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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! :)
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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!
You probably will approach Birchington from Thanet Way, the A299, heading over rolling fields past the huge Planet Thanet greenhouses which supply a lot of our salad plants through the year.
Birchington speawls into the countryside, building up as the road approaches the main square of the town, now a traffic intersection. And standing tall beside the square is All Saints.
I can gladly report that the church is now open Saturday mornings until midday. Sadly, we arrived at ten to twelve meaning a rush round, so a return visit will be required.
We were driving to Margate, and as ever I was looking for signs that the church was open, it seemed the porch door was open and lights on inside.
My luck was in.
All Saints is clearly old, with the north aisle and chapel apparently older than the main body, and despite being heavily Victorianised, there is plenty of interest. Most in the side chapel, the family chapel of the families that owned Quex Park. The chapel has the most wonderful collection of memorials I have seen in Kent.
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Famous as the burial place of Dante Gabriel Rossetti, and whose grave stands outside the main south door, this church contains so much more of interest. Mostly thirteenth century with a fourteenth century veneer it is full of treasures. The best collection of memorials in East Kent may be found in the north chapel owned for centuries by the series of owners of Quex House. The Quex, Crispe, Powell and Powell-Cotton families have been commemorated in monuments that reflect the styles oil the centuries. There are 6 brasses now on the wall, a huge 6-portrait bust tablet and a huge classical entablature. Opposite is a more usual but excellently crafted Prie- Dieu with gaudy colouring. The rest of the church does not disappoint. The SW corner of the church has dumpy piers and rudimentary vaulting showing that a new tower was planned there, though it was never built. The nave piers and chancel arch show remarkable degradation in the stonework. There seems to be no reason for this but it is almost that the church has been consumed by fire at some time. The reredos was designed by the 19th century architect Charles Beazley (see also Acol and Westgate) and painted by Nathaniel Westlake. It badly needs a clean to make it sing again. The altar rails are by the Canterbury College of Art, 1930s, and a really a fine period piece. What an interesting church this is – built to serve a farming village with a big house and later adapted to suit the holidaymakers who came here by the thousand. What a shame that it is difficult of access (though the helpful Church Office is happy to oblige).
www.kentchurches.info/church.asp?p=Birchington
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NORTHWARD from Minster lies the parish of Birchington, adjoining to the sea. It is said to have been antiently called, sometimes Birchington in Gorend, and at other times Gorend in Birchington, from a place called Gorend, in this parish, where it is reported the church formerly stood, though the most usual name was always, as it is at present, Birchington only.
THIS PARISH is within the liberty and jurisdiction of the cinque ports, and is a member of the town and port of Dover; and though Gorend in it, is said to have been united to that town and port, ever since the reign of king Edward I. yet in king Henry VI.'s reign it was disputed whether this parish was not in the county at large; to take away therefore all doubt of it, the king, by letters patent, united it to Dover, the mayor of which appoints a deputy here, to whom the inhabitants have recourse for justice.
By the Landtax act of 1711, it was enacted, that in future, the parishes of St. John, St. Peter, and Birchington, in the Isle of Thanet, within the liberty of Dover, should be deemed and taken to be a distinct division within the said liberty, and in the executing of that act, should be charged towards making up the whole sum charged on the town of Dover, and the liberty thereof, according to the proportion which was assessed upon the said parishes by the act of the 4th of William and Mary, for granting an aid of four shillings in the pound, &c.
THIS PARISH joins the sea shore northward, along the whole of which it is bounded by high cliffs of chalk, through which there are several apertures made for the conveniency of a passage on to the sea shore. The parish is, in general, high land, and very pleasantly situated; in the middle of it stands the church and village adjoining, tolerably well sheltered with elm trees. This village, in a pleasing situation, on a gentle eminence, commands many delightful prospects over sea and land; particularly a fine view up the delightful vale to Canterbury, the principal tower of which cathedral froms a conspicuous object, though at the distance of twelve miles; beyond which, in clear weather, are plainly seen the range of hills and the losty woods in Chilham and Godmersham parks, more than six miles further southward.
About three quarters of a mile north-west of the church, and near as much from the sea shore, is Goreend, antiently a place of note, being particularly men tioned in the great charter of the cinque ports, as one of the members of the town and port of Dover. Leland, in his Itinerary, vol. vii. says, "Reculver is now scarce half a mile from the shore, but it is to be supposid, that yn tymes paste these cam hard to Goreende, a two mile from Northmouth, and at Gore ende is a litle straite caullid Broode Staires to go downe the clive: and about this shore is good taking of mullettes. The great Raguseis ly for defence at Gore ende and thens again is another sinus on to the Forelande." Here it is said the church stood antiently, and that it was lost by the falling of the cliff on which it stood, and that the present one was built in its stead; near this is a farm, called Upper Gore end, which was given by the owner of it, Henry Robinson, gent. by his will in 1642, for the maintenance of two fellows and two scholars in St. John's college, in Cambridge, as has been already related before. About a mile southward, lie Great and Little Brooksend; and at a like distance eastward, Great and Little Quekes. At the north-east boundary of the parish is Westgate, where there is a small hamlet of houses; from which place Domneva's deer is said to have begun its course across this island, running for some space eastward, till it turned southward towards the boundary of it, at Sheriffs Hope, in Minster.
This parish is somewhat more than two miles and an half each way; about the village and Quekes, it is pleasantly sheltered with trees; the lands in it are fertile, and like the other parts adjoining to it, are arable and mostly uninclosed, lying high, with hill and dale intermixed. The high road from Sarre to Margate runs along the southern side of the parish. There is a bay of the sea adjoining to the shore of this parish, called Hemmings bay; probably so called from Hemming, the Danish chiestan, who landed with his companion Anlef and their forces in this island, in the year 1009.
By the return made to the council's letter by archbishop Parker's order in 1563, there were then computed to be in this parish forty housholds; and by the return of the survey made by order of the same queen, in her 8th year, of the several maritime places in this county, it appears that there were then here houses inhabited forty-two; that there was a landing place, but it had neither ship nor boat.
A whale was cast ashore within the bounds of this parish in the year 1762.
The manor of Monkton claims paramount over this parish, subordinate to which is
THE MANOR OF QUEKES, or QUEX, as it is frequently spelt in the antient deeds of it. It is situated in the south-east part of this parish, about three quarters of a mile from the church, and was antiently the seat of a family who gave name to it, many of whom lie buried in this church, several of whose gravestones and inscriptions yet remain; among which are those of John Quek, who died possessed of it in the year 1449, anno 28 Henry VI. and of his son Rich. Quek in 1456; (fn. 1) from the latter of whom this seat devolved by paternal descent to John Quekes, esq. who about the beginning of king Henry VII.'s reign, left an only daughter and heir Agnes, who carried it in marriage to John Crispe, esq. descended of an antient family seated at Stanlake, in Oxforshire; he afterwards resided here, and died possessed of it in 1500, anno 16 Henry VII. He left by her four daughters, married to Barret, Gosborne, Thomas, and Symons; and one sone and heir John Crispe, who was sheriff in the 10th year of king Henry VIII. and kept his shrievalty at this seat of Quekes. He had three sons, John, the eldest, was of Cleve-court, in Monkton, of whom further mention has been made in the description of that place; Henry, the second, was of Quekes; and William, the third, was lieutenant of Dover castle.
