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Never have I dealt with anything more difficult than my own soul, which sometimes helps me and sometimes opposes me.
Al-Ghazali
At first glance, the comparison of these two monuments seems only to be a source of antithesis; however contradictory the suggestion may seem, it will only be a question of analogies. In an ingenious and documented study, Mr Knauth, architect of Strasbourg Cathedral, demonstrated that, under an absolutely different appearance, the basilica entrusted to his care and the Great Pyramid of Egypt, known as Cheops, were designed according to an identical formula.
After the work of Colonel Howard Vyse and John Taylor, Piazzi Smyth did further research. At the entrance to the antechamber of the royal tomb, in the middle of a granite slab, a round button protrudes a fifth of its thickness. Smyth claims to find there the unit of measurement of the master builder of the pyramid; he calls the meter pyramidal five times the thickness of this button, that is to say a measure of 0.6356 m, and for this meter he adopts a division into twenty-five inches of pyramid; this mysterious detail would thus have a thickness of five inches and a projection of one inch. "It is hardly doubtful, writes Smyth, that this measure served as a unit to the builder as well in his project as in the execution, because all the measurements of lanes and chambers give rise to the most surprising relations, if they are carried out by means of this measure. "The pyramidal metre represents exactly the twenty millionth part of the earth's diameter. The latter has 12 712 178 meters[8]. The pyramidal metre is therefore worth 0.6 356 089 metre.Faced with these similarities, one naturally begins to wonder whether certain architectural principles dating back to the highest antiquity have not been perpetuated by tradition through the ages. As a result of the frequent surveys required by the floods of the Nile, the Egyptians were familiar with the surveying and geometric layouts; the Gothic masters were not inferior on these points; the marvellous monuments of all sizes they left us prove this overabundantly.
Were the rules put into practice kept by each other in the construction workshops as mysterious secrets? So many questions that it is easier to ask than to solve.
Thus reduced to his mathematical data alone, Mr. Knauth's work takes on a categorical appearance that he does not have in the original work. The eminent architect does not attempt to draw absolute and reckless consequences from his study. He only hopes that the same surveying process will be applied to other medieval édifices. In the future now to tell us if new experiences will come confirmer his thesis.
In the records of the city of London, the term "alchemy" appears as early as 1375. In those days, this referred to working fith fire permitted to freely travel the country at a time when the feudal system shackled most peasants closely to the land. They gathered in groups to work on large projects, moving from one finished castle or cathedral to the planning and building of the next. For mutual protection, education, and training, they bound themselves together into a local lodge - the building, put up at a construction site, where workmen could eat and rest. Eventually, a lodge came to signify a group of macigians based in a particular locality. The premier alchemist lodge was formed in England in 1717, the official date of the organization of the various lodges and the start of Alchemy proper. Although the style of Alchemic ritual suggest Egyptian, Greek, Roman, Templar, Rosicrucian and qabalistic origins, nothing less is true. A historical link cannot be established and given the fact that in those days no alchemists was able to read Egyptian, no direct connection with Egyptian spirituality was available. Unmistakably, the Founding Fathers of Alchemy incorporated Egyptian symbols in their various rituals and grades, as every one dollar bill makes clear. These archaisms prove the need of Alchemy to root its teachings and practices in a nonexistent, fictional historical past in order to give itself, its rituals and precepts an air of antiquity. This is especially the case in the Romantic era, when exotic tastes became fashionable. With egyptomania no longer served isolated individuals & groups, but fed the ruling classes, who were desperately trying to cope with the antagonisms and lack of humanity of emergent capitalism and the religious wars raging in Europe since the days of Luther (1483 - 1546). Alchemy and its founding myth was deemed the alternative of the educated. The God of revelation was also the "Great Architect", and in every lodge a Bible or a Koran was present. This to show the "God of the philosophers" was not a priori in conflict with the God of revelation. But the Roman Church was antagonistic, as could be expected. As a system of personal growth within a closed community of kindred spirits, alchemy survived to this day, divided between those who accept God and those who do not, between those who see symbols as instruments of growth and those who use them as gates to occult regions of the universe. Alchemy has become (or has always been ?) conservative and opaque. Its non-transparant and non-democratic (military) features may run against non-strategic, open communication, which is the foundation of social-economical justice and equality. Philosophy is more of an interest group than a spiritual organization, although some lay claim to precisely the opposite. As none of the original Egyptian teachings were available to its Founding Fathers, Alchemy, in order to accommodate the new times ahead, is bound to be reformed.
