaced. In the south chancel, on a stone, the figures of a man and woman in brass, and inscription in black letter, for Pawle Yden, gent. and Agnes his wife, son of Thomas Yden, esq. obt. 1564, beneath is the figure of a girl, arms, four shields at the corner of the stone, the first, Yden, a fess between three helmets; two others, with inscriptions on brass for infant children of the Sidney family; a small grave-stone, on which is a cross gradated in brass, and inscription in black letter, for Thomas Bullayen, son of Sir Thomas Bullayen; here was lately a monument for lady Mary . . . . . . eldest daughter of the famous John, duke of Northumberland, and sister to Ambrose, earl of Warwick, Robert, earl of Leicester, and Catharine, countess of Huntingdon, wife of the right hon. Sir Henry Sidney, knight of the garter, &c. at the west end of the chancel, a mural monument for Sir William Coventry, youngest son of Thomas, lord Coventry, he died at Tunbridge-wells, 1686; on the south side a fine old monument of stone, under which is an altar tomb, and on the wall above it a brass plate, with inscription in black letter, for Sir William Sidney, knightbanneret, chamberlain and steward to king Edward VI. and the first of the name, lord of the manor, of Penshurst, obt. 1553; on the front are these names, Sir William Dormer, and Mary Sidney, Sir William Fitzwilliam, Sir James Haninngton, Anne Sidney, and Lucy Sidney; on the south side a handsome monument, with the arms and quarterings of the Sidney family, and inscription for lord Philip Sidney, fifth earl of Leicester, &c. obt. 1705, and was succeeded by John, his brother and heir; for John, sixth earl of Leicester, cosin and heir of Henry Sidney, earl of Romney, &c. obt. 1737, his heirs Mary and Elizabeth Sidney, daughters and heirs of his brother the hon. Thomas Sidney, third surviving son of Robert, earl of Leicester, became his joint heirs, for Josceline, seventh earl of Leicester, youngest brother and heir male of earl John, died s. p. in 1743, with whom the title of earl of Leicester expired; the aforesaid Mary and Elizabeth, his nieces, being his heirs, of whom the former married Sir Brownlow Sherard, bart. and Elizabeth, William Perry, esq. on the monument is an account of the several personages of this noble family, their descent, marriages and issue, too long by far to insert here; on the north side is a fine monument for several of the infant children of this family, and beneath is an urn and inscriptions for Frances Sidney, fourth daughter, obt. 1692, æt. 6; for Robert Sidney, earl of Leicester, &c. fourth earl of this family, who married lady Elizabeth Egerton, by whom he had fifteen children, of whom nine died young, whose figures, as cherubims, are placed above, obt. 1702; Robert, the eldest son, obt. 1680, æt. 6; Elizabeth, countess of Leicester, obt. 1709, and buried here in the same vault with her lord. In the same chancel is a very antient figure in stone of a knight in armour, being for Sir Stephen de Penchester, lord warden and constable of Dover-castle in the reign of king Edward I. It was formerly laid on an altar tomb in the chancel, but is now placed erect against the door on the south side, with these words painted on the wall above it, SIR STEPHEN DE PENCHESTER. In the fourth window of the north isle, are these arms, very antient, within the garter argent a fess gules in chief, three roundels of the second, being those of Sir John Devereux, K. G. lord warden and constable, and steward of the king's house in king Richard II's reign; near the former was another coat, nothing of which now remains but the garter. In the same windows are the arms of Sidney; in the second window is this crest, a griffin rampant or. In the east window of the great chancel are the arms of England. In the east window of the south chancel are the arms of the Sidney family, with all the quarterings; there were also, though now destroyed, the arms of Sir Thomas Ratcliff, earl of Sussex, and lady Frances Sidney.
This church was of the antient patronage of the see of Canterbury, and continued so till the 3d year of queen Elizabeth, when Matthew, archbishop of Canterbury, granted it to that queen in exchange for the parsonage of Earde, alias Crayford; and though in the queen's letters patent dated that year, confirming this exchange, there is no value expressed, yet in a roll in the queen's office, it is there set down, the tenth deducted, at the clear yearly value of 32l. 1s. 9d. (fn. 24)
¶Soon after which the queen granted the church of Penshurst to Sir Henry Sidney, whose descendants, earls of Leicester, afterwards possessed it; from whom it passed, in like manner as Penshurst manor and place, to William Perry, esq. who died possessed of it in 1757, leaving Elizabeth his wife surviving, who continued proprietor of the advowson of this church at the time of her death in 1783; she by her last will devised it to trustees for the use of her eldest grandson, John Shelley, esq who has since taken the name of Sidney, and is the present owner of it.
