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Do you want me to.....
I will let you finish off with what ever you want...
My suggestion is.
Spray myself with strong perfume, then dance a close and sensual rumba with the girl of my dreams.
You know who you are my darling Italian lover.
It was only a question of time until I draw into a macro shot :)
Simple idea I came up with this spiders rope and a very quick drawing this time. Hope you like it.
See the comments for a magnified crop!
The panorama walk at Barmouth overlooking the Afon Mawddach. A place I've always wanted to visit the forecast was not looking to good with the clouds clearing from the east, the question was whether they would clear in time for sunrise?
The answer was not quite, still got quite a nice sky.
“Have patience with everything that remains unsolved in your heart.
Try to love the questions themselves, like locked rooms and like books written in a foreign language.
Do not now look for the answers. They cannot be given to you because you could not live them.
At present you need to live the questions.
Perhaps you will gradually, without even noticing it, find yourself experiencing the answers, some distant day."
Rainer Maria Rilke
PS
Inspired by a very talented artist here
thanks,Alex.
:)
Bist du Schatten oder licht? Bist du am 2004 dabei? - are you shadow or light? Are you there on the 2004?
There has been some construction going on in the Schiller school, during which a part of the street was fenced off, probably to serve as a schoolyard. As for the message on the fence, I have absolutely no clue.
Asahi Pentax ME and SMC pentax 50mm f/1.7, Ilford HP5 developed in Rodinal 1+50 for 13min at 20°C and digitalized using kit zoom and extension tubes.
Thank you everyone for your visits, faves and comments, they are always appreciated :)
This is the complex of nebulosity that has become known recently as the Cosmic Question Mark, a good name as its official designations are confusing.
The top arc is usually labelled as NGC 7822, and the middle region as Cederblad (Ced) 214. However, some charts and references label Ced214 as NGC 7822, as it is brighter and might have been the object William Herschel saw when amassing observations in the 18th century for his General Catalogue, in which he describes NGC 7822 as "eeF! and eeL!," meaning really really faint and large! The little "dot" of the question mark is the faint and photographic-only nebula Sharpless 2-170, surrounding a little cluster Stock 18 .
The field is embedded in dust, indicated by the brownish-yellow tint of the background sky at centre, contrasting with the dust-free bluish starfields at top and bottom. Even the star clusters are yellowed, notably King 11 at top right and NGC 7762 embedded in the nebula at right above the bright star. The loose and sparse cluster Berkeley 59 lies embedded in Ced 214..
Most of the field lies in Cepheus but the lower bits of Ced214 and Sharpless 2-170 lie across the border in Cassiopeia.
This is a blend of filtered and unfiltered stacks: 10 x 8-minutes at ISO 3200 through the IDAS NB1 dual narrowband filter, and 10 x 4-minutes at ISO 1600 with no filter, all through the SharpStar 61 EDPHII apo refractor at f/4.6 with its reducer/flattener, and with the red-sensitive Canon Ra, all on the Star Adventurer GTi mount/tracker, autoguided with the Lacerta MGENIII autoguider, taken as part of testing the mount. No darks or LENR applied here, but the autoguider applied some dithering offset between each frame, to largely cancel out thermal noise hot pixels when the sub-frames were aligned and stacked. Taken Sept. 21/22, 2022 from home in Alberta on a very clear cool night.
Shooting and then blending filtered with unfiltered shots provides the best of both worlds: lots of reddish nebulosity set in a sky with natural coloured stars and background tints. I applied a slight level of star reduction with a "starless" layer created with RCAstro Star XTerminator, but with only 25% opacity to just reduce but not eliminate stars. In fact, StarX did a poor job eliminating all the stars in this image. But Noise XTerminator did a great on reducing fine-scale noise. Nebulosity was brought out with DM1, DM2 and colour-range luminosity masks created with Lumenzia plug-in panel for Photoshop. Finishing touches with a High Pass Sharpen layer and a Paint Contrast layer (the latter added with TK Actions panel) boosted fine-scale contrast to the nebulosity.
All stacking, aligning and blending done in Adobe Photoshop/
I have questions. I mean, if it’s supposed to be hidden, why do you label it with a big yellow sign? Why not erect the one that says “Frap Off. You’re Not Invited”?
Or is Batman going to be pissed at the NTSB?
Many of America's highway signs are made by inmates. Is this a practical joke facilitated by a petty larcenist? Whatever the answer, thanks for nuttin'..