► the Rosicrucian Order...As a system of belief, Rosicrucianism came to the notice of the general public in the 17th century. In the two Rosicrucian Manifestoes, a mysterious personage called "Christian Rosenkreutz" is mentioned. But according to legend, the symbolism of the Rose and the Cross was first displayed in 11th century Spain. During a fierce battle against the Moors, an Aragonese Knight named Arista saw a cross of light in the sky with a rose on each of its arms. A monastery to commemorate his victory was erected and time later an Order of Chivalry with the emblem of these Roses and the Cross founding the monastery. The Rose and the Cross appeared in the banner of Raymond VI, Count of Toulouse when he tried to defend the Cathars against the armies of Pope Innocent III. It was in the form of a cross, described as "de gueules à la croix et pommettée d'or" ("gueule" means "red", derived from the Arabic "gul", which means "rose"). The emblem of the Cross with the red Rose in the middle square became the emblem of the Rosicrucian movement and its many orders, lodges and societies. In the Fama Fraternitatis (or Laudable Fraternity of the Rosy Cross), Christian Rosenkreutz is said to have journeyed to Damascus, Damcar, Egypt and Fez. He met those in possession of "secret teachings". He synthesized the best of these teachings and went to Spain. Finally, he returned to Germany and chose three men with whom he founded an order, meant to instruct its members in the knowledge he had obtained in the Middle East. So the typical founding myth goes. After the publication of the Manifestos, the Rosicrucians influenced the culture of Western Europe. Rosicrucianism developed along two lines, on the one hand, the scientists, intellectuals and reformers in the social, political and philosophical fields (like Descartes and Boyle) and, on the other hand, those (like Fludd, Dee, Comenius and Ashmole) concerned with occultism and mysticism (cf. the distinction between philosophical and technical Hermetica). In France, Rosicrucianism had a revival climaxing in the early 19th and the first years of the 20th century. Especially Martinez de Pasqually (1727 - 1774), Louis-Claude de Saint Martin (1743 - 1803) and Papus (1865 - 1918) are noted. ► the Golden Dawn...In 1865, and Englishman named Robert Wentforth Little founded an esoteric society, the Rosicrucian Society in Anglia. Membership was limited to Master Masons. When Little died in 1878, three men took over, a retired medical doctor, William Woodman (1828 - 1891), a coroner, Wynn Westcott (1848 - 1925) and Samuel Liddell "MacGregor" Mathers (1854 - 1918), who, as a young man, spent much of his time in the British Museum, working through piles of dusty manuscripts. He translated three Medieval magical texts : The Greater Key of King Solomon, The Kaballah Unveiled and The Book of the Sacred Magic of Abramelin the Mage. In 1887, so the story goes, Westcott received from Reverend Woodward, an elderly parson and author on Alchemy, a set of cipher manuscripts. He asked the clairvoyant and inspired Mathers to assist him (one legend says both men forged the document, in another Westcott found it on a bookstall in Farringdon Street, and in yet another the document was inherited). Both men found the code of the cipher was contained in a work of Trithemius, the influential Steganographia extolled by John Dee (1527 - 1608), the Elizabethan scholar and astrologer of Queen Elisabeth I. It concerned "angel-magic" and Dee had secured a copy of it in Antwerp. They uncovered skeletons of rituals and Mathers expanded them. Together they started the Golden Dawn (GD), a secret Victorian society aiming to harbor true Rosicrucianism and allow its members to accomplish the Great Work. A complete system of ritual magic based on the history of Western occultism was practiced. In contrast with the Theologic policy of the Rosicrucian Society, the order admitted women members as equals. Its members were recruited from every circle of life. In these rituals, Egyptian, Jewish, Greek & Christian elements were combined. However, the combination of these various traditions led to depletion. A spiritual tradition is as strong as it is pure, i.e. devoid of notions, ideas, concepts, symbols, beliefs, rituals etc. foreign to it. Although syncretism may be intellectually satisfying, it hinders spiritual emancipation. This is certainly true if the elements combined are very different, as is the case here. Because Mathers was unable to read Egyptian texts, he could not make the crucial distinction between the Egyptian approach and the Hellenistic view (incorporated in Judaism, Christianity, Islam, Hermetism and Hermeticism). Neither could he isolate the native Egyptian elements present in historical Hermetism. By nevertheless incorporating Egyptian deities (in particular the Osiris-cycle), the GD walked the path of egyptomania.