Henry Crispe, esq. the second son, of Quekes, kept his shrievalty at this seat in the 38th year of the above reign, anno 1546, being the last of it, and was a man of great name and eminency, and of singular estimation for his discretion and weight in the management of the public affairs of the county, as well as for his hospitality, insomuch that he was reputed to have the entire rule of all this island. He died at Quekes, at a good old age, in the year 1575, leaving by his second wife six children; of whom Nicholas Crispe, esq. the eldest son, was of Grimgill, in Whitstaple. He was sheriff in the 1st year of queen Elizabeth, and died here in his father's life time, anno 1564, leaving an only daughter Dorothy. John, the second son, by his second wife Elizabeth, daughter of Thomas Roper, esq. of Eltham, left a son Henry, heir to his grandfather, who will be further mentioned hereafter; and Henry, the youngest, had three sons, Henry, who was first of Great Chart, and afterwards succeeded to this seat of Quekes, of whom further mention will be made; Thomas, who was first of Canterbury and afterwards of Goudhurst, where he died in 1663. He left three sons, Thomas, who at length succeeded to Quekes, as will be mentioned hereafter; Henry, who was of Monkton, and died in 1678, being ancestor of Henry and Thomas Crispe, esqrs. of the custom-house, in London, and of West Ham, in Essex, the latter of whom ended in an only surviving daughter Susan, who married the late George Elliot, esq. of Upton, in that county; and Richard, the third son, died s. p.
Now to return to Henry, the only son and heir of John, the second son of Sir Henry Crispe, of Quekes, by his second wife, who became his grandfather's heir and possessed of Quekes; he was knighted and resided here till his death in 1648. He was twice married, but left no issue; he bore for his arms two coats for Crispe, viz. first, Ermine, a fess chequy; and second, Or, on a chevron, sable, five horse shoes, argent. (fn. 2) On his death in 1648, this seat came, by the entail of it, to his first-cousin Henry Crispe, gent. of Great Chart, before-mentioned, (the eldest son of Henry, the fourth and youngest brother of Nicholas Crispe, of Grimgill, the father of Sir Henry Crispe, last-mentioned.) He removed to Quekes, and in the year 1650 was appointed sheriff; but on account of his great age and infirmities, his son was suffered to execute this office in his room. He was commonly called Bonjour Crispe. from his having been kept a prisoner in France for some time, and never learning more French than those words, at least he never would use any other whilst there. In August 1657, he was forcibly, in the night time, taken away and carried from his seat of Quekes, by several persons, Englishmen and others, to Bruges, in Flanders, and detained there as a prisoner, till the sum of 3000l. should be paid for his ransom. A few days after his arrival at Bruges, he sent to his nephew Thomas, who then lived near Quekes, to come over to him, to assist him in his great exigencies and extremities. After some consultation together, he dispatched his nephew to England, to join his endeavours, with those of his son Sir Nicholas Crispe, for his ransom and enlargment, in which they found great difficulty, as Oliver Cromwell, who was then protector, suspected the whole to be only a collusion, to procure 3000l. for the use of king Charles II. then beyond the seas; and accordingly an order was made by the protector in council, that Mr. Crispe should not be ransomed; upon which much difficulty arose in procuring a licence for it; Sir Nicholas died before it could be effected, and then the whole care of it devolved on Mr. Thomas Crispe, to obtain the licence and raise the money, which finding himself not able to do without the sale of some of his uncle's lands, he impowered him and his son-in law, Robert Darell, for that purpose, who made every dispatch in it; but it was eight months before the ransom could be paid, and Mr. Crispe released out of prison; when he returned to England, and died at Quekes, in 1663. (fn. 3)
This enterprize was contrived and executed by Captain Golding, of Ramsgate, who was a sanguine royalist, and had sometime taken refuge with Charles II. in France. The party landed at Gore-end, near Birchington, and took Mr. Crispe out of his bed, without any resistance; though it appears that he had been for some time under apprehensions of such an attack, and had caused loopholes, for the discharge of muskets, to be made in different parts of the house, and had afforded a generous hospitality to such of his neighbours as would lodge in his house, to defend him; but all these precautions were at this time of no effect, so that they conveyed him, without any disturbance being made, in his own coach, to the sea side, where he was forced into an open boat, without one of his domestics being suffered to attend him, although that was earnestly requested as a favour. He was conveyed first to Ostend, and then to Bruges, both which places were then in the power of Spain, which had been at war with England for more than two years. (fn. 4) He died possessed of this seat above-mentioned, having had one son and one daughter, who married Robt. Darell, esq Nicholas the son was knighted, but died before his father at Quekes, in 1657, leaving an only daughter and heir, who married Sir Richard Powle, of Berkshire.
On Mr. Crispe's death in 1663, without surviving male issue, this seat came, by the entail made of it, to his nephew Thomas Crispe, (the eldest son of his next brother Thomas Crispe, of Goudhurst) who afterwards resided at Quekes, where he died in 1680, leaving by his wife, whom he married in Holland, four daughters his coheirs, viz. Maria Adriana, married to Richard Breton, esq. of the Elmes, in Hougham; Frantosi, or Frances, to Edwin Wiat, esq. of Maidstone, sergeant at law; Elizabeth, to Christopher Clapham, esq. of Wakefield, in Yorkshire, and Anne-Gertruy Crispe, who died unmarried in 1708. On the division of their inheritance, this seat fell to the lot of Richard Breton, esq. who immediately afterwards sold it to Edwin Wiat, esq. and he alienated it, after some little interval, to John Buller, esq. of Morvall, in Cornwall, whose son William dying s. p. the reversion of it, (after the death of his wife, who was entitled to it for life, as part of her jointure) (fn. 5) was sold to Sir Robert Furnese, bart. of Waldershare, but he never came into the possession of it; for Mr. Buller's widow, afterwards the widow of F. Wiat, esq. son of Edwin above-mentioned, enjoyed it till her death in 1760, when it came into the possession of Catherine, countess of Guildford, one of the three daughters and coheirs of Sir Robert Furnese, bart. who in 1767 sold it to Henry Fox, lord Holland, and he conveyed it to his second son, the hon. CharlesJames Fox, who passed away his interest in it to John Powel, esq. who dying s. p. his sister, then the wife of William Roberts, became his heir and entitled to this estate, and he is now in her right possessed of it. At this house king William used to reside till the winds favoured his embarking for Holland. A room said to be the bedchamber of the royal guest is still shewn. His guards encamped on an adjoining inclosure.
It has been a large commodious structure, built partly of timber and partly of brick, much of which has been within these few years pulled down, and the rest modernized and converted into a farm house. It is pleasantly situated among a toll of trees, which defend it from the winds. There was formerly a vineyard in the gardens, which are walled round.