In the 15th year of king Edward I. this church was valued at thirty marcs. By virtue of the commission of enquiry into the value of ecclesiastical livings, taken in 1650, issuing out of chancery, it was returned that the tithes belonging to the parsonage of Penshurst were one hundred and ten pounds per annum, and the parsonage house and glebe lands about fifty pounds per annum, the earl of Leicester being patron, and master Mawdell, minister, who received the profits for his salary. (fn. 25)
The annual value of it is now esteemed to be four hundred pounds and upwards. The rectory of Penshurst is valued in the king's books at 30l. 6s. 0½d. and the yearly tenths at 3l. 0s. 7½d. (fn. 26)
John Acton, rector of this parish, in 1429, granted a lease for ninety-nine years, of a parcel of his glebe land, lying in Berecroft, opposite the gate of the rectory, containing one acre one rood and twelve perches, to Thomas Berkley, clerk, Richard Hammond, and Richard Crundewell, of Penshurst, for the purpose of building on, at the yearly rent of two shillings, and upon deaths and alienations, one shilling to be paid for an heriot, which lease was confirmed by the archbishop and by the dean and chapter of Canterbury. (fn. 27)
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Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Happy 4th of July American Flag Bikini Swimsuit Model Red, White, and Blue Bikini! Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits Swimsuit Bikini Models! Helen, and Aphrodite! Athletic Fitness Models! dx4/dt=ic
Nikon D810 Fine Art Landscapes Bryce Canyon Utah Winter Snowstorm: Elliot McGucken Fine Art Landscape Photography
Well I was shooting fall colors in Zion National Park when I saw that they had forecast snow for Bryce Canyon, so instead of heading back to LA, I headed out to Bryce Canyon! And I was treated to snow, sun, clouds, snowstorm, and then a glorious sunrise over the s-capped hoo-doos in Bryce! :)
Sony A7RII Bryce Canyon & Zion National Park Autumn Dr. Elliot McGucken Fine Art Landscapes
Been busy traveling and shooting landscapes and working on my books The Golden Hero's Odyssey about the golden rectangle and divine proportion I use in a lot of my compositions! Also working on my physics book on Dynamic Dimensions Theory! The equation d4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)
Follow me & 45surf!!
www.facebook.com/45surfAchillesOdysseyMythology/
www.facebook.com/elliot.mcgucken
Here one can see the approaching snow storm which would make for beautiful snow-covered hoo-doos in Bryce Canyon later that day and the next morning! Beautiful Bryce Canyon Fine Art Sunrise!
Love the Nikon AF-S NIKKOR 14-24mm f/2.8G ED Lens for wide angle landscapes!
(from Art in America .. more info on sources below)
Chinati Foundation, Marfa
The Marfa plans had a long gestation. The initial contract for the work to fulfill Judd's conception of a museum of permanently installed work by him, Flavin and John Chamberlain was issued by the Dia Art Foundation in 1979. Flavin traveled to Marfa in the early 1980s, and models of the buildings and meeting notes suggest that he conceived his plans around that time. Nonetheless, he did not disclose his ideas completely until March 1996.[3]
The six buildings are U-shaped structures that have been renovated in the local vernacular architectural style with adobe walls and metal roofs. To accommodate Flavin's installation, all the windows except two at the end of each long wall have been closed over; entrances are on the inside of the U toward the ends of the long sides. Inside, two parallel corridors have been constructed at the bottom of the U, with walls--86 feet on the outside and 44 feet on the shorter courtyard side--that lean left, making a 76-degree angle with the floor.
Passage through the leaning corridors is blocked by eight back-to-back pairs of 8-foot-long fluorescent fixtures that extend from floor to ceiling, parallel to the walls. Gaps the width of the lamps are left between each pair of fixtures, allowing one to see through the color cast by the lamps on the fronts to the different color at the backs.
In three of the buildings, these light barriers are placed at the centers of the corridors' lengths, so that color is largely contained within the leaning walls. In the other three (they alternate from one building to the next), the lights are placed on both ends of the corridors, which allows color to flood into the long arms of the building as well as the inaccessible interiors of the corridors. The first two buildings contain pink and green lamps; in the second two, yellow and blue lamps are similarly placed; and the last two have both a pink/green and a yellow/blue corridor.