► Aleister Crowley...Aleister Crowley (1875 - 1947) entered the GD in 1898, introduced to the order by George Cecil Jones (1873 - 1953). The influence of this "Hermetic Order" shaped his life. He continued to ferment the teachings of the GD until he died. In fact, he considered himself and his Thelemic Order of the Silver Star to be its lawful heir. The problems between Crowley and the Adepts of the order started in December 1899 (the first time he met Mathers), i.e. by the time he had taken his Portal grade, the preliminary to the crucial Adept Minor degree. When, in September 1900, he applied to be advanced to the level of Adepthood, the College of Adepts refused. They disliked Crowley, his attitudes and way of life. Some of them probably did not believe an adept should drink, have fun, fornicate and raising hell with enthusiasm. His scandalous reputation won the disapproval of his seniors, who were in their right to refuse him. So, in the same month, Crowley went to Paris, and was initiated in the Ahathoor Temple by Mathers himself ! Between Paris and London a deep schism had been in the making and now tensions truly exploded. When the London adepts heard Mathers had initiated him, the breach was complete. When applying for the lectures he was now entitled, he was again refused and physically thrown out. To Florence Farr, Yeats and many others, Crowley was an outcast, an opportunist who had endangered the link with Mathers. He promptly notified Mathers and the latter arranged a meeting with the "rebels" in London. Crowley acted as Mathers' plenipotentiary, and to protect himself, dressed up in the garb of Highland chieftain, concealing his face with a heavy black mask. Clearly Mathers had been a poor judge of characters, raising lunatic power freaks to Adepthood ...The GD did not recover from the insanity and within a few years became a dispersed organization, with several Temples conducted by different groupings of men, each appointing their own Chiefs. Waite kept the Isis-Urania Temple, but in 1914 he closed it down. Next, Crowley invented his own egyptomanic movement. In Cairo in 1904, the "minister" of Re dictated a new revelation to him, the "Book of the Law" ! Crowley became the "prophet" of the New Age of Horus ! The two major Egyptian deities he incorporated were the sky-goddess Nut and Horus of Edfu ("Hadit"). Had he known the cults of Ancient Egypt well enough, he would have realized they had no revelation or dogma, and certainly no "holy" books (for hieroglyphic writing itself was sacred). Was Crowley's "law" a concoction of his own power driven subconscious mind ? In 1909, he called in the "demon of demons" and turned Satanic. The psychosis had become irreversible ...Do these highlights show the scope of the phantasies, fictions and lies incorporated into the Western Tradition since the start of the Renaissance ? Indeed, to identify the backbone of this Tradition with the Qabalah was the outstanding mistake prompted by the fraud of Moses de Leon. This has perturbated thousands of excellent minds, causing them to constantly replay their own illusions, and loose, unlike Rabbi Akiba, after entering the "garden of delights", their sight, reason or faith in God. "The impeding turn of the millennium nourishes hopes of a new spiritual light for humankind in the aspirations of many. Egypt will surely play a role in such developments in both its forms : pharaonic Egypt and the esoteric-Hermetic Egypt. There has been increasing talk of the relevance of the Hermetic Weltanschauung as a point of view that can contribute to making sense of our modern world by seeking a direct connection with the original wisdom of the oldest cultures and with the core idea of all esoteric thought, according to which the ancient wisdom continues to be valid even in a world that has been transformed."
Can we today turn the page ? Can a spiritual movement emerge which focuses on a thematical reconstruction of Ancient Egyptian spirituality, and this based on the evidence of contemporary science regarding Ancient Egyptian religious practice in general and its basic ritual matrix in particular ? Several individuals work along those lines, coupling study with ritual practice (Hope, 1986, Schueler, 1989, Clark, 2003, Draco, 2003). In such a "Kemetic" reconstruction, no Jewish, Greek, Hermetic, Christian or Hermeticist elements should persist. Is this really possible, and if so, is such spirituality indeed the true backbone of our Western Tradition ? The advantage being the isolation of a tradition untouched by what today may be called "foreign elements". Such an exercise is not easy (not to speak of the contextual limitations of any author). For Hermetism did retain parts of the Egyptian Mystery Tradition, and in a lesser degree, the same goes for Hermeticism, and yes, even for the revealed religions, Christianity first. The thematical reconstruction sought is approached in two steps :
the influence of Egyptian spirituality on Alexandrian Hermetism ; the form of the basic matrix of native Egyptian religion.
In this paper, the first step is dealt with. The second will only be touched in the Epilogue. In the following ten paragraphs, we study ten basic notions of Hermetism (in other forms present in the mix of Hermeticism and in the "mystical" traditions of the religions). We try to find their Ancient Egyptian equivalent "in embryo" :mentalism : the gods, the world and humanity are the outcome of Divine thought ;correspondence : the same characteristics apply to each unity or plane of the world ;
change : nothing remains the same, everything vibrates, nothing is at rest ; polarity : everything has two poles, there are two sides to everything ; rhythm : all things have their tides, rise and fall, advance and retreat, act and react ; cause & effect : everything happens according to law, there is no coincidence ; gender : male and female are in every body and mind, but not in the soul ; timing : everything happens when the time is ripe, things start at the right time ; intent : nature works according to a purposeful plan, pure will masters the stars ; transformation : everything can be transformed into something else, opposites meet. In earlier studies, the special cognitive features of Ancient Egyptian thought, language & literature have been explained. Grosso modo, these imply the difference between rational thought, initiated by the Greeks, and ante-rationality. The latter is the mode of thought of pre-Greek Antiquity and of societies untouched by the linearizing streak of the Hellenes. Before the advent of rationality, three modes of thought prevailed, as Piaget, genetical epistemology and neurophilosophy made clear. These are mythical, pre-rational and proto-rational thought, in which the Ancient Egyptians excelled. Clearly Hermetism was codified using Greek conceptual rationality (giving birth to the influential systems of Plato and Aristotle). Hence, if we try to correlate these concepts with their native Egyptian equivalent, this cognitive difference has to be taken into account, and the multiplicity of approaches characterizing Egyptian thought has to be made an integral part of the equation. So because of this crucial difference, in all my translations of Egyptian texts and commentary, terms related to the Divine are not capitalized (i.e. god, gods, goddess, goddesses, divine, and pantheon), while in Hermetism and all rational discourses they are. This in accord with the contextualizing feature of anterationality, while rationality always puts context between brackets, and by doing so articulates an abstract, theoretical concept of the Divine.
Both Memphis and Alexandria underline the importance of the spoken and written word. Already in the Old Kingdom, Pharaoh was the Great Speech and his magic powerful, and dreaded, even by the deities. But in Late Ramesside Memphite theology, Ptah was the true primordial "god of gods", superceding Atum, in who's "image" (of totality) the universe was created (as demiurge), and establishing the supremacy of the divine word and speech. Memphite theology is explicit : every thing was made by Ptah's mind and spoken words.
Likewise, in Hermetism, the Divine Logos is the "son of God" coming forth from the Light of the Divine Nous, the teacher who, not unlike the one evoked in the Maxims of Good Discourse, gives his pupil access to the Divine Nous, a direct experience (gnosis) of the Godman Hermes. The idealist notion of the universe as a mental creation of The All, making all mind, being typical for Hermetism. The fact this teacher is "Ogdoadic" and not "Hebdomadic" (as was Pharaoh), may refer to the Greek escape from fate and the physical world (whereas the Egyptians saw the divine at work in all planes of creation).
The magical power of words is acknowledged by both traditions. Magic involves the power of efficiency (effectiveness) and the ability to counter every possible inertia and opposition, executing intent to its full capacity.
Especially Pharaoh is the "Great Magician", who is able, like the gods, to create by means of speech. He alone was the "son of Re", divine and able to encounter the deities face to face. His voice-offerings to Maat ensured the continuity of creation. By speaking the right words, the whole of creation could be rejuvenated. Likewise (but on another ontological level), the "son of God", the Ogdoadic teacher, brings the pupil directly in contact with the Enneadic Light of Nous.
The parallels drawn do not allow for an identification of both traditions, as major category-shifts occur. Indeed, together with the rejection of the physical bodyn (cf. infra), mentalism is an outstanding feature of the Hermetica. Nevertheless, in the overall semantic pattern major points overlap. The mentalism of Hermetism was not implanted on the native Egyptian intellectuals part of the Hermetic lodge "from above", but could make use of the available, longstanding verbal tradition of Egypt, linearize and "perfect" it in Greek style ...and more later in Strassburg and suitable in the city of London?
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
Nikon D800E Beautiful Swimsuit Bikini Model Goddess! Nikon AF-S NIKKOR 70-200mm f/2.8G ED VR II Lens!
Epic Goddess Straight Out of Hero's Odyssey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's odyssey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Odyssey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosodysseymythology
New instagram! instagram.com/45surf
Pretty Swimsuit Bikini Model Goddess! :)
Follow me on facebook! facebook.com/elliot.mcgucken
Nikon D300 Photos of Beautfiul Sexy Hot Brunette!
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Modeling the Gold 45 Revolver Gold'N'Virtue swimsuit. :)
A laid-back,classic, socal lifestyle shoot!
May the 45surf goddesses inspire you along am artistic journey of your own making!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Truth, Beauty, and the Light of Physicist Dr. E's Moving Dimensions Theory's dx4/dt=ic . The fourth dimension is expanding relative to the three spatial dimensions at the rate of c. Ergo relativity, time, entropy, and entanglement.
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
After discussion over on the purist superhero thread at Eurobricks (www.eurobricks.com/forum/index.php?showtopic=68912&st...) I've done my own Purist Question.
I'm probably going to try a few variations on him but I'm quite happy with this. The bigger lapels sort of give an overcoat vibe.
I've given him grey gloves so as he's not just a black lump.
Thanks for the ideas guys.
Question mark (Polygonia interrogationis), photographed at Chadron State Park, about 9 miles south of Chadron, Nebraska on June 11, 2020.
© Megan Tuttle. All Rights Reserved. No usage allowed including copying or sharing without written permission.
Sweet berries ready for two ghosts are no different than you.
Ghosts are now waiting for you.
Are you...
Are you...
Dreaming! Dreaming the night! Dreaming all right!
Do we! Do we know, when we FLY?
When we, when we go
Do we die?
So..........Asked the mirror a question...... A simple one..... And before I even got part way..... It replied you are..... And I smiled and I said.... Mr. Mirror. Thank you..... You didn't have too....... And Mr. Mirror said ...... That's okay Ms. Raven. No other scarecrow comes even close......
Well....... It didn't exactly go like that.... Maybe I exaggerated a tad..... Maybe the mirror didn't talk..... But it reflects. And jeez. Look at that strawtop..... I'd give the wicked witch of the west a run for her money..... Damn winter hair. And don't get me going on my skin color. It doesn't look like I saw a ghost. It looks like I am a ghost. What's next. Pink eyes and down a rabbit hole where I'm talking to weird cats smoking stuff???????
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
A 1,723 pound (782 kg) pumpkin at the Alaska State Fair, supposedly the fourth biggest pumpkin ever, if it didn't have a small hole on the bottom, which disqualified it from the record. My question, then and now, is how the hell do you load this thing to get it to the fair?
The same questions, just another angle.
Agfa Super Silette
with Agfa Color-Apotar 45mm f3.5
Gossen Sixtino 2 light meter
Agfaphoto APX 100 shot at ISO 200
Compard R09 One Shot 1+100 semi-stand development 60 min at 19°C
Agitation 1 min + 10 sec at 30min
Helsinki, Finland 2024
At Burn2, Bryhn Oh's installation. Like always strange and very poetic.
L'installation de Bryhn Oh à Burn2. Etrange et poétique...
This project is an exercise in simplicity. Every once in awhile I like to challenge myself, keep my creativity fresh, by going out and doing a shoot with just my camera and a model. I shoot here in what she's wearing, (or what she's wearing underneath). I'm forced to use my environment, the model's personality, and what ever I can find to make the shoot happen. Of course with Alex and I doing these kinds of simplistic shoots for more than four years we've gotten very very good at it.
Featuring Alexandra Rodionova
Make-up: Rhiana Hogan
I'm thinking of repainting these figs. Should I? If so, what colors or camouflages?
Also, I ordered from BrickWarriors last night (11:37 I think it was ;P) and I'm getting:
4 pairs of much needed Black Vambraces,
5 Mystery Packs,
1 Black Muscled Cuirass,
and 1 Steel lobster Armor
Thanks BrickWarriors!
About Shaving Bush Tree:
Several years ago we had a question about this most unusual plant and we saw several of the blooming flowers. Its common name is shaving brush tree (Pseudobombax longiflorum). Other common names are Guiana water chestnut and wild cocoa, but I haven’t found any references using the name slipper plant. It is a native of Brazil and is cultivated as an ornamental tree in the tropics and in southern Florida. The family that grew the shaving brush tree in Lafayette grew it in a container and put it indoors during winter for protection.
The deciduous tree is about 12 feet tall and grows best in poor, sandy soil, in full sun and high temperatures. It requires regular water, but cannot tolerate over-watering. Bloom time is from late summer to early winter. The fragrant flowers open at night and stay open the next day, although quality fades during that day. The petals are pure white and curled backwards. The velvety green foliage drops off before bloom begins. The flowers are attractive to bees, butterflies and birds.
Most of my information on shaving brush tree comes from the Dave’s Garden website (www.davesgarden.com), so the plant may be available from that address.
See more about Shaving bush tree at davesgarden.com/guides/pf/showimage/54863/
zipcodezoo.com/Plants/P/Pseudobombax_longiflorum.asp
www.acadianagardening.com/viewarticle.php?colid=806
www.webshots.com/search?query=pseudobombax
Nome: umburuçu, imbiriçu, Imbiruçu-do-cerrado.
Pseudobombax longiflorum
Nome: umburuçu, imbiriçu
Familia: Bombacaceae
Genero: Pseudobombax
Especie: longiflorum
Botanico: (Mart. & Zucc.) A.
Ocorrencia: cerradão, cerrado
Floracao: de junho a julho
Descricao: Espécie caducifolia
Porte: árvore
Folhas: compostas, alternas, palmadas
Flores: estames múltiplos, brancas
Frutos: até 40cm,deiscentes,oblongos,lineares,pilosos,castanho,sementes ovais, sementes envoltas em paina de cor bege
Uso: A paina do fruto é de cor bege, abundante, macia e utilizada para forrar almofadas, travesseiros e usada para fazer cordas por possuir fibras longas. O nome umburuçu vem de imbira=corda e açu=grande.
Árvore de porte médio, casca estriada a fendilhada na base do tronco em árvores velhas, ramos robustos, glabros.
Folhas alternas, compostas digitadas, longo-pecioladas, 7 a 9 folíolos oblongos ou elípticos, glabros, coriáceos, base truncada, aguda ou obtusa, ápice agudo ou retuso, cerca de 20 cm de comprimento e 10 cm de largura. Flores alvas, grandes, isoladas ou em grupos pequenos, com estames numerosos e longos. Fruto cápsula densamente revestida por pilosidade ferrugínea, cilíndrica (ou fusiforme), cerca de 30 cm de comprimento e 5 cm de diâmetro.
I'm really sorry that I haven't posted any thing in a couple of months but I have been really busy with school and haven't have time to build any thing.
I haven't built any thing on my halo frigate sadly but I'm about 70% done whit my scorpion tank.
So now for the question:
In the picture you can se my Swedish military vehicles. Do you think I should keep them or use the parts to build more halo vehicles?
"Question: Who’d you rather have a marguerita with? Georgia O’Keeffe or Alfred Morang?" That's the beginning of Tom Collins' lovely review of our Alfred Morang show in today's Albuquerque Journal North: ow.ly/GbuSV
"The Diary Of A Poker Diva"
Life's Little Disappointments!
I have a question for you all today? Do you ever dedicate a lot of effort and hard work to something only to end with a guilt trip for not doing enough? It seems that sometimes people, especially the people closest to you, don't realize how hard you work to do something for them and don't appreciate what it costs you in time, money, stress, etc.
It's a difficult thing in life to try to do nice things for people, even when you feel that it's something you're supposed to be doing, and not just be given a simple "thank you" or other words of appreciation. I'm not talking about charity work; I'm just talking about day-to-day things that you do for people that you love. All you're trying to do is help, and all you get out of it is a feeling of disappointment that you didn't do enough.
When you do things for other people, you really shouldn't expect anything back. You do nice things and take care of people because you want to. Right? So, the last thing that should happen is that you get grief and guilt back for not doing enough or for things in life that you can't control. All you can control is what you do and not how people respond to it, but it doesn't stop you from feeling frustrated and sad when you're not appreciated.
It's even harder to deal with when you don't have help and the whole responsibility is yours. It's not like you can turn to someone else to handle it for awhile so that you can step away. I guess this is how parents feel sometimes when they're dealing with teenagers, or how husbands or wives feel when they do everything in a marriage and don't get the same kindness back.
I'm sure a lot of you know what I'm talking about! So, I just want to know how you deal with these situations. How do you keep it from getting you down?
IT'S NOT EASY BEING A STRONG WOMAN!! YOU ALWAYS HAVE TO BE THE BETTER PERSON!!
There's obviously a massive conspiracy afoot.
Both are about 21" tall with fedoras. Made of fleece, felt, cotton, and vinyl.
Ballet Arizona - Post-Performance Question & Answer Session
Excitement Of The Annual All-Balanchine Program at Symphony Hall in Phoenix Arizona...
An afternoon of works by the father of American Ballet, George Balanchine. Ib Andersen is one of a handful of artists worldwide authorized by The Balanchine Trust to stage Balanchine’s masterpieces.
“One of the most striking developments in modern ballet is that there is now a trans-American, even trans-global, Balanchine diaspora. Ballet Arizona ranks among the most significant.”
– Alastair Macaulay, The New York Times
Choreography: George Balanchine
Onstage Panel (Left to Right):
Mimi Tompkins
Washington, D.C.
Joined Ballet Arizona: 2014
Training: The Harid Conservatory, San Francisco Ballet School
Other Companies: National Ballet of Canada
Jackson Dwyer
Montreal, Canada
Ballet Arizona
Joined Ballet Arizona: 2015
Training: Canada's National Ballet School, John Cranko Schule
Other Companies: The National Ballet of Canada
Joseph Cavanaugh
Phoenix, Arizona
Joined Ballet Arizona: 2001
Training: Virginia School of the Arts, Royal Winnipeg Ballet School
Joseph Cavanaugh pursued his professional training at the Virginia School of the Arts, and later graduated with honors from the Royal Winnipeg Ballet School Professional Division. He has worked with and performed for such choreographers as Dwight Rhoden, Jordan Morris, Alejandro Cerrudo, and Alexei Ratmansky. Since joining Ballet Arizona in 2001, Mr. Cavanaugh has originated featured roles in Ib Andersen’s Elevations, Mosaik, 2B, Play, A Midsummer Night’s Dream and in Interplays by Vladimir Angelov. He has danced soloist and principal roles in Swan Lake, Giselle (Hilarion), Twyla Tharp’s The Golden Section, Dwight Rhoden’s Ave Maria, Jerome Robbins’s In the Night, and Polyphonia by Christopher Wheeldon. His Balanchine repertoire includes principle roles in Agon, Serenade, Stravinsky Violin Concerto, and Movements for Piano and Orchestra. Mr. Cavanaugh has been teaching around the United States and Canada for the past 12 years. He is currently working as a Ballet Master for Ballet Arizona in addition to his teaching. This is Mr. Cavanagh’s second year teaching at The School of Ballet Arizona.
IMG_2344 - Version 2
Girl stands to respond to teacher's question in crowded Mauchak Scout High School, Gazipur. Photo: Scott Wallace / World Bank
Photo ID: SW-2BD19034a World Bank
there is normally more to a photo than what first meets the eye, sometimes they are like the work of an artist leaving questions and messages hidden in plain sight.
We all post photos for our own reasons normally as a way of validating our being, some are just plain shallow look at how fab i am photos, others are this is my journey, some are just cries for help or friendship maybe answers or support. Very rarely are we asking for the truth!!! Dont count me in that last one i really dont care if you tell me the truth or not i will carry on regardless lol.
so try if you can to take the time and look past the pretty dresses, long legs stockings satin and lace or whatever atracts to the photo, Read the narative if their is one or the title. if its out of the norm for the subjuct mybe commnet. for instance if all you have ever seen is her shoes but all of a sudden you get a full body shot minus her head just say how nice it is to see more of her,
Yeah i really should take my own advice.
But you get the idea of what i am saying.
How many people first saw the reflection of the two guys before they noticed the Fist sign or the number ten and what about those wonderful rivets on the wagon beyond the glass?
New Instagram! instagram.com/45surf
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
Sony A7R RAW Photos of Pretty Brunette Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Brown / Black Hair!
And here're a couple of HD video movies I shot of the goddess with the 4K Sony:
Enjoy! Be sure to watch in the full 1080P HD!
The epic goddess was tall, thin, fit, tan, and in wonderful shape (as you can see).
Check out my greatest hits compilation, and let me know what you think:
www.elliotmcguckenphotography.com/45surf/45SURF-Heros-Ody...
Epic Goddess Straight Out of Hero's Odyssey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's odyssey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Odyssey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosodysseymythology
New instagram! instagram.com/45surf
Pretty Swimsuit Bikini Model Goddess! :)
Follow me on facebook! facebook.com/elliot.mcgucken
Nikon D300 Photos of Beautfiul Sexy Hot Brunette!
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Modeling the Gold 45 Revolver Gold'N'Virtue swimsuit. :)
A laid-back,classic, socal lifestyle shoot!
May the 45surf goddesses inspire you along am artistic journey of your own making!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Truth, Beauty, and the Light of Physicist Dr. E's Moving Dimensions Theory's dx4/dt=ic . The fourth dimension is expanding relative to the three spatial dimensions at the rate of c. Ergo relativity, time, entropy, and entanglement.
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
Sony A7R RAW Photos of Pretty Brunette Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Brown Black Hair!
All the best on your Epic, Homeric, Heroic Odyssey into the Art of Photography from Johnny Ranger McCoy!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Dynamic Dimensions Theory's First Law and equation: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c: dx4/dt=ic.
I have consulted my Kaufman fieldguide to Butterflies of North America, and I believe this to be a Question Mark Comma also known as angelwings. The fieldguide says this is its winter form. Larval plantfood: Hops, nettles, elms, and hackberries.
ANZAC Day is held on the anniversary of the Australian and New Zealand Army Corps’ landing at Gallipoli, Turkey (now Türkiye) on 25 April 1915. The story of ANZAC Day is one of courage and endurance in the face of trauma and tragedy; what was anticipated to be a quick mission to remove Turkey from WWI turned into a battle that caused thousands of casualties on both sides over eight months.
youtu.be/xD8ANMUlK34?feature=shared
When I was a young man I carried my pack
And I lived the free life of a rover
From the murrays green basin to the dusty outback
I waltzed my matilda all over
Then in nineteen fifteen my country said son
It's time to stop rambling 'cause there's work to be
Done
So they gave me a tin hat and they gave me a gun
And they sent me away to the war
And the band played Waltzing Matilda
As we sailed away from the quay
And amidst all the tears and the shouts and the
Cheers
We sailed off to Gallipoli
How well I remember that terrible day
When the blood stained the sand and the water
And how in that hell that they called suvla bay
We were butchered like lambs at the slaughter
Johnny Turk he was ready, he primed himself well
He showered us with bullets, he rained us with
Shells
And in five minutes flat he'd blown us all to hell
Nearly blew us right back to Australia
But the band played waltzing Matilda
As we stopped to bury our slain
And we buried ours and the Turks buried theirs
Then it started all over again
Now those who were living did their best to survive
In that mad world of blood, death and fire
And for seven long weeks I kept myself alive
While the corpses around me piled higher
Then a big Turkish shell knocked me arse over tit
And when I woke up in my hospital bed
And saw what it had done, Christ I wished I was
Dead
Never knew there were worse things than dying
And no more I'll go waltzing Matilda
To the green bushes so far and near
For to hump tent and pegs, a man needs two legs
No more waltzing Matilda for me
So they collected the cripples, the wounded and
Maimed
And they shipped us back home to Australia
The legless, the armless, the blind and insane
Those proud wounded heroes of suvla
And as our ship pulled into circular quay
I looked at the place where me legs used to be
And thank Christ there was nobody waiting for me
To grieve and to mourn and to pity
And the band played Waltzing Matilda
As they carried us down the gangway
But nobody cheered, they just stood and stared
And they turned all their faces away
And now every April I sit on my porch
And I watch the parade pass before me
I see my old comrades, how proudly they march
Reliving the or their dreams of past glory
i see the old men, all twisted and torn
The forgotten heroes of a forgotten war
And the young people ask me, "what are they
Marching for?"
And I ask myself the same question
And the band plays Waltzing Matilda
And the old men still answer to the call
But year after year their numbers get fewer
Some day no one will march there at all
Waltzing Matilda, Waltzing Matilda
Who'll go a-Waltzing Matilda with me?
A portrait of saxophonist Saul Cline for my Leading Questions project. This was shot for an area arts magazine that ran four musicians in a print version of the project. It came out in June.
Saul is a really fantastic musician his interview is insightful and can be found here:
Asked someone a very simple question the other day.
And it was actually very innocent of me. You see I was rather impressed with the myriad of clothing he/she has. And I wanted to compliment. I thought to have a wardrobe that intense, You would surely must be living full time female.
Simple. And people here know I view life in it's most simple ways.
well I got back this message talking about I'm this and and I'm that and finally coming to the final stroke of genius from Mr./Mrs. Sanctimonious ( I'll leave that to you out there) the question. Who am I and how do I live..........
I've answered this question a thousand times. I am Raven. I am a female. I live as a female 24/7. I work as a female. Not as a hooker. But as a well paid Construction Consultant. I go to gym as female' I shop as a female. I live everyday life as a female. For 17 years, wearing female attire. Always female in public and private.
See....... It's not a hard question to answer. And one last point. I do not think it's for everyone. Quite the opposite. Its filled with lots of disappointment and heartache. And I respect those who do very much. But to the part timers. I understand that completely also.
The bottom line is we're all made by God. And if he didn't want. He wouldn't have put that in our DNA. And as long as you don't harm another person, including yourself. Go for it.
I choose this pic for a reason. This is me at home. Just a girl lying around relaxing watching the tube..... Can't be more female than that
One of the questions I get a lot on Instagram (I have a much more significant following there, and they are much more vocal) is how do I manage to consistently find extremely attractive models year after year. Not just that, but beyond, how is it that I manage to befriend them and build such good relationships with them and their families that they literally before daily parts of my life. I didn't realize this was a struggle for photographers, but I do underhand the importance. If you want to make it on a high level, you need to have a steady stream of extremely high quality models. Preferably ones you don't have to pay. So, if you have any questions about this, feel free to ask. It's not just limited to that though: if you have any questions about me; my photography; or photography in general now is your chance to ask.
A tiatr by Francis de Tuem released on 27.3.16 Easter Sunday
more on the tiatr here goo.gl/Q7fhXl
Lawry Travasso singing