Brincadeiras de Liz com uma lente Sigma 2.8 e uma XTI na mão...
Eles são péssimos jogadores porque são bons fotógrafos... ou são bons fotógrafos porque são péssimos jogadores?!
Brincadeira de fotógrafos.
Play Liz with a lens of 2.8 and a Sigma XTI in hand ...
They are bad players because they are good photographers ... or photographers are good because they are bad players?
Play of photographers.
We all have questions. Isn't it nice that a fortune cookie can tell us where to find the answers?
This beautiful Blythe doll is Unicorn Maiden. She's wearing a dress we recently received from the Blythe Pay It Forward group on Facebook; thank you Kimberly Cook for organizing the giveaway, and La Rose Ray for donating the dress. We love it! Fortune Cookie series photo #4.
el.easternlightning.org/videos/age-of-kingdom-age-of-exce...
Ο Παντοδύναμος Θεός λέει: «Στην Εποχή της Βασιλείας, ο Θεός χρησιμοποιεί τον λόγο για να αναγγείλει μια νέα εποχή, να αλλάξει τα μέσα του έργου Του και να επιτελέσει το έργο όλης της εποχής. Αυτή είναι η θεμελιώδης αρχή, σύμφωνα με την οποία ο Θεός εργάζεται στην Εποχή του Λόγου. Ενσαρκώθηκε για να μιλήσει από διαφορετικές οπτικές γωνίες, επιτρέποντας στον άνθρωπο να δει αληθινά τον Θεό, ο οποίος είναι ο Λόγος που εμφανίζεται στη σάρκα, και η σοφία και το θαύμα Του. Αυτό το έργο επιτελείται ώστε να επιτύχει πιο καλύτερα τους στόχους της κατάκτησης του ανθρώπου, της τελείωσης του ανθρώπου και τηςεξόντωσης του ανθρώπου. Αυτό είναι το πραγματικό νόημα της χρήσης του λόγου για την επιτέλεση του έργου στην Εποχή του Λόγου. Μέσω του λόγου, ο άνθρωπος καταφέρνει να γνωρίσει το έργο του Θεού, τη διάθεση του Θεού, την ουσία του ανθρώπου και σε τι οφείλει να εισέλθει ο άνθρωπος. Μέσω του λόγου, ολοκληρώνεται το σύνολο του έργου που ο Θεός επιθυμεί να επιτελέσει στην Εποχή του Λόγου. Μέσω του λόγου, ο άνθρωπος αποκαλύπτεται, αποκλείεται και δοκιμάζεται. Ο άνθρωπος έχει δει τον λόγο, έχει ακούσει τον λόγο και έχει επίγνωση της ύπαρξης του λόγου. Ως αποτέλεσμα, ο άνθρωπος πιστεύει στην ύπαρξη του Θεού. Ο άνθρωπος πιστεύει στην παντοδυναμία και τη σοφία του Θεού, καθώς και στην καρδιά του Θεού που είναι γεμάτη αγάπη για τον άνθρωπο, και στην επιθυμία Του να σώσει τον άνθρωπο. Μολονότι η λέξη ""λόγος"" είναι απλή και συνηθισμένη, ο λόγος που προέρχεται από το στόμα του ενσαρκωμένου Θεού συγκλονίζει ολόκληρο το σύμπαν. Ο λόγος Του μεταμορφώνει την καρδιά του ανθρώπου, τις αντιλήψεις και την παλαιά διάθεση του ανθρώπου, καθώς και την παλαιά εμφάνιση ολόκληρου του κόσμου. Μέσα από τις διάφορες εποχές, μόνο ο Θεός της σημερινής εποχής εργάζεται κατ’ αυτόν τον τρόπο, και μόνο Αυτός μιλά και σώζει τον άνθρωπο κατ’ αυτόν τον τρόπο. Εφεξής, ο άνθρωπος ζει υπό την καθοδήγηση του λόγου, ποιμαίνεται και εφοδιάζεται από τον λόγο. Ζει στον κόσμο του λόγου, ζει μέσα στο ανάθεμα και τις ευλογίες του λόγου του Θεού και υπάρχουν ακόμα περισσότεροι άνθρωποι που ζουν υπό την κρίση και την παίδευση του λόγου. Αυτός ο λόγος και αυτό το έργο είναι όλα χάριν της σωτηρίας του ανθρώπου, την επίτευξη του θελήματος του Θεού και την αλλαγή της αρχικής εμφάνισης του κόσμου της παλαιάς δημιουργίας. Ο Θεός δημιούργησε τον κόσμο με τον λόγο, οδηγεί τους ανθρώπους σε όλο το σύμπαν με τον λόγο, κατακτά και τους σώζει με τον λόγο. Εν τέλει, θα χρησιμοποιήσει τον λόγο για να θέσει τέλος σε ολόκληρο τον παλαιό κόσμο. Μόνο τότε θα ολοκληρωθεί πλήρως το σχέδιο διαχείρισης. Καθ’ όλη τη διάρκεια της Εποχής της Βασιλείας, ο Θεός χρησιμοποιεί τον λόγο για να επιτελέσει το έργο Του και να επιτύχει τα αποτελέσματα του έργου Του. Δεν κάνει τερατουργίες ούτε κάνει θαύματα. Απλώς επιτελεί το έργο Του μέσω του λόγου. Εξαιτίας του λόγου, ο άνθρωπος τρέφεται και εφοδιάζεται. Εξαιτίας του λόγου, ο άνθρωπος κερδίζει τη γνώση και την αληθινή εμπειρία. Ο άνθρωπος στην Εποχή του Λόγου έχει πράγματι λάβει εξαιρετικές ευλογίες. Ο άνθρωπος δεν υποφέρει από πόνους της σάρκας και απλώς απολαμβάνει την πλούσια προσφορά του λόγου του Θεού. Δεν χρειάζεται να αναζητήσει ή να ταξιδέψει, και βλέπει με άνεση την εμφάνιση του Θεού, Τον ακούει να μιλάει προσωπικά, λαμβάνει την προσφορά Του και να Τον βλέπει προσωπικά να επιτελεί το έργο Του. Ο άνθρωπος στο παρελθόν δεν ήταν σε θέση να τα απολαύσει αυτά, και δεν θα μπορούσε ποτέ να λάβει αυτές τις ευλογίες».