The repetition of arrangement and color in the Marfa corridors is characteristic of much of Flavin's art. As in the work of other Minimalists, such as Judd, Carl Andre or Sol LeWitt, an inherent systematic order distinguishes his art from the expressionism of the previous generation and takes on relevance with regard to many issues of the early '60s: handmaking versus industrial production, the nature of individuality, the importance of part to whole, and so on. For Flavin, the projection of a system was particularly important because it provided a kind of framework to work with and against. The repetition and regularity of his elements and his arrangements provided a structure within which he employed a strategy of systematic change.[4]
Although Marfa's tilting corridors were a striking new development for Flavin, the use of diagonals and other aspects of the piece derive from earlier works. Flavin's first solely fluorescent piece to be exhibited employed a diagonal element: the diagonal of May 25, 1963 (to Robert Rosenblum) was a single 8-foot fixture with a cool-white lamp placed on the wall at a 45-degree angle. The spacing of the parallel lamps at Marfa relates to untitled (to Dorothy and Roy Lichtenstein on not seeing anyone in the room), 1968, a work in which a rank of single cool-white lamps is set vertically into a doorway.[5] In that work, the lamps face away from the viewer, illuminating an empty room while blocking passage into it, like the Marfa works that are barricaded at each end. In both cases, the architecture and lights operate in tension with each other. The walls invite passage but the lamps prevent it; the lights shine forth brilliantly only to be contained and framed by the walls. The Marfa works, however, are neither as blunt nor as austere as the 1968 work, with its cool, colorless light. Also in contrast, the exposed backs of the fixtures in the earlier piece suggest prison bars and give a vaguely political character to the work. At Marfa, the double-sided arrangement and the intensity of the paired, contrasting colors fill and complicate both the existing and constructed space. The physical experience of the work becomes dynamic and visually disorienting.
The Marfa installations in which lamps are midway down the passage recall an earlier corridor, untitled (to Barry, Mike, Chuck and Leonard), 1972-75, a hall 8 feet tall and wide, of a length dependent on the available space,[6] with back-to-back pink and yellow lamps placed floor to ceiling midway down its length. As in Marfa, to see the work completely, the observer is forced to walk around the construction (in Marfa, this means going outside and crossing the courtyard to reenter the building). This experience introduces some surprises, as the color and intensity of the lights change from side to side. The construction of the earlier work set up a square frame that tends to play with notions of perspective; one's gaze travels down the visually converging lines of the walls, much as in Renaissance perspectival painting, to meet a plane of light fixtures.[7] In the Marfa works, the angled walls and fixtures disrupt the expected order of right angles, subverting the sense of architectural proportion and balance. In this regard, they recall a corridor conceived and built around the time Flavin was first thinking about the Marfa works, untitled (to my dear bitch, Airily), 1981, in which diagonally placed blue lamps ran along the walls and ceiling of an 8-foot-high and -wide corridor.[8] The familiar structure encouraged one to pass through; while the lights did not block the passage, their placement warped one's sense of rectilinear order.
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The dynamic quality of the installation in Marfa is amplified by color. Though he utilized a limited range of commercially available hues, Flavin combined colored lights to very different effects, both expressive and spatial. In Marfa, he paired bright, contrasting colors: pink/green and blue/yellow. Green is the most luminous and intense of the fluorescent colors; when pink and green are mixed they seem to radiate yellow. As one looks into the corridor toward the green lamps, the color turns white as the eye compensates for the intensity of the green light. This physiological effect strengthens the pink light as seen from the green side. When one walks around to look at this light barrier from the other side, the yellow reflection on the barrack walls is seen to be the result of emanations of soft pink highlighted by green. These subtle transformations play against the predictability of the repeated structures.
... from
Dan Flavin, Posthumously
Art in America, Oct, 2000 by Tiffany Bell
----
Dan Flavin was born on April 1, 1933 in New York City. In the mid 1950s he served in the US Air Force as an air weather meteorological technician in Korea, after which he returned to New York and attended art history classes at the New School for Social Research and Columbia University. While he had an interest in art and drawing throughout his life, he never received formal art instruction.
In 1961 Flavin had his first solo exhibition at the Judson Gallery, New York City. Later that year he began experimenting with electric light in a series of works called 'icons,' which led him to his inaugural work in pure fluorescent light, the diagonal of May 25, 1963. Flavin married Sonja Severdija in 1961, and their son, Stephen Conor, was born in 1964. In 1965 Flavin moved from Manhattan to the shores of the Hudson River where he continued his drawings of water and landscape and developed his interest in nineteenth-century Hudson River landscape painters.
With a recommendation from Marcel Duchamp, Flavin received an award from the William & Norma Copley Foundation, Chicago, in 1964, the same year that he exhibited his 'icons' at the Kaymar Gallery and had his first exhibition in fluorescent light at the Green Gallery, both in New York City. He also began his nearly life-long series of monuments dedicated to the Russian Constructivist Vladimir Tatlin. Flavin became known as an originator of 'Minimal' art through inclusion in key group exhibitions such as "Black, White, and Gray" at the Wadsworth Atheneum, Hartford, Connecticut in 1964 and "Primary Structures" at the Jewish Museum in New York City in 1966.
Flavin's recognition began to spread to Europe in 1966 following his first solo exhibition at the Galerie Rudolf Zwirner, Cologne, and his first 'barrier' installation greens crossing greens (to Piet Mondrian who lacked green), created for the exhibition "Kunst Licht Kunst" at the Stedelijk van Abbemuseum, Eindhoven. He was featured in the "Minimal Art" exhibition at the Gemeentemuseum, The Hague, in 1968.
Flavin's first single large-scale installation, alternating pink and 'gold', was made for the Museum of Contemporary Art, Chicago, in 1967. In 1969 his retrospective exhibition "fluorescent light, etc. from Dan Flavin," opened at the National Gallery of Canada, Ottawa, before traveling to the Vancouver Art Gallery, British Columbia, and to the Jewish Museum in New York City.
Circular fluorescent lights entered Flavin's artistic vocabulary in 1972 in an installation at the Albright-Knox Gallery, Buffalo, New York, and were a key element of an important exhibition at the St. Louis Art Museum, Missouri in 1973.
From its inception in 1974, the Dia Art Foundation acquired numerous works by Flavin, and supported larger projects including: an outdoor work for the four corners of the courtyard of the Kunstmuseum Basel, in 1975; lighting several train platforms at New York's Grand Central Station in 1977; and a permanent installation of nine works in a former firehouse and Baptist Church in Bridgehampton, New York (The Dan Flavin Art Institute) in 1983.
Among Flavin's most important late large-scale installation was his project to light the entire rotunda of the Frank Lloyd Wright designed Solomon R. Guggenheim Museum in New York City to commemorate its restoration and reopening in 1992 (based on a smaller installation he had made there for the 1971 "Sixth Guggenheim International"). Flavin married Tracy Harris, at the Guggenheim, in 1992. He completed a major installation for the Kunstbau Lenbachaus, Munich, in 1974.
Flavin died in Riverhead, New York, on November 29, 1996, near his Long Island, New York home.
Three of Flavin's most ambitious permanent installations were completed after his death: the lighting of Santa Maria Annunciata in Chiesa Rossa, a 1920s designed Catholic Church in Milan, in 1997; a project for Richmond Hall at the Menil Collection in Houston, Texas in 1998; and the completion of an installation in six former army barracks at Donald Judd's Chinati Foundation in Marfa, Texas in 2000.
One of the keys to shooting Epic Landscape Photgraphy is exalting the photograph's soul via golden ratio compositions, thusly wedding the art to the divine proportion by which life itself was designed and exalted.
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)
St Mary and St Lawrence, Great Waltham, Essex
A pretty village and a large church, although odd of proportion, for it is wide-aisled yet without clerestories under a low roof. The core of church and tower is Norman, although the north aisle is of the 1870s by that man Frederic Chancellor again. At some point the west side of the tower has been buttressed with red brick, which is very attractive, and the top of the tower was prettified right at the end of the 19th Century.
You step into a space which, as you may imagine, is square in feel, largely because of the wide aisles and low roof, but also the elegance of the arcades. The most memorable feature is the famous memorial of 1611 to Sir Anthony and Lady Anne Everard of Langleys, Great Waltham.
She had died in 1609, he would die in 1614, although not before marrying again. They lie within an extraordinary gilded arch backlit by heraldic glass, both turned awkwardly onto their right elbows, stiff as dolls. Below them lie three dead babies, one of them named as Richard but the other two only as 'anonymus'. It is a remarkable memorial caught at a fascinating moment in time, at once looking back to the recently-passed Elizabethan era and towards the turbulent puritan times to come.
There are other memorials to Everards and also to the Tufnells into whose hands Langleys passed in the early 18th Century. Many of the Tufnell memorials are in glass by the O'Connors in the 1850s, as well as some rather alarming Ion Pace glass from later in the century.
An exercise to be as honest as possible with proportions of a tree, it's thickness and branch disposition. Sometimes I wanted to 'move' one or two branches, but restricted myself to be close to nature. Well, trees seem regular, but they are obviously not! :>P
This week's FlickrFriday theme is: #Proportion
Le thème de ce FlickrFriday est: #Proportion
O tema desta FlickrFriday é: #Proporção
本次 FlickrFriday 主題: #部分
FlickrFriday-Thema der Woche: #Anteil
El tema de FlickrFriday es: #Proporción
This very well proportioned AEC Matador (O8539781) that I saw in the mid '80s has been fitted with a Holmes WD45 recovery set, and was owned for a long time by Burgess & Sons garage in Conwy, North Wales before passing to Anchor Motors/Moduron Angor of Bethesda.
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Baeza, Jaén (Spain).
A calm place in the old part of town, close to the Cathedral. / Un lugar tranquilo en el casco viejo, cerca de la Catedral.
ENGLISH
Baeza is a town of approximately 15,000 in Andalusia, Spain, in the province of Jaén, perched on a cliff in the Loma de Úbeda, a mountain range between the river Guadalquivir on the south and its tributary the Guadalimar on the north. The town has existed since Roman times, when it was called Beatia, but it is chiefly known today as having many of the best-preserved examples of Italian Renaissance architecture in Spain. UNESCO added Baeza and Ubeda to the World Heritage Sites list in 2003.
In the middle ages Baeza was a flourishing Moorish city, said to contain 50,000 inhabitants, but it fell to the forces of Ferdinand III of Castile in 1227. The Cordova and Úbeda gates, and the arch of Baeza, are among the remains of its Moorish fortifications.
In the 16th century, Baeza and nearby Úbeda grew rich from the production of textiles, and local nobles hired important architects, such as Andrés de Vandelvira, to design new palaces, churches and public squares in the fashionable Italian style. The economy collapsed in the 17th century, which had the fortunate side effect of preserving Baeza's Renaissance architectural legacy, because few newer structures were built. Baeza appears much more Italian than Spanish, with an unusual sense of lightness, order, and proportion.
Source: en.wikipedia.org/wiki/Baeza
-----------------------------
CASTELLANO
La ciudad de Baeza se encuentra en el centro geográfico de la provincia de Jaén, al este de la Comunidad Autónoma de Andalucía, (España).
En la actualidad es conocida por su legado monumental, habiendo sido declarada, junto a Úbeda, ciudad Patrimonio de la humanidad por la UNESCO y ser una de las tres sedes de la Universidad Internacional de Andalucía.
"Nido Real de Gavilanes " que la llamó el romancero, fue un punto clave en la conquista de Al-Andalus por los reyes cristianos. Atalaya sobre el Guadalquivir, su posesión aseguró la espalda castellana y la amenaza para los reinos que estaban en la ribera izquierda del Gran Río. Tanta importancia tiene su conquista, (1227), que el rey Fernando III decide que a partir de ese momento la bandera real, que luego sería la española, tenga sobre sí el aspa o cruz de San Andrés, pues atribuye al apóstol y a su intercesión la milagrosa conquista. Y durante siglos, hasta Carlos III, será el símbolo distintivo de las banderas españolas, y aun hoy el rey Juan Carlos apoya todo su escudo en la Cruz de San Andrés, en cuya festividad, 30 de noviembre se conquista la ciudad de Baeza. Tres siglos después la reina Isabel I, temerosa de que los nobles le discutieran su poder, mandó derribar su Alcázar, del que solo veremos algún resto.
Fuente: es.wikipedia.org/wiki/Baeza
High Res Santa Monica Pretty Fitness Model! Beautiful Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Models! dx4/dt=ic
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Well I was shooting fall colors in Zion National PArk when I saw that they had forecast snow for Bryce Canyon, so instead of heading back to LA, I headed out to Bryce Canyon! And I was treated to snow, sun, clouds, snowstorm, and then a glorious sunrise over the s-capped hoo-doos in Bryce! :)
Sony A7RII Bryce Canyon & Zion National Park Autumn Dr. Elliot McGucken Fine Art Landscapes
Been busy traveling and shooting landscapes and working on my books The Golden Hero's Odyssey about the golden rectangle and divine proportion I use in a lot of my compositions! Also working on my physics book on Dynamic Dimensions Theory! The equation d4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)
Follow me & 45surf!!
www.facebook.com/45surfAchillesOdysseyMythology/
www.facebook.com/elliot.mcgucken
Beautiful snow covered hoo-doos in Bryce Canyon! Bryce Canyon hoodoos all covered in snow! Beautiful Bryce Canyon Fine Art Sunrise!
My fine art landscape lenses for the A7RII are the Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens and the Sony FE 24-240mm f/3.5-6.3 OSS Lens ! Love the Carl Zeiss and super sharp Sony Glass!
One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted.
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Pretty Athletic Goddess! Nikon D810 Photos Pretty Swimsuit Bikini Fitness Model Goddess: Sigma 50mm F1.4 DG HSM Art Lens for Nikon Cameras!
Loved shooting the awesome Sigma 50mm F1.4 DG HSM Art Lens for Nikon Cameras! It was a bit tough sometimes to achieve optimum focus at F1.4 due to the shallow depth of field, but hey--not every eyelash has to be perfectly sharp! I could do it if I and the model were perfectly still, or F1.8 or F2.0 did the trick too. Kept switching it up! We had fun and she loves the photos! :)
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
Facebook:
www.facebook.com/45surfAchillesOdysseyMythology
Instagram: instagram.com/45surf
blog: 45surf.wordpress.com
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Dynamic Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:
herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Instagram: instagram.com/45surf
Fine art swimsuit model, ballerina, and ballet photography!
Nikon D810 Photos Pretty Swimsuit Bikini Fitness Model Goddess Sigma 50mm F1.4 DG HSM Art Lens for Nikon Cameras!
45SURF Fine Art!
After looking through my work,what do you think about Nikon vs. Sony? Do you prefer the Nikon D810 and Nikkor / Tamron / Sigma lenses /glass, or the Sony A7r and Sony Sonnar Carl Zeiss e-mount glass/lenses? I love them both! And I am so excited about the Sony A7rII !
Feel free to ask me any questions! Always love sharing tech talk and insights! :)
And all the best on Your Epic Hero's Odyssey!
The new Lightroom rocks!
View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Pretty Asian model!
From the golden spiral in the whirlpool galaxy and our very own milkway galaxy, to the golden mean of an athletic models' proportions, to the divine proportions found in a beautiful models' face, to the optimum curves and compositions of my fine art photography, I have found the Fibonacci sequence and golden number Phi to be omni-present. And so it makes sense that I found the golden spiral to naturally emerge in my physics theory--Dynamic Dimensions Theory--which postulates that the fourth dimension is expanding at the rate of c relative to the three spatial dimensions, giving rise to relativity, the quantum, and time and all its arrows and asymmetries. Yes! I have a pPh.D. in physics! Photons of ligth are but matter which surfs the fourth expanding dimension en route to creating a beautiful photograph.
And yes I am working on a book combining my philosophies on Phi, fine art photography, physics, the golden mean and number, the divine proportion, and the natgural emergence of the Fibonacci numbers in life and beauty. The book, filled with my photography aongside classic poetry, epic physics, and philosophy, will be called The Golden Hero's Odyssey. :)
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Pretty Bikini Model! High Res Photos of Gorgeous Surf Girl! Beautiful Portraits & Headshots! Beautiful Surf Goddess! Athletic Action Portraits of Swimsuit Bikini Models! Sexy Aphrodite! Pretty 45SURF Tall, Thin, Fit Windy Woman! dx4/dt=ic! Laguna Beach Sunset!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Support epic fine art! 45surf! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Most all of my work is composed and cropped in accordance with the golden ratio! The golden number and divine proportion informs all my logos and clothing designs!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Love exalting the Venus Archetype in portrait and model photography! Shoot from thw heart and aim for the soul! Enjoy my Epic Book Exalting the Venus Archetype: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Pretty Portraits & Headshots! Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Fitness Model! Pretty Woman! Sexy hot women!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics!! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical Reality of a Fourth Expanding Dimension: dx4/dt=ic !
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Enjoy my physics books graces with my fine art photography! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
[Explored on Apr 30, 2008]
The Golden Section is also known as the Golden Mean, Golden Ratio and Divine Proportion. It is a ratio or proportion defined by the number Phi (1.618033988749895... ). This ratio has been used by mankind for centuries. Its use may have started as early as with the Egyptians in the design of the pyramids. The Greeks recognized it as "dividing a line in the extreme and mean ratio" and used it for beauty and balance in the design of architecture. The Renaissance artists knew it as the "Divine Proportion" and used it for beauty and balance in the design of art. It was used in the design of Notre Dame in Paris and continues today in many examples of art, architecture and design. It also appears in the physical proportions of the human body study of the works of Leonardo da Vinci and Michaelangelo. Nowadays, even movements in the stock market and many other aspects of life in the universe also relates to this magical ratio (http://en.wikipedia.org/wiki/Golden_ratio).
Taken from the Faculty of Economics, University of Malaya at Kuala Lumpur, Malaysia.
This is one of a few snapshots taken using my first DSLR, Canon EOS 400D.
[ More pics at www.flickr.com/photos/lincolnose ]
Source: en.wikipedia.org/wiki/Arizona
Arizona is a state in the Southwestern region of the United States, sharing the Four Corners region of the western United States with Colorado, New Mexico, and Utah. Its other neighboring states are Nevada to the northwest and California to the west. It also shares an international border with the Mexican states of Sonora and Baja California to the south and southwest. It is the 6th-largest and the 14th-most-populous of the 50 states. Its capital and largest city is Phoenix, which is the most populous state capital in the United States.
Arizona is the 48th state and last of the contiguous states to be admitted to the Union, achieving statehood on February 14, 1912. Historically part of the territory of Alta California and Nuevo México in New Spain, it became part of independent Mexico in 1821. After being defeated in the Mexican–American War, Mexico ceded much of this territory to the United States in 1848, where the area became part of the territory of New Mexico. The southernmost portion of the state was acquired in 1853 through the Gadsden Purchase.
Southern Arizona is known for its desert climate, with extremely hot summers and mild winters. Northern Arizona features forests of pine, Douglas fir, and spruce trees; the Colorado Plateau; mountain ranges (such as the San Francisco Mountains); as well as large, deep canyons, with much more moderate summer temperatures and significant winter snowfalls. There are ski resorts in the areas of Flagstaff, Sunrise, and Tucson. In addition to the internationally known Grand Canyon National Park, which is one of the world's seven natural wonders, there are several national forests, national parks, and national monuments.
Arizona is home to a diverse population. About one-quarter of the state is made up of Indian reservations that serve as the home of 27 federally recognized Native American tribes, including the Navajo Nation, the largest in the state and the country, with more than 300,000 citizens. Since the 1980s, the proportion of Hispanics has grown significantly owing to migration from Mexico and Central America. A substantial portion of the population are followers of the Roman Catholic Church and the Church of Jesus Christ of Latter-day Saints. Arizona's population and economy have grown dramatically since the 1950s because of inward migration, and the state is now a major hub of the Sun Belt. Cities such as Phoenix and Tucson have developed large, sprawling suburban areas. Many large companies, such as PetSmart and Circle K, have headquarters in the state, and Arizona is home to major universities, including the University of Arizona, Arizona State University, and Northern Arizona University. The state is known for a history of conservative politicians such as Barry Goldwater and John McCain, though it has become a swing state in recent years.
Source: en.wikipedia.org/wiki/Antelope_Canyon
Navajo Upper Antelope Canyon is a slot canyon in the American Southwest, on Navajo land east of Lechee, Arizona. It includes six separate, scenic slot canyon sections on the Navajo Reservation, referred to as Upper Antelope Canyon (or The Crack), Rattle Snake Canyon, Owl Canyon, Mountain Sheep Canyon, Canyon X and Lower Antelope Canyon (or The Corkscrew). It is the primary attraction of Lake Powell Navajo Tribal Park, along with a hiking trail to Rainbow Bridge National Monument.
The Navajo name for Upper Antelope Canyon is Tsé bighánílíní, which means 'the place where water runs through the (Slot Canyon) rocks'. Lower Antelope Canyon is Hazdistazí (called "Hasdestwazi" by the Navajo Parks and Recreation Department), or 'spiral rock arches'. Both are in the LeChee Chapter of the Navajo Nation. They are accessible by Navajo guided tour only.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "米国" "美国" "미국" "Estados Unidos" "États-Unis" "ארצות הברית" "संयुक्त राज्य" "США"
(Arizona) "أريزونا" "亚利桑那州" "אריזונה" "एरिजोना" "アリゾナ州" "애리조나" "Аризона"
One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted.
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)
One of the keys to shooting Epic Landscape Photography is exalting the photograph's soul via golden ratio compositions, thusly wedding the photographic art to the divine proportion by which life itself was designed and exalted.
Dr. Elliot McGucken's Golden Number Ratio Fine Art Landscape & Nature Photography Composition Studies!
instagram.com/goldennumberratio
www.facebook.com/goldennumberratio/
Greetings flickr friends! I am working on several books on "epic photography," and I recently finished a related one titled: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography: An Artistic and Scientific Introduction to the Golden Mean . Message me on facebook for a free review copy!
www.facebook.com/goldennumberratio/
The Golden Ratio also informs the design of the golden revolver on all the swimsuits and lingerie, as well as the 45surf logo!
The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio.
Ansel Adams is not only my favorite photographer, but he is one of the greatest photographers and artists of all time. And just like great artists including Michelangelo, Monet, Degas, Renoir, Leonardo da Vinci, Vermeer, Rembrandt, Botticelli, and Picasso, Ansel used the golden ratio and divine proportions in his epic art.
Not so long ago I discovered golden regions in many of his famous public domain his 8x10 aspect ratio photographs. I call these golden harmony regions "regions of golden action" or "ROGA"S, as seen here:
www.facebook.com/media/set/?set=a.1812448512351066.107374...
And too, I created some videos highlighting Ansel's use of the golden harmonies. Enjoy!
www.youtube.com/watch?v=AGnxOAhK3os
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=D3eJ86Ej1TY
More golden ratio and epic photography composition books soon! Best wishes for the Holiday Season! Dr. Elliot McGucken :)
Sony A7RII Zion National Park Autumn/Winter Snowfall The Watchman Autumn Dr. Elliot McGucken Fine Art Landscape Photography
Well I was shooting fall colors in Zion National PArk when I saw that they had forecast snow for Bryce Canyon, so instead of heading back to LA, I headed out to Bryce Canyon! And I was treated to snow, sun, clouds, snowstorm, and then a glorious sunrise over the s-capped hoo-doos in Bryce! :)
Sony A7RII Bryce Canyon & Zion National Park Autumn Dr. Elliot McGucken Fine Art Landscapes
Been busy traveling and shooting landscapes and working on my books The Golden Hero's Odyssey about the golden rectangle and divine proportion I use in a lot of my compositions! Also working on my physics book on Dynamic Dimensions Theory! The equation d4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)
Follow me & 45surf!!
www.facebook.com/45surfAchillesOdysseyMythology/
www.facebook.com/elliot.mcgucken
My fine art landscape lenses for the A7RII are the Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens and the Sony FE 24-240mm f/3.5-6.3 OSS Lens ! Love the Carl Zeiss and super sharp Sony Glass!
Winter fine art landscapes!
Epic Zion winter snowstorm!
Although the largest proportion of starfighters in use are carrier-based, there exists an advanced sub-class of FTL-capable fighters.
The X-39 'Tomcat' is the American jump-capable fightercraft of choice. With heavy shields, dual core computer matrix and the ability to equip mid-range missiles.
'Tomcats' traditionally operate alone, learning to rely on their wits and technology to against superior odds and more numerous opponents. The pilots are usually chosen from battle hardened X-33 squadrons, aces and veterans alike. The X-39 is regarded as quite the asset, not risked on anything but the most vital of missions. For an enemy pilot to take one down in combat is the quite the feather in the cap.
Manufacturer: Lockheed-Royce
Role: Long-range attack fighter
Length: 11m
Crew: 1
Weaponry:
- 2 x Photon Blasters
- 6 x Missile Hardpoints
Shields/Armour: Heavy/Light
FTL: Capable (Short jumps]
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Golden Number Ratio Divine Proportion Compositions Fine Art Photography Dr. Elliot McGucken : Using the Nature's Golden Cut to Exalt Nature Photography!
Join my golden ratio groups!
www.facebook.com/goldennumberratio/
www.facebook.com/groups/1401714589947057/
instagram.com/goldennumberratio
Dr. Elliot McGucken Fine Art Landscape & Nature Photography
New book page!
www.facebook.com/epiclandscapephotography/
Epic Landscape Photography: The Mythological Principles of Fine Art Nature Photography
Ansel Adams used the golden ratio in his photography too:
www.youtube.com/watch?v=WFlzAaBgsDI
www.youtube.com/watch?v=zrOUX3ZCl7I
The Fibonacci Numbers are closely related to the golden ratio, and thus they also play a prominent role in exalted natural and artistic compositions!
I'm working on a far deeper book titled The Golden Ratio Number for Photographers. :)
The famous mathematician Jacob Bernoulli wrote:
The (golden spiral) may be used as a symbol, either of fortitude and constancy in adversity, or of the human body, which after all its changes, even after death, will be restored to its exact and perfect self.
Engraved upon Jacob’s tombstone is a spiral alongside the words, "Eadem Mutata Resurgo," meaning "Though changed, I shall rise again." And so it is that within the Golden Ratio Principle, the golden harmonies rise yet again.
The golden ratio is oft known as the divine cut, the golden cut, the divine proportion, the golden number, and PHI for the name of the architect of the Parthenon Phidias. It has exalted classical art on down through the millennia and it can exalt your art too!
Ask me anything about the golden ratio! :) I will do my best to answer!!
Enjoy my Fine Art Ballet instagram too!
Dr. Elliot McGucken's Golden Ratio Principle: The Golden Number Ratio Principle: Dr. E’s Golden Ratio Principle: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after. Robust, ordered growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in nature’s elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which all their vital sustenance and they themselves had been created—the golden ratio. the golden number, rectangle, and spiral!
Faith Temple, 296 Broadview Ave
Built in 1894 and designed by E.J. Lennox (Casa Loma, Old City Hall), this was originally the Broadview Avenue Congressional Church. Here's what it used to look like: www.blogto.com/upload/2012/11/20121101-broadview2.jpg
Toronto, Canada
Streetview: maps.google.com/maps?q=http:%2F%2Fwww.flickr.com%2Fphotos...