This antient seat, like most others of the same rank, has been for some years going fast to ruin, the weather penetrated into most of the apartments, which had been the principal ones; the roof and windows were greatly demolished, and no part of it inhabited, or indeed capable of being so, except a small part at the end occupied by the farmer; a grand suit of apartments at the north-west corner was demolished in 1781, and much of the remaining parts of it were taken down by piecemeal at different times, for the sale of the materials; in which ruinated state this seat remained till the year 1789, when Mr. Powell took down great part of it, and rebuilt the rest as it remains at present. (fn. 6)
THE MANOR OF WESTGATE, alias GARLING, lies at the eastern part of this parish, extending likewise into the parish of St. John. It had antiently owners of its own name, for it appears by the book of knight's fees in the exchequer, and other records, that Robert de Westgate held it in the reigns of king Henry III. and Edward I. of the abbot of St. Augustine's, by knight's service. He left at his death his son Robert, under age, who afterwards was in the custody of Sir Henry de Sandwich, and he held it accordingly as such in the latter of those reigns. It went into the family of Leyborne very soon after this, for William de Leyborne died possessed of it in the 3d year of Edward II. leaving Juliana his grand-daughter his heir, (daughter of his son Thomas, who died in his life-time) who being heir both to her father and grandfather, became entitled to large possessions in this and several other counties, for the greatness of which she was usually stiled the Infanta of Kent, who having issue by neither of her husbands, (for she had three) whom she survived, this manor escheated to the crown for want of heirs; for it appears by the inquisition taken after her death, in the 43d year of king Edward III. that there was then no one who could make claim to her estates, either by direct or even collateral alliance. After which this manor continued in the crown, till king Richard II. in his 11th year, gave it to the priory of Canons,alias Chiltern Langley in Hertfordshire, where it continued till the dissolution of that house in the 30th year of Henry VIII. when it was, with all its possessions, surrendered into the king's hands, and was confirmed to him and his heirs, by the general words of the act, passed the next year for that purpose.
King Henry VIII. becoming thus possessed of it, granted this manor, with all itsrights, members, and appurtenances, among several other premises, for divers good causes and considerations, to Richard, suffragan bishop of Dover, to hold to him and assigns, during his life, without any account of rent whatsoever; provided, if he should be promoted to one or more ecclesiastical benefices, or other dignity or annuity, of the yearly value of 100l. that then this grant should be void. This certainly happened before the 36th year of that reign, for the king that year granted this manor to Sir Thomas Moyle, to hold in capite by knight's service; he alienated it in the first year of Edward VI. to Roger and Valentine Byer, alias Bere, (fn. 7) to the use of the former, who died possessed of it in the 4th and 5th year of Philip and Mary, and was succeeded in it by John Byer, his son and heir, and he conveyed it, anno 3 Elizabeth, to Thomas Adam, who in the 17th year of that reign, alienated it to Thomas Dane, of Herne, whose daughter and heir Thomasine marrying Robert Denne, esq. of Denne-hill, entitled him to the possession of this manor. His eldest son Thomas Denne, esq. who was recorder of Canterbury, died in 1656, and was succeeded in it by his eldest son Thomas, of GraysInn, esq. who dying s. p. devised it by will to his brother John, of the Inner Temple, esq. who dying likewise s. p. gave it by will to his four maiden sisters; the eldest of whom, Thomasine, on the share of the inheritance left them by their brother, became entitled to it, and afterwards marrying Sir Nicholas Crispe, of Quekes, he became in her right possessed of it, and died in 1657, leaving an only daughter Anne, who carried it in marriage in 1673 to Sir Richard Powle, K. B. of Berkshire, whose son John Powle, esq. of Lincoln's Inn, dying in 1740, s. p. this manor, among other estates, by the entail of it, reverted to the right heirs of his mother Anne Crispe, in the person of Tho. Crispe, esq. of West-Ham, in Essex, (descended from Tho. Crispe, of Goudhurst, the next brother of Henry, the father of Sir Nicholas Crispe, above mentioned) whose sole daughter and heir Anne married Sir Rich. Powle, K. B. the father of John, who died s.p. in 1740, as above mentioned.) He left an only surviving daughter and heir Susan, who married in 1757, the late Geo. Elliot, esq. of Upton, in Essex, who possessed it in her right, and in 1764 alienated it to Mr. John Wotton, of this island, as he did again to Mr. James Taddy, gent. of St. John's, whose surviving sons and devisees James and Edward Taddy, became entitled to it, but the latter is since become the sole possessor of it.
BROOKSEND, antiently spelt Brookesende, is a manor situated about a mile south-west from the church of Birchington; it was part of the antient possessions of the priory of Christ-church; and in the 10th year of king Edward II. the prior obtained a grant of free warren for his demesne lands in this manor among others, after this it continued with the priory till the final suppression of it in the 31st year of Henry VIII. when this manor, among the other possessions of it, came into the king's hands, where it did not continue long, for he settled it, among other premises, in his 33d year, on his new-erected dean and chapter of Canterbury, part of whose inheritance it still continues. There is not any court held for this manor.
The manerial rights the dean and chapter reserve in their own hands; but the scite and demesne lands are demised on a beneficial lease, the present lessee being Mr. John Friend, junior, who is the present occupier of it.
THE MANOR OF BROADGATE, otherwise called Brockmans, lies within the bounds of this parish, and extends likewise into Monkton; it was part of the possessions of Henry Beaufort, duke of Somerset, and on his attainder in the 8th year of king Edward IV. came to the crown, whence it was granted to John Brockman, esq. of Witham, in Essex, to hold by the same tenure and services as it was held in the 1st year of his reign, and he died possessed of it in the 16th year of king Henry VII. anno 1500, as was found by the inquisition then taken. (fn. 8)
Charities
TEN ACRES AND ONE HALF OF LAND, were given for the repairs of the church here, or perhaps purchased with the several legacies left to the church fabric, of which one acre is let by the churchwardens to a poor man employed by them, to keep the boys orderly at church; the residue is let out, and the rents applied to the use of the church.
ANNA-GERTRUY CRISPE, fourth daughter and coheir of Thomas Crispe, esq. of Quekes, by her will in 1707, devised to the overseers of the poor of Birchington and ville of Achole, for ever, 47 acres of land in Birchington and Monkton, then in lease at 18l. per annum, in trust, to pay to the clerk of the parish yearly 20s. to keep clean the isle and monuments belonging to Quex; to three widows of Birchington 3l. to two widows of Achole 2l. for wearing apparel to appear at church; to keep at school with dame or master, 12 boys and girls, and to give to each, at leaving the school, a bible; the overseers to take yearly ten shillings; to dispose of the remaining money for binding a school-boy apprentice; that the overseers fix up a yearly account of receipts and payments, and pass the same before a justice of the peace. (fn. 9)
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Westbere.
The church, which is exempted from the archdeacon, and dedicated to All Saints, is a handsome building, situated on a rising ground; it consists of a nave and two isles, reaching but half the length of it, and what is remarkable, they are all spanned by a single roof; beyond these are three chancels. That on the north side of it belongs to the antient seat of Quekes, in this parish, and is repaired by the owners of it; in it are many fine antient monuments and memorials of the families of Quekes and Crispe, &c. The south chancel is made into a handsome vestry, and just by stands the steeple, which is a tower, on which is placed a spire covered with shingles, of great use to ships at sea as a land-mark. There are five bells in it. In the windows of the church are some few remains of painted glass, just sufficient to shew that there was much more formerly. Before the reformation, there were here beside the high altar, altars and images with lights before them, for the blessed Virgin Mary, St. Nicholas, the Holy Trinity, St. Anne, and St. Margaret; to each of which legacies of a few pence and sometimes shillings, were almost constantly devised by the parishioners; as appears by their wills, remaining in the Prerogative-office, Canterbury.
Among other memorials in this church, in the high chancel, is a stone with a brass plate, having on it, the effigies of a priest in his habit, and an inscription for master John Heynes, clerk, late vicar of Monkton, obt. 1523. In the vestry, on a brass plate, an inscription for Mrs. Margaret Crispe, late wife of Mr. John Crispe, the youngest daughter and heir of George Rotherham, esq. obt. 1508. In the Quekes, formerly called St. Mary's chancel, are many gravestones, with brass plates and monuments well preserved, for the family of Crispe, of Quekes, with their busts, several of which, as well as the ornaments, are of excellent sculpture, from the year 1508 to 1737. A very handsome mural monument and inscription for dame Anne Powel, only daughter and heir of Sir Nicholas Crispe, of Quex, and relict of Sir Richard Powel, K. B. obt. 1707, leaving only one son John Powel, esq. of Lincoln'sInn, who died unmarried 1740, and lies here interred. By her death, all his mother's estates in Kent pursuant to her deeds of settlement, descended to Henry and Thomas Crispe, esqrs. of the custom-house, London, the only surviving branch in the male line of this antient name and family. A memorial for Wm. Buller, esq. of Quekes, ob. 1708; arms, Sable, on a cross, argent, four eagles displayed of the field, a crescent for difference; impaling sable, a chevron between three pelicans, or. John Blechenden, gent. of Birchington, appears, by his will, anno 1580, to lie buried in the nether end and north side of the chancel, where Sir Henry Crispe was buried. There are engravings of three of the monuments of the Crispe's in Lewis's History of Thanet.—On an antient tomb in this chancel, lie the effigies of a man and woman; on the sides and end of it are the arms of Crispe singly, and those of Scott, three catherine wheels in a bordure, engrailed, and Crispe, impaling the same several times. In the middle isle, a memorial for Capt. George Friend, of this parish, obt 1721; and several others for the same family. A memorial, shewing, that in a vault underneath, lie several of the Neames, of Gore-end, and Mockett, of Dandelion. One for Samuel Brooke, esq. obt. 1774. Several memorials for the Kerbys, of Southend, and Brooksend; Austens, and of Gore. A memorial for Thomas Underdown, late of Fordwich, and thrice mayor of that corporation; he died 1709. A stone, on which is a brass, with a priest in his habit, the inscription gone, but in small circular brasses at each corner are his initials, I. F. conjoined in the manner of a cypher.
In the church yard, on the north side, there stood formerly a small house, called the Wax-house, where they used to fabricate the lights for the church processions, &c. In the time of the sequestration of this vicarage, about the year 1642, or rather the resignation of it by Dr. Casaubon, on the ordinance against pluralities, this church was left by the vicar, to any one who would officiate in it, and this house was fitted up at the parishioners charge, or perhaps at the expence of the family of Crispe, who were defirous of a conformist's officiating here, for the minister to live in. Accordingly Mr. Edmund Fellows, A. M. of Sandwich, officiated here as minister from 1657 till after 1660; but in a late vicar's time, this house was, by his order, pulled down, and the materials carried away.
This church was one of the chapels belonging to the vicarage of Monkton, and is now the only one of them in being. As this church was a chapelry of the parish church of Monkton, and the chapel was erected for the ease of the inhabitants, they were antiently obliged to contribute towards the repairs of the mother church; but this usage, as well as that of the other chapels in this island, (except St. Nicholas, which still continues to pay a certain sum towards the repairs of its mother church of Reculver) has been for a long time discontinued.
By the endowment of the vicarage of Monkton in 1367, it was decreed, that the vicar of Monkton for the time being, should find one chaplain in this chapel of Birchington, dependant on that church, daily to celebrate, as far as he conveniently could, which chaplain should officiate in this chapel duly in divine services; for which the vicar allowed him a stipend of six pounds per annum.
In the valuation of the vicarage of Monkton, in the king's books, the vicar of it is charged for a priest at the chapels of Birchington and Wode, 11l. 13s. 4d. In 1640 here were 240 communicants.
The vicar of Monkton now finds a curate to officiate in this church, being collated by the archbishop, the patron, to the vicarage of Monkton, with the chapels of Birchington and Wode appendant to it; but the appropriate parsonage of this parish, including that of Wood adjoining, as an appendage to that of Monkton, which was part of the possessions of the priory of Christ-church, was yet a distinct parsonage from it, and as such was granted, after the dissolution, by king Henry VIII. in his 33d year, by his dotation charter, to his new-erected dean and chapter of Canterbury, in whom the inheritance of it is at this time vested.
The parsonage of Birchington, including that of Wood, alias Woodchurch, adjoining, is let on a beneficial lease for twenty-one years. In 1778 the rack rent of it was two hundred pounds per annum; but it was valued, on a survey, at six hundred pounds per annum, having 2000 acres of titheable land within the tithery of it. The family of Hugessen, of Provender, were lessees of it. From the coheirs of the late William Western Hugessen, esq. their interest in this lease was sold, in 1791, to Mr. George Bushell, of Minster, whose son Mr. Benjamin Bushell is the present lessee.
¶The parish clerk here had formerly some peculiar privileges, as appears by the antient book of the clerks for collecting his dues, (fn. 10) different from those enjoyed by other parish-clerks in this island; besides certain sums of money, amounting to 5s. 6d. and a groat a year for every cottage; and he had paid him in kind by the farmers, twelve cops and twelve sheaves of wheat, and twelve cops and two sheaves of barley; but in the year 1638, an assessment was made by the parishioners of this parish, and of the parish and ville of Wood, wherein they rated their lands at twelve pence the score acres, and the cottages at four pence each, for the clerk's wages.
www.british-history.ac.uk/survey-kent/vol10/pp294-310
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The oldest standing building in Birchington, is of course, the Parish Church of All Saints Birchington, which stands in the centre of the village adjacent to the Square, and like other churches of Thanet about three quarters of a mile back from the sea.
It is positioned at the crossroads of two old roads, one which led from Minster Abbey to the sea at the little port of Gore-end, and the other to Canterbury crossing the River Wantsum by the ferry at Sarre.
Its distinguished tower with its tall, graceful spire creates an unmissable landmark on the approach to Thanet, and years ago ships passing by on the offing used it as such.
It is believed that a Church stood in this location for many years before the present building was constructed. There is a possibility that a Church stood here in Saxon times.
It is most likely that the church was originally a chapel of ease under Monkton and in its earliest form had a simple nave and chancel.
This evidence of the older building, can still be seen in the outside south wall, where some stones have been re-used.
There is evidence of some of the pre-Reformation features, including the base panels of the medieval rood screen at the chancel steps, reinstated in 1905, and one of the corbels that held the great rood beam itself. Between 1863 and 1883 the Victorians made their contribution with a major renovation programme.
The most memorable windows in the church are in memory of Dante Gabriel Rossetti, who died in Birchington in 1882. The left is a reproduction of one of his own paintings, while the right was designed by Frank Shields.
In recent times there have been less dramatic changes. Among them, through the generosity of the present owner of Quex Park, the Quex Chapel has been made into a chapel of worship once more. In late 2010, the spire of All Saints became illuminated at night. It still stands like a beacon, welcoming people into the village from St Nicholas roundabout, encouraging travellers, as it has done since about 1350, to travel those last two miles with a lighter heart, knowing they are so near home.
The exact date of the current church and the names of its founders are not known but it can be deduced from the records and from the style of architecture, the oldest parts of the Church are the Chancel with its side chapels, along with the Tower. It is believed that in c. 1250 the chancel was rebuilt, with the owners of Quex Park then adding a North Chapel, while the monks of Monkton added a southeast tower and chapel.
It is possible that the original owners of Quex may have built the original church, especially considering the north or Quex Chapel is the private chapel and property of the owners of the Quex Estate.
The Nave of the old church was increased in size in c. 1350 along with its five fine arcades of five bays, two narrow aisles and Norman door to the North side and is in the perpendicular style.
The large southwest pillar within the church suggest to us of plans that had to be altered, probably because of the Black Death, which resulted in us having two half aisles under one enormous roof. Around the same time, the spire was added to the tower - it still contains its original framework.
The walls of the Church are very thick and solid, built of rubble and faced with broken flints, the Kentish cobbles.
The south wall contains some old stones within it, which can be seen on either side of the south porch, which was added c. 1430. These old stones which are of anterior date to the other stones used in the building have suggested that in line with tradition, they were brought from an ancient church which stood at Gore-end and which was pulled down on the encroachment of the sea and used in the re-construction and enlargement of the present church.
There are old octagonal piers constructed from old Kent Ragstone, which have well moulded caps and bases. The east window was rebuilt of Bath stone during the Victorian restoration of the Church in 1863 when the present tracery was inserted.
One of the oldest parts of the building is the south chapel, or the St. Margaret's Chapel, above which is located the Tower in an unusual position at the south-east end of the Church. When the original small church of the three chapels was built in about 1250, before the Nave was added in the 1300's, the Tower was in the usual position — at the south-west end of the church. The Tower, crowned with an ancient shingle spire is the only ancient shingled spire in Thanet. The spire has been re-shingled several times, with the last occurring in 1968 using Canadian Red Cedar Wood shingles. Historically, sailing ships found the Spire great use at sea to steer by on their way from the Thames to the Foreland and Trinity House provided a grant of £100 in 1864 to repair it. Capping off the Spire is mounted a vane in the shape of an arrow with the date 1699 cut out in the centre.
The Church for many centuries had a tiled roof which has been renewed on several occasions. Much of the woodwork of the roof was renewed at the 1863 restoration.
At the base of the piers are stone seats which until the end of the 14th century were in most churches the only seats in naves.
In the near centre of the north wall behind the current location of the font, opposite the south door may be seen the outline of an arch used formerly as another door and blocked probably at the restoration of 1863.
The Chancel is dedicated to All Saints. The beautiful reredos, was completed in 1883 takes the form of a triptych. This was designed by a Mr. C. N. Beazley and painted by Mr. N. H. J. Westlake, F.S.A., a well known artist at that time. This was restored and cleaned at the end of 2010. On the north side of the Altar is what is probably an Easter Sepulchre. The oak Altar rails were installed in 1938, which were made by a local craftsman. On the south side of the Chancel attached to a pier is a brass of a priest wearing the vestments of the period. This was formerly on a ledger stone in the Sanctuary. The inscription states that the brass is to John Heynes, priest, sometime vicar of Monkton who died 9th October A.D. 1523.
The Crucifixion is the theme of the east window and was dedicated in 1873. The west window was the gift of Mr. Thomas Gray of Birchington Hall, which was later to become Spurgeons Childrens Home then Birch Hill Park and was dedicated in 1873.
In the vault beneath the Quex Chapel, formally the Lady Chapel, now filled in, are buried the previous owners and their relatives of Quex. This Chapel contains some wonderful and interesting monuments in brass, alabaster, stone and marble commemorating the owners of Quex from the early 15th century to the present day.
The Tower contains eight bells, the oldest being made in 1633. The Church Clock was installed in 1887, as a memorial of Queen Victoria's Jubilee. There are a number of old and interesting tombstones in the Churchyard, the one of most general interest is that of Rossetti whose grave lies near the south porch, which was designed by his friend Ford Maddox Brown. In 1910, the two vestries were added.
There is evidence of some of the pre-Reformation features, including the base panels of the medieval rood screen at the chancel steps, reinstated in 1905, and one of the corbels that held the great rood beam itself. Between 1863 and 1883 the Victorians made their contribution with a major renovation programme.
The most memorable windows in the church are in memory of Dante Gabriel Rossetti, who died in Birchington in 1882. The left is a reproduction of one of his own paintings, while the right was designed by Frank Shields.
In recent times there have been less dramatic changes. Among them, through the generosity of the present owner of Quex Park, the Quex Chapel has been made into a chapel of worship once more. In late 2010, the spire of All Saints became illuminated at night. It still stands like a beacon, welcoming people into the village from St Nicholas roundabout, encouraging travellers, as it has done since about 1350, to travel those last two miles with a lighter heart, knowing they are so near home.
www.allsaintsbirchington.com/All_Saint_Birchington/Histor...
Tried a different walk yesterday which worked quite well, even though a fair proportion of it is residential.
I spotted this pair of Collared Doves enjoying a cheeky sunbathe on the roof of one of the houses - a third was just out of shot.
The Collared Dove is essentially an Asian bird, but about 120 years ago it started to fan out from the Balkans and colonise our continent, reaching Britain in 1952 or soon after.
Woking, Surrey
5th April 2020
20200405 2I8A 3144
Black Gold 45 Revolver Bikini Swimsuit Model 45SURF Goddess! Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits Swimsuit Bikini Models! Athena! Athletic Fitness 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!
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!
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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
Sony A7R2 Bishop California Fine Art Autumn Landscapes! Dr. Elliot McGucken Fine Art Photography!
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 dx4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)
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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!
Subscribe to my new youtube channel and see how I used the divine section and golden rectangle, spiral, and ratio to get the cover of N-Photo Magazine with my fine-art landscape photo Sunrise at Toroweap in the Grand Canyon! And see how Ansel Adams and the great painters, photographers, and fine art masters all used the golden mean to exalt their compositions:
www.youtube.com/watch?v=JLlB_W3XG-k
www.youtube.com/channel/UC42cWDExI8K8stjROqOlLbQ
The golden section shows up in a lot of my surf and model photos too!
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All the best on your epic hero's odyssey! :)
Been hard at work on my books--my physics books on Dynamic Dimensions Theory (dx4/dt=ic) celebrating the hitherto unsung reality of the fourth expanding dimension which all the photons surf across the universe en route to making a photograph! Also working on an art, mythology, and photography book titled The Golden Hero's Odyssey! All the best on your Epic Hero's Odyssey! Always love hearing from y'all! :)
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!
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Follow me friends!
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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!
Black Surfboard! The famous black 45SURF surfboard! Beautiful Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness 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!
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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
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
The Golden Number Ratio in Dr. Elliot McGucken's Fine Art Landscapes & Ballerinas! See more of my golden number ratio work here:
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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!
Here are my notes to the class that convened on Saint Patrick's Day at PicNic. The value sketches to illustrate value in proportion are below this demo.
hi Watercolorists,
Thanks for another fun class. For those of you who were traveling or otherwise unable to join us, we missed you!
But we plowed ahead with our ranunculus, radicchios and other delicious subjects. And once again, great strides were made.
Here is my demo of a still life of lovely values, colors and shapes that Lisa arranged with a mildly pesky cloth under the fruit!
I woke up the other night and realized that not one of you has begun any of your paintings by drawing in pencil first. That is remarkable, and terrific. When I acknowledged it on Saturday, the class said "But you told us not to!!" Did I? I don't remember that! I know that I don't do it as drawing first can tighten things, and I am delighted and proud that each of you has braved this method. Drawing is the foundation of all art making. It never ever hurts to draw, but I love leaving it out of watercolors. So much can be lifted from watercolors, but once wet, pencil lines simply won't budge. To rely on your brushes to convey what you see is like climbing on a two wheeler and sailing forward without the tricycle stage. Direct attack! Bravo!
We talked about value and proportion.
Value is simply the lightness or darkness of ANY color. Yellow and violet - or any color- can hold the same value if mixed with the right amounts of water. It is hard to take color out of the conversation about watercolor, but the only way to really make your paintings soar is to have a strong sense of composition. That goes for any work of art in any medium.
*The strongest compositions have distinctive value choices in varying proportions.*
Below are some simple sketches to illustrate this. I took three basic values: light, medium and dark, and used them in three primary proportions- proportions being the amount of space each one gets on the sheet- calling those proportions minor, intermediate and major.
This takes some time to really understand, and longer to apply.
Can you tell which proportions the values in my color demo above hold? Squint your eyes to see them.
Classical Ballet Malibu Beach Ballerina Dancer Dancing Ballet! Pretty Swimsuit Bikini Model Goddess! Fine Art Ballet & Landscape & Nature Photography!
I sign every print with dx4/dt=ic, and 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 ...
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
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
Graceful, well-proportioned bodies and sharp features bring out the elegance of the female figure. The gestures of the subjects of the paintings express more than their looks.
Bundi is one of the few places in India, which can lay its claim to an authentic School of Painting. "The Bundi School" is an important school of the Rajasthani style of Indian miniature painting that lasted from the 17th to the end of the 19th century in this princely state (see picture 1 for more information).
The Golden Spiral, Fibonacci Spiral, & Golden Rectangle in Fine Art Photography! Malibu Moon & Milkyway! Starry Night Astrophotography! Nikon D810 & 14-24mm F2.8 Wide Angle Lens! Dr. Elliot McGucken Fine Art Landscapes & Seascape Photography!
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
Virgin's Boeing 787 900 visiting East Midlands on a crew training flight.
The 900 looks a better proportioned aircraft than the 800.
Durga
------
In Hinduism, Durga one who can redeem in situations of utmost distress; is a form of Devi, the supremely radiant goddess, depicted as having ten arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practising mudras, or symbolic hand gestures.
An embodiment of creative feminine force (Shakti), Durga exists in a state of tantrya (independence from the universe and anything/anybody else, i.e., self-sufficiency) and fierce compassion. Kali is considered by Hindus to be an aspect of Durga. Durga is also the mother of Ganesha and Kartikeya. She is thus considered the fiercer, demon-fighting form of Shiva's wife, goddess Parvati. Durga manifests fearlessness and patience, and never loses her sense of humor, even during spiritual battles of epic proportion.
The word Shakti means divine feminine energy/force/power, and Durga is the warrior aspect of the Divine Mother. Other incarnations include Annapurna and Karunamayi. Durga's darker aspect Kali is represented as the consort of the god Shiva, on whose body she is often seen standing.
Durga Slays Mahishasura, Mahabalipuram sculpture.
As a goddess, Durga's feminine power contains the energies of the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.
According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (an inhuman force/demon) named Mahishasura. He had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods went to Brahma, who had given Mahishasura the power not to be defeated by a man. Brahma could do nothing. They made Brahma their leader and went to Vaikuntha — the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. Hearing this Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their bodies. The blinding sea of light met at the Ashram of a priest named Katyan. The goddess Durga took the name Katyaayani from the priest and emerged from the sea of light. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme Brahman who had created all the gods. Now she had come to fight the demon to save the gods. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.
It is said that upon initially encountering Durga, Mahishasura underestimated her, thinking: "How can a woman kill me, Mahishasur — the one who has defeated the trinity of gods?" However, Durga roared with laughter, which caused an earthquake which made Mahishasur aware of her powers.
And the terrible Mahishasur rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.
Then Mahishasur began attacking once more, starting to take the form of a buffalo again. The patient goddess became very angry, and as she sipped divine wine from a cup she smiled and proclaimed to Mahishasur in a colorful tone — "Roar with delight while you still can, O illiterate demon, because when I will kill you after drinking this, the gods themselves will roar with delight".[cite this quote] When Mahashaur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.
Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini — the slayer of Mahishasur. According to one legend, the goddess Durga created an army to fight against the forces of the demon-king Mahishasur, who was terrorizing Heaven and Earth. After ten days of fighting, Durga and her army defeated Mahishasur and killed him. As a reward for their service, Durga bestowed upon her army the knowledge of jewelry-making. Ever since, the Sonara community has been involved in the jewelry profession [3].
The goddess as Mahisasuramardhini appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands [4]. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini (2-, 4-, 6-, and at Udayagiri, 12-armed). The spear and trident are her most common weapons. a Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a bufalo-faced demon (as contrasted with a buffalo demon); a variation also seen at Ellora. In later sculptures (post-seventh Century), sculptures show the goddess having decapitated the buffalo demon
Durga Puja
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Durga puja is an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. It refers to all the six days observed as Mahalaya, Shashthi , Maha Saptami, Maha Ashtami, Maha Navami and Bijoya Dashami. The dates of Durga Puja celebrations are set according to the traditional Hindu calendar and the fortnight corresponding to the festival is called Devi Paksha and is ended on Kojagori Lokkhi Puja
Durga Puja is widely celebrated in the Indian states of West Bengal, Assam, Jharkhand, Orissa and Tripura where it is a five-day annual holiday.In West Bengal and Tripura which has majority of Bengali Hindus it is the Biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the State, but it is also the most significant socio-cultural event in Bengali society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Bihar, Maharashtra, Gujarat, Punjab, Kashmir, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal and in Bangladesh where 10% population are Hindu. Nowadays, many diaspora Bengali cultural organizations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.
The prominence of Durga Puja increased gradually during the British Raj in Bengal. After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world.
Durga Puja also includes the worship of Shiva, Lakshmi, Ganesha, Saraswati and Kartikeya. Modern traditions have come to include the display of decorated pandals and artistically depicted idols (murti) of Durga, exchange of Bijoya Greetings and publication of Puja Annuals
Sony A7R2 Bishop California Fine Art Autumn Landscapes! Dr. Elliot McGucken Fine Art Photography!
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 dx4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)
Follow me & 45surf!!
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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!
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.
Yosemite Winter Fine Art Landscapes! Sony A7RII yosemite National Park Winter Snow! Dr. Elliot McGucken Fine Art Landscape Photography! Ansel Adams Tribute!
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John Muir: "When I reached the [Yosemite] valley, all the rocks seemed talkative, and more lovable than ever. They are dear friends, and have warm blood gushing through their granite flesh; and I love them with a love intensified by long and close companionship. … I … bathed in the bright river, sauntered over the meadows, conversed with the domes, and played with the pines."
"Between every two pine trees there is a door leading to a new way of life."--John Muir
"I would advise sitting from morning till night under some willow bush on the river bank where there is a wide view. This will be "doing the valley" far more effectively than riding along trails in constant motion from point to point. The entire valley is made up of "points of interest." --John Muir on Yosemite!
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Had a great time waking up at 5 AM every day to shoot tunnel view and then driving around down in the valley to Half Dome, Bridalviel Falls, Cook's Meadow and the glorious Cook's Meadow elm tree, Sentinel Bridge, Valley View, Swinging Bridge, and more! Yosemite winters are made for black and whites, and Ansel Adam's ghost haunts the brilliant landscape scenery!
The most epic "Ansel Adams" view is tunnel view where one can see El Capitan, Bridalviel Falls, and Half Dome over magnificent trees, snow, rising fogs, and breaking mists. Enjoy!
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 dx4/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 Yosemite valley village winter snowstorm!
Yosemite Winter Fine Art Landscapes! Sony A7RII yosemite National Park Winter Snow! Dr. Elliot McGucken Fine Art Landscape Photography
Beautiful High Res Fine Art Ballerina Dancing Classical Ballet in Pointe Shoes Goddess! Golden Ratio Photography Surf Goddesses! Athletic Action Portraits of Professional Ballerinas! Bikini Swimsuit Aphrodite! Athletic Fitness Models! 45SURF 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!
The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft. It was also the only British fighter to be in continuous production throughout the war. The Spitfire continues to be a popular aircraft, with approximately 55 Spitfires being airworthy, while many more are static exhibits in aviation museums all over the world.
The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works (which operated as a subsidiary of Vickers-Armstrong from 1928). In accordance with its role as an interceptor, Mitchell designed the Spitfire's distinctive elliptical wing to have the thinnest possible cross-section; this thin wing enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane. Mitchell continued to refine the design until his death from cancer in 1937, whereupon his colleague Joseph Smith took over as chief designer, overseeing the development of the Spitfire through its multitude of variants.
During the Battle of Britain (July–October 1940), the Spitfire was perceived by the public to be the RAF fighter, though the more numerous Hawker Hurricane shouldered a greater proportion of the burden against the Luftwaffe. However, because of its higher performance, Spitfire units had a lower attrition rate and a higher victory-to-loss ratio than those flying Hurricanes.
After the Battle of Britain, the Spitfire superseded the Hurricane to become the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber and trainer, and it continued to serve in these roles until the 1950s. The Seafire was a carrier-based adaptation of the Spitfire which served in the Fleet Air Arm from 1942 through to the mid-1950s. Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 1,030 hp (768 kW), it was strong enough and adaptable enough to use increasingly powerful Merlin and, in later marks, Rolls-Royce Griffon engines producing up to 2,340 hp (1,745 kW); as a consequence of this the Spitfire's performance and capabilities improved, sometimes dramatically, over the course of its life.
Mk V (Types 331, 349 & 352)
Spitfire LF.Mk VB, BL479, flown by Group Captain M.W.S Robinson, station commander of RAF Northolt, August 1943. This Spitfire has the wide bladed Rotol propeller, the internal armoured windscreen and "clipped" wings.
Late in 1940, the RAF predicted that the advent of the pressurised Junkers Ju 86P bomber series over Britain would be the start of a new sustained high altitude bombing offensive by the Luftwaffe, in which case development was put in hand for a pressurised version of the Spitfire, with a new version of the Merlin (the Mk VI). It would take some time to develop the new fighter and an emergency stop-gap measure was needed as soon as possible: this was the Mk V.
The basic Mk V was a Mk I with the Merlin 45 series engine. This engine delivered 1,440 hp (1,074 kW) at take-off, and incorporated a new single-speed single-stage supercharger design. Improvements to the carburettor also allowed the Spitfire to use zero gravity manoeuvres without any problems with fuel flow. Several Mk I and Mk II airframes were converted to Mk V standard by Supermarine and started equipping fighter units from early 1941. The majority of the Mk Vs were built at Castle Bromwich.
The VB became the main production version of the Mark Vs. Along with the new Merlin 45 series the B wing was fitted as standard. As production progressed changes were incorporated, some of which became standard on all later Spitfires. Production started with several Mk IBs which were converted to Mk VBs by Supermarine. Starting in early 1941 the round section exhaust stacks were changed to a "fishtail" type, marginally increasing exhaust thrust. Some late production VBs and VCs were fitted with six shorter exhaust stacks per side, similar to those of Spitfire IXs and Seafire IIIs; this was originally stipulated as applying specifically to VB(trop)s. After some initial problems with the original Mk I size oil coolers, a bigger oil cooler was fitted under the port wing; this could be recognised by a deeper housing with a circular entry. From mid-1941 alloy covered ailerons became a universal fitting.
Spitfire VC(trop), fitted with Vokes filters and "disc" wheels, of 417 Squadron RCAF in Tunisia in 1943.
A constant flow of modifications were made as production progressed. A "blown" cockpit hood, manufactured by Malcolm, was introduced in an effort to further increase the pilot's head-room and visibility. Many mid to late production VBs - and all VCs - used the modified, improved windscreen assembly with the integral bullet resistant centre panel and flat side screens introduced with the Mk III. Because the rear frame of this windscreen was taller than that of the earlier model the cockpit hoods were not interchangeable and could be distinguished by the wider rear framing on the hood used with the late-style windscreen.
Different propeller types were fitted, according to where the Spitfire V was built: Supermarine and Westland manufactured VBs and VCs used 10 ft 9 in (3.28 m) diameter, 3 bladed de Havilland constant speed units, with narrow metal blades, while Castle Bromwich manufactured VBs and VCs were fitted with a wide bladed Rotol constant speed propeller of either 10 ft 9 in (3.28 m) diameter, with metal blades, or (on late production Spitfires) 10 ft 3 in (3.12 m) diameter, with broader, "Jablo" (compressed wood) blades. The Rotol spinners were longer and more pointed than the de Havilland leading to a 3.5 in (8.9 cm) increase in overall length. The Rotol propellers allowed a modest speed increase over 20,000 ft (6,100 m) and an increase in the service ceiling. A large number of Spitfire VBs were fitted with "gun heater intensifier" systems on the exhaust stacks. These piped additional heated air into the gun bays. There was a short tubular intake on the front of the first stack and a narrow pipe led into the engine cowling from the rear exhaust.
The VB series were the first Spitfires able to carry a range of specially designed "slipper" drop tanks which were fitted underneath the wing centre-section. Small hooks were fitted, just forward of the inboard flaps: when the tank was released these hooks caught the trailing edge of the tank, swinging it clear of the fuselage.
With the advent of the superb Focke Wulf Fw 190 in August 1941 the Spitfire was for the first time truly outclassed, hastening the development of the "interim" Mk IX. In an effort to counter this threat, especially at lower altitudes, the VB was the first production version of the Spitfire to use "clipped" wingtips as an option, reducing the wingspan to 32 ft 2 in (9.8 m).The clipped wings increased the roll rate and airspeed at lower altitudes. Several different versions of the Merlin 45/50 family were used, including the Merlin 45M which had a smaller "cropped" supercharger impeller and boost increased to +18 lb. This engine produced 1,585 hp (1,182 kW) at 2,750 ft (838 m), increasing the L.F VB's maximum rate of climb to 4720 ft/min (21.6 m/s) at 2,000 ft (610 m).
VB Trop of 40 Squadron SAAF fitted with the "streamlined" version of the Aboukir filter, a broad-bladed, 10 ft 3 in (3.12 m) diameter Rotol propeller, and clipped wings.
The Mk VB(trop) (or type 352) could be identified by the large Vokes air filter fitted under the nose; the reduced speed of the air to the supercharger had a detrimental effect on the performance of the aircraft, reducing the top speed by 8 mph (13 km/h) and the climb rate by 600 ft/min (3.04 m/s), but the decreased performance was considered acceptable. This variant was also fitted with a larger oil tank and desert survival gear behind the pilot's seat. A new "desert" camouflage scheme was applied. Many VB(trop)s were modified by 103 MU (Maintenance Unit-RAF depots in which factory fresh aircraft were brought up to service standards before being delivered to squadrons) at Aboukir, Egypt by replacing the Vokes filter with locally manufactured "Aboukir" filters, which were lighter and more streamlined. Two designs of these filters can be identified in photos: one had a bulky, squared off filter housing while the other was more streamlined. These aircraft were usually fitted with the wide blade Rotol propeller and clipped wings.
Triumph Spitfire Mk I Roadster
The Triumph Spitfire is a small English two-seat sports car, introduced at the London Motor Show in 1962.[3] The vehicle was based on a design produced for Standard-Triumph in 1957 by Italian designer Giovanni Michelotti. The platform for the car was largely based upon the chassis, engine, and running gear of the Triumph Herald saloon, and was manufactured at the Standard-Triumph works at Canley, in Coventry. As was typical for cars of this era, the bodywork was fitted onto a separate structural chassis, but for the Spitfire, which was designed as an open top or convertible sports car from the outset, the ladder chassis was reinforced for additional rigidity by the use of structural components within the bodywork. The Spitfire was provided with a manual hood for weather protection, the design improving to a folding hood for later models. Factory-manufactured hard-tops were also available.
The Triumph Spitfire was originally devised by Standard-Triumph to compete in the small sports car market that had opened up with the introduction of the Austin-Healey Sprite. The Sprite had used the basic drive train of the Austin A30/35 in a light body to make up a budget sports car; Triumph's idea was to use the mechanicals from their small saloon, the Herald, to underpin the new project. Triumph had one advantage, however; where the Austin A30 range was of unitary construction, the Herald featured a separate chassis. It was Triumph's intention to cut that chassis down and clothe it in a sports body, saving the costs of developing a completely new chassis / body unit.
Italian designer Michelotti—who had already penned the Herald—was commissioned for the new project, and came up with a traditional, swooping body. Wind-up windows were provided (in contrast to the Sprite/Midget, which still featured sidescreens, also called curtains, at that time), as well as a single-piece front end which tilted forwards to offer unrivaled access to the engine. At the dawn of the 1960s, however, Standard-Triumph was in deep financial trouble, and unable to put the new car into production; it was not until the company was taken over by the Leyland organization funds became available and the car was launched. Leyland officials, taking stock of their new acquisition, found Michelotti's prototype hiding under a dust sheet in a corner of the factory and rapidly approved it for production.
Spitfire 4 or Mark I (1962-1964)
Overview:
Production1962–1964
45,753 made
Powertrain:
Engine1,147 cc (1.1 l) I4
Transmission4-speed manual with optional overdrive on top and third from 1963 onwards
Dimensions:
Curb weight1,568 lb (711 kg) (unladen U.K.-spec)
The production car changed little from the prototype, although the full-width rear bumper was dropped in favour of two part-bumpers curving round each corner, with overriders. Mechanicals were basically stock Herald. The engine was an 1,147 cc (1.1 l) 4-cylinder with a pushrod OHV cylinder head and 2 valves per cylinder, mildly tuned for the Spitfire, fed by twin SU carburettors. Also from the Herald came the rack and pinion steering and coil-and-wishbone front suspension up front, and at the rear a single transverse-leaf swing axle arrangement. This ended up being the most controversial part of the car: it was known to "tuck in" and cause violent over steer if pushed too hard, even in the staid Herald. In the sportier Spitfire (and later the 6-cylinder Triumph GT6 and Triumph Vitesse) it led to severe criticism. The body was bolted to a much-modified Herald chassis, the outer rails and the rear outriggers having been removed; little of the original Herald chassis design was left, and the Spitfire used structural outer sills to stiffen its body tub.
The Spitfire was an inexpensive small sports car and as such had very basic trim, including rubber mats and a large plastic steering wheel. These early cars were referred to both as "Triumph Spitfire Mark I" and "Spitfire 4", not to be confused with the later Spitfire Mark IV.
In UK specification the in-line four produced 63 bhp (47 kW) at 5750 rpm, and 67 lb·ft (91 N·m)of torque at 3500 rpm. This gave a top speed of 92 mph (148 km/h), and would achieve 0 to 60 mph (97 km/h) in 17.3 seconds. Average fuel consumption was 31mpg.
For 1964 an overdrive option was added to the 4-speed manual gearbox to give more relaxed cruising. Wire wheels and a hard top were also available.
Text regarding the Supermarine Spitfire aeroplane and Triumph Spitfire Roadster has been taken from excerpts of Wikipedia articles on each model.
The Supermarine Spitfire Mk VB aircraft and 1962 Triumph Spitfire Mk I road car have been modelled in Lego miniland-scale for Flickr LUGNuts' 79th Build Challenge, - 'LUGNuts goes Wingnuts, ' - featuring automotive vehicles named after, inspired by, or with some relationship to aircraft.
Beautiful High Res Fine Art Ballerina Dancing Classical Ballet in Pointe Shoes Ballet Slippers Leotard Tutu Goddess! Golden Ratio Photography! Athletic Action Portraits of Professional Ballerinas! Bikini Swimsuit Aphrodite! Athletic Fitness Models! 45SURF 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!
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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
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Mod
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!
Classical Ballet Malibu Beach Ballerina Dancer Dancing Ballet! Pretty Swimsuit Bikini Model Goddess! Fine Art Ballet & Landscape & Nature Photography!
I sign every print with dx4/dt=ic, and 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 ...
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
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!
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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 :)
Bikini Swimsuit Model Goddess! Blonde California Surf Girl Laguna Beach! Pretty Blue Eyes & Pink Bikini Model Goddess! Tall, Thin, & Fit! 45SURF dx4/dt=ic 45EPIC
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
All the photography, swimsuits, gold 45 revolver and 45surf logos, clothing designs, and lingerie are composed and designed in accordance with the golden ratio and divine proportion!
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, thusly providing symmetry over not only space but time, and exalting life’s foundational dynamic symmetry. Robust, ordered, symmetric 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 the arrangement of nature’s discrete 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 they and all their vital sustenance, as well as all the flowers and nature’s epic beauty, had been created—the golden ratio.
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!
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Light Time Dimension Theory's dx4/dt=ic graces all the clothes, swimsuits, and lingerie!
Proof of Light Time Dimension Theory's principle of a fourth expanding dimension:
Proof of ltd’s principle:
1. The velocity of every object through
Spacetime is c.
2. The velocity of light through the
Three spatial dimensions is always c.
3. If light had any velocity through x4,
Light’s total velocity would not be c.
4. Ergo light remains stationary in x4.
5. Thus light tracks and traces the
Movement and character of x4.
6. As light is a spherically-symmetric,
Probabilistic wavefront expanding
At c, x4 expands at the rate of c in a
Spherically-symmetric manner,
Distributing nonlocality.
QED
Beautiful Angel Goddess The Birth of Venus! White Summer Dress! 45Epic 45SURF Swimsuit Bikini Model! Beautiful Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! High Res Venus! Sexy Hot 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!
Beautiful Redhead Ginger Goddess! Pretty Red Hair! Bikini Beach Model Venus Golden Ratio Composition Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness 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!
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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
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!