Ο λόγος του Θεού
Πηγή εικόνας: Αστραπή της Ανατολής
Όροι Χρήσης： el.easternlightning.org/disclaimer.html
I missed Batman while I was on vacation, but he is making up for lost time.
(p.s. Sally just painted the kitchen pale pink and pale buttercream.)
“Have patience with everything that remains unsolved in your heart.
Try to love the questions themselves, like locked rooms and like books written in a foreign language.
Do not now look for the answers. They cannot be given to you because you could not live them.
At present you need to live the questions.
Perhaps you will gradually, without even noticing it, find yourself experiencing the answers, some distant day."
Rainer Maria Rilke
PS
Inspired by a very talented artist here
thanks,Alex.
:)
To be blunt, No. I am happy being who I am, a male with womanly proclivities,
So, bottom line, I am not a transexual. But, understand, I completely empathize with those who feel that way.
La Cattedrale di Santa Maria Fiore - Duomo, Firenze (Florença)
www.google.com/maps?q=florença%20italia&layer=c&...
Following, a text, in english, from Wikipedia, the Free Encyclopedia:
The Basilica di Santa Maria del Fiore (English: Basilica of Saint Mary of the Flower) is the cathedral church of Florence, Italy. The Duomo, as it is ordinarily called, was begun in 1296 in the Gothic style to the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th century Gothic Revival façade by Emilio De Fabris.
The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. The three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting the region of Tuscany. The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.
The cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori.
he Basilica di Santa Maria del Fiore was built on the site of an earlier cathedral dedicated to Saint Reparata.[1] The ancient building, founded in the early 5th century and having undergone many repairs, was crumbling with age, as attested in the 14th century Nuova Cronica of Giovanni Villani,[2] and was no longer large enough to serve the growing population of the city.[2] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, as seen at Pisa and particularly Siena where the enormous proposed extensions were never completed.
The new church was designed by Arnolfo di Cambio and approved by city council in 1294. Arnolfo di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on September 9, 1296 by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 170 years, the collective efforts of several generations; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
After Arnolfo died in 1302, work on the cathedral slowed for the following thirty years. The project obtained new impetus, when the relics of Saint Zenobius were discovered in 1330 in Santa Reparata. In 1331, the Arte della Lana, the [=[Guilds of Florence|guild of wool merchants]], took over exclusive patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died in 1337, Andrea Pisano continued the building until work was again halted due to the Black PDeath in 1348.
In 1349 work resumed on the cathedral under a series of architects, commencing with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359 Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Andrea Orcagna. