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I was contacted last week from a travel agency asking permission to use my photos for their travel website. The one they chose was my birds eye view of Warwick Castle. I was not paid for this, thus, maintaining my amature status.
My photo and credit has been given on their website. Check them out here:
Published by Puffin in 1973 - a favourite of many!
From the intro page:
One of the best things about a dolls' house is imagining what goes on inside it when the dolls are by themselves. 'Now they're private and can do what they like' Elizabeth Small used to say after she'd closed the door on her own house... Then one wonderful day she discovered the secret of growing small herself, and walked through the front door to meet her doll family...
Published - VOGUE italia, photographed by Vital Agibalow ( face of HENSEL USA )MakeUp & Hair by Kate Romanoff Model - Tori Maisey
Here's my cycling photo in the June 2010 issue of Popular Photography (on newsstands now!), on page 67. :-)
Published as shot i.e. no post-processing.
View even larger: farm3.static.flickr.com/2129/2264736732_887b96131a_o.jpg
An excellent 1960s-70s photo-journalism exhibition in Ebisu, Tokyo. Until 23 September 2014 (three more days!).
"Okamura Akihiko (1929-85) made his international debut as a photojournalist with nine pages of photographs of the Vietnam War published in the June 12, 1964, issue of LIFE magazine. He was immediately seen as the next Robert Capa. In 1965, he scored another scoop by obtaining an interview with Huynh Tan Phat,the second highest official in the National Liberation Front for South Vietnam(NLF), but was then banned from re-entering South Vietnam for five years. While unable to visit South Vietnam, Okamura worked as a photojournalist in the Dominican Republic, Hawaii, and Tahiti and, in 1968, moved to Ireland with his family. His purpose in moving to Ireland was not only to photograph the “Troubles” in Northern Ireland. He was also in search of the ancestral roots of John F. Kennedy, America's first Irish-American president, who regarded the Vietnam War as an experiment in warfare in the nuclear age. From his base in Ireland, he also became the first Japanese photojournalist to photograph the war for independence in Biafra. Then, when the prohibition on his visiting Vietnam was lifted in 1971, he succeeded in documenting the defeat of the South Vietnamese army (ARVN) in the Laotian Incursion, despite robust controls on reporting. ..."
For more info, visit:
Japanese:
syabi.com/contents/exhibition/index-2242.html
English:
Very gratifying to have my photograph "Silo" selected by Amateur Photographer Magazine as their "Online Picture of the Week" and published in the 15 November 2014 issue of the magazine.
Original photo: www.flickr.com/photos/dave_horton/15359788627/
Published via my blog (www.travishale.com) @ bit.ly/1FQsHCa, visit my blog for more information and images.
Radiohead
Secret Solstice 2016
Friday, June 17th, 2016
Reykjavik, Island
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Chasing Daylight for Cosmopolitan HK
Photography : Shavonne Wong/ Zhiffy Photography
Art Direction & Styling : Irene Chan
Model : Ting Wai /Style Management
Make-up & Hair : Angel Wong
Styling Assistant & Coordination : Tammy Chan
Blog post and BTS images:
The Columbus Metro Parks has included one of my photos (golden spider web at sunrise, take at Three Creeks Metro Park) in their Autumn edition of the Parkscope. Doing me cute happy dance : )
This week, I came home to find a plaque that featured one of my photos. In the Fall, my photo was selected from over 500 photos as a winner and lead photo of the Annual Fall Photo contest. The paper has a distribution of approximately 415,000. It was fun to get the call while at WDW. Thanks for looking.
P.S. I have nothing to do with the bomber on the right ;-)
This photograph was published in the Illustrated Chronicle on the 16th of February 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Besides here, I publish different stuff in Instagram so you may want to follow me there too (please do!):
Además de aquí, suelo subir fotos a Instagram, así que a lo mejor te apetece seguirme también por ahí, (¡hazlo por favor!):
Instagram: www.instagram.com/tefocoto/
PLEASE
• Do not post animated gifs or pictures in your comments. Especially the "awards". These will simply be deleted and the poster blocked. Unless it's an interesting other picture, for comparison or reference.
• No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment. These will simply be deleted and the poster blocked.
Nothing personal here, I simply don't see the usefulness of such actions. On the other hand I encourage you to critic my work as I believe that is the best way to improve my photography. Thank you!
POR FAVOR
-No pongas gifs animados, logos o premios (awards) en tu comentario. A no ser que la imagen que incluyas esté para compararla con la mía o para ilustrar un punto de vista borraré esos comentarios y bloquearé al que lo pone.
-No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo. Borraré esos comentarios y bloquearé al que lo pone.
Nada personal, es solo que no le veo el sentido a ese tipo de comportamientos. A cambio te animo a que me critiques sin piedad, pero con respeto, mi trabajo, porque solo así puedo seguir avanzando como fotógrafo. Gracias!
The Postcard
A postally unused carte postale published by A. Leconte, 38 Rue Ste.-Croix-de-la-Bretonnerie, Paris.
La Place de la Concorde
The Place de la Concorde is one of the major public squares in Paris. Measuring 7.6 ha (19 acres) in area, it is the largest square in the French capital. It is located in the city's eighth arrondissement, at the eastern end of the Champs-Élysées.
It was the site of many notable public executions, including those of King Louis XVI, Marie Antoinette and Maximilien Robespierre in the course of the French Revolution, during which the square was temporarily renamed Place de la Révolution.
History of the Place de la Concorde
The Place was originally designed to be the site of an equestrian statue of King Louis XV, commissioned in 1748 by the merchants of Paris, to celebrate the recovery of King Louis XV from a serious illness.
The site chosen for the statue was the large esplanade or space between the revolving gate the Tuileries Gardens and the Cour-de-la-Reine, a popular lane for horseback riding at the edge of the city.
At the time the Concorde bridge and the Rue de Rivoli did not exist, and the Rue Royale was a muddy lane that descended down to a marsh beside the Seine.
The architect Ange-Jacques Gabriel made a plan for the site, and the square was finished by 1772. It was in the form of an octagon, bordered by a moat twenty meters wide, crossed by stone bridges, and surrounded by a stone balustrade.
At the eight corners Gabriel placed stone stairways to descend into the Place, which was divided into flowerbeds. In the center of the gardens was the pedestal on which the statue stood.
The statue, by Bouchardon, depicted the King on horseback as the victor of the Battle of Fontenoy, dressed as a Roman general, with a laurel wreath on his head.
The four corners of the pedestal were designed with bronze statues by Jean-Baptiste Pigalle, depicting the virtues of great monarchs; Force, Justice, Prudence, and Peace.
The statue was dedicated on the 20th. June 1763, but by this time the King had lost much of his popularity. A few days after its dedication, someone hung a placard on the statue, proclaiming:
"Oh, the beautiful statue! Oh, the fine
pedestal! The Virtues are under the
feet, and Vice is in the saddle!"
On the north side of the square, between 1760 and 1775, Gabriel built two palatial buildings with identical façades. The classical façades were inspired by those created by Charles Perrault, the royal architect, for the facade of the Louvre.
They were originally intended to be occupied by embassies, but in the end the east building became a depot for the Royal furnishings, before becoming the headquarters of the French Navy, the Hôtel de la Marine. The west building was divided into individual properties for the nobility.
The French Revolution
Beginning in 1789, the Place was a central stage for the events of the French Revolution. On the 13th. July 1789, a mob came to the Hotel de la Marine and seized a store of weapons, including two old cannon, gifts from the King of Siam, which fired the first shots during the storming of the Bastille on the 14th. July 1789.
On the 11th. August 1792, the statue of Louis XV was pulled down and taken to a foundry, where it was melted down. A few months later, a new statue, "Liberty", by the sculptor François-Frédéric Lemot, took its place; it was figure wearing a red liberty cap and holding a lance. The Place Louis XV became the Place de la Revolution.
The first executions by guillotine in the square, those of the two thieves who had stolen the royal crown diamonds from the Hotel de la Marine, took place there in October 1792. On the 21st. January 1793, the guillotine was used to execute King Louis XVI. The guillotine was nicknamed 'The National Razor'.
As the Reign of Terror commenced, it was set up again on the 11th. May 1793, midway between the Statue of Liberty and the turning bridge at the entrance to the Tuileries Gardens, and remained there for thirteen months.
Of the 2,498 persons executed by the guillotine in Paris during the Revolution, 1,119 were executed in the Place de la Concorde, 73 in the Place Bastille and 1,306 in the Place de la Nation.
Beside Louis XVI, others executed there included Marie-Antoinette, Charlotte Corday, Madame du Barry, and Antoine Lavoisier.
In the later days of the Terror, after the 27th. July 1794, the revolutionaries Georges Danton, Maximilien Robespierre and Louis de Saint-Just were guillotined. The last executions, those of the Prairial rlot participants, were carried out in the Place de la Concorde in May 1795.
In 1790, early in the French Revolution, the Concorde bridge was constructed, and, at the suggestion of Jacques-Louis David, the statues of the "Horses of Marly" by G. Cousteau, were placed on the north side, at the entrance to the Champs-Élysées.
In 1795, under the Directory, the square was renamed Place de la Concorde as a gesture of reconciliation after the turmoil of the revolution.
The Place de la Concorde in the 19th. Century
In 1806, Napoleon Bonaparte began to construct the Rue de Rivoli along the edge of the square.
After the Bourbon Restoration of 1814, the name of the square was changed back to Place Louis XV, and in 1826 it was renamed Place Louis XVI. After the July Revolution of 1830 the name was returned to Place de la Concorde.
Under King Louis-Philippe, and his prefect of the Seine, Rambuteau, the square was remade. IN 1832, Jacques Ignace Hittorff was named chief architect of the project.
In October 1835 Hittorff installed the new centrepiece of the square, the Luxor Obelisk, a gift to the King from the vice-pasha of Egypt, Mehemet Ali. It was hoisted into place, before a huge crowd, on the 25th. October 1836.
Hittorff commissioned celebrated sculptors, including James Pradier and Jean-Pierre Cortot to make eight statues representing the major cities of France, which were placed in 1838 on columns which had earlier been put in place around the square. A ring of twenty columns with lanterns was put in place at the same time.
Between 1836 and 1840, Hittorff erected two monumental fountains, the Fontaine Maritime on the side of the Seine, and the Fontaine Fluviale on the side of the Rue Royale. The design, with two fountains each nine meters high, was modelled after that of the fountains of Saint-Peter's Square in Rome.
In 1853, under Napoleon III, the deep moats around the square, which had turned into rendezvous-points for prostitutes, were filled in.
Events in the Place de la Concorde
The Place was the entry point for two major international expositions:
-- The Paris Universal Exposition of 1900, which
left behind the Grand Palais and the Petit Palais.
-- The 1925 International Exhibition of Modern
Decorative and Industrial Arts, which gave its
name to Art Deco.
The square was also the site of great national celebrations, including the victory celebrations of the end of the Great War.
Crowds celebrating the August 1944 Liberation of Paris in the Second World War had to scatter from German sniper fire.
The square has experienced violent confrontations, including a demonstration against parliamentary corruption in 1934 which turned violent, with eleven deaths and two hundred injured.
The Luxor Obelisk
The centrepiece of the Place de la Concorde is an ancient Egyptian obelisk decorated with hieroglyphics. In the 1800's François Chabas produced a full translation of these. They exalt the reign of Ramesses II, and also praise Amun-Ra and Horus.
The obelisk is a monolith carved from a single block of red granite. It is one of two which the Egyptian government gave to the French in the 19th. century. The other, slightly larger one, stayed in Egypt, too difficult and heavy to move to France with the technology available at that time.
On the 26th. September 1981, President François Mitterrand formally returned the title of the second obelisk to Egypt.
The obelisk once marked the entrance to the Luxor Temple. The Khedive of Egypt, or royal constitutional monarch, Muhammad Ali Pasha, offered the 3,300-year-old Luxor Obelisk as a diplomatic gift to France in November 1829.
This was in spite of the fact that the obelisks had previously been given to the British, and the fact that the French diplomat arranging the acquisition, Baron Taylor, had been authorized to do so by Charles X, who had been overthrown in July.
The obelisk was taken down and transported to France by a ship custom-built for the transport, the Luxor.
In reciprocation for the gift, France gave a mechanical clock in the 1840's, today known as the Cairo Citadel Clock. The clock has rarely worked since its arrival in Cairo, but in 2021 the Supreme Council of Antiquities announced that:
"Egypt is seeking to repair the citadel
clock, one of the oldest of its type in
the world, so that it will work again."
The obelisk arrived in Paris on the 21st. December 1833.
Three years later, it was hoisted into place, on top of the pedestal which originally supported the statue of Louis XVI, destroyed during the July Revolution 1830. In 1839, diagrams explaining the complex machinery that was used for the transportation were added to the pedestal.
The original Egyptian pedestals involved sculptures of baboons with prominent male genitalia, raising their hands to the sun. A fragment of this original pedestal from the rear of the remaining obelisk was brought to Paris at the same time as the obelisk, intended to be displayed with it. Deemed too obscene for public exhibition, it was sent to the Egyptian section of the Louvre.
The raising of the column was a major feat of engineering, depicted by illustrations on the base of the monument. King Louis Philippe dedicated the obelisk on the 25th. October 1836.
The obelisk is 23 metres (75 ft) high, including the base, and weighs over 250 tonnes. Given the technical limitations of the day, transporting it was no easy feat.
The Paris obelisk has a fissure in the original stone that had been tended to in antiquity.
The eastern and western faces of both obelisks are slightly convex, the only two ancient obelisks with this feature, and the reason for this is not understood.
The government of France added a gold-leafed pyramidal cap to the top of the obelisk in 1998, replacing the missing original, believed to have been stolen in the 6th. century BC.
More Recent Events Associated With the Obelisk
Modern events include the following:
-- On the 1st. December 1993, demonstrators from Act Up Paris. an organization dedicated to fighting AIDS, covered the Parisian obelisk with a giant pink condom to mark World AIDS Day.
-- In 1998 Alain "Spiderman" Robert, the French urban climber, illegally scaled the Parisian obelisk without the use of any ropes or other climbing equipment or safety devices.
-- In 1999 as part of Paris's millennium celebration activities, 300 brass disks and nearly 1,000 feet of yellow thermosensitive strips were placed around the obelisk in order to use it as the gnomon of a functioning sundial. They remained until the end of the year 2000.
-- In 2015 Milène Guermont's monumental interactive sculpture PHARES was displayed next to the obelisk for several months, where it was designed to illuminate the obelisk.
Besides here, I publish different stuff in Instagram so you may want to follow me there too (please do!):
Además de aquí, suelo subir fotos a Instagram, así que a lo mejor te apetece seguirme también por ahí, (¡hazlo por favor!):
Instagram: www.instagram.com/tefocoto/
PLEASE
• Do not post animated gifs or pictures in your comments. Especially the "awards". These will simply be deleted and the poster blocked. Unless it's an interesting other picture, for comparison or reference.
• No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment. These will simply be deleted and the poster blocked.
Nothing personal here, I simply don't see the usefulness of such actions. On the other hand I encourage you to critic my work as I believe that is the best way to improve my photography. Thank you!
POR FAVOR
-No pongas gifs animados, logos o premios (awards) en tu comentario. A no ser que la imagen que incluyas esté para compararla con la mía o para ilustrar un punto de vista borraré esos comentarios y bloquearé al que lo pone.
-No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo. Borraré esos comentarios y bloquearé al que lo pone.
No es nada personal, es solo que no le veo el sentido a ese tipo de comportamientos. A cambio te animo a que me critiques sin piedad, pero con respeto, mi trabajo, porque solo así puedo seguir avanzando como fotógrafo. Gracias!
First Minister: “Choice is between economic recovery or economic retreat."
Growth in Scotland’s onshore revenues last year has more than offset the downturn in oil revenues, figures published today in Government Expenditure and Revenue Scotland 2015-16 (GERS) have shown.
SHANGHAI: A History in Photographs, 1842-Today
Author：
Liu Heung Shing & Karen Smith
Publisher：
Viking Penguin
Shanghai traces the story of the most modern of China’s cities, through evocative, beautiful and sometimes painful images. In 1842, the signing of the ignominious Treaty of Nanking turned a small riverside stop-off into a bustling treaty port. Over the near-170 years that followed, Shanghai was shaped and defined by outside forces, from the foreign concessions and Japanese occupiers through to the arrival of the Communists and the cult of Mao. Through civil war, invasion, revolution and famine, Shanghai beat the odds to become a thriving metropolis that commands a place in the contemporary imagination unlike any other. Shanghai has unceasingly been a byword for style, culture, business, and opportunity, and has led the way in China’s ongoing economic boom. The story told through the pages of Shanghai is both grand in scale, and domestic in tone. Photographs depict families living under the cloud of war, enjoying the fine life accorded by a booming international trade (as much in pictures of the 19th century as today), and suffering the inequalities of poverty. Time moves on and fashions change, but above all else, it is the humanity of the city of Shanghai shines through in this spectacular and sweeping history.
Liu Heung Shing was born in Hong Kong in 1952, and is a photojournalist with a career spanning more than twenty years. In 1992, Liu became the first ethnic Chinese person to win a Pulitzer Prize, sharing it for his coverage of the collapse of the Soviet Union. With international assignments for the Associated Press and Time magazine to his name, Liu is the author of China After Mao (Penguin, 1983) and China: Portrait of a Country (Taschen, 2008).
Karen Smith is a Beijing-based British art historian, specializing in contemporary Chinese art of the post-Mao era. She is the author of Ai Weiwei (Phaodon, 2009) and is currently finishing her forthcoming book, Bang to Boom: Chinese Art in the 1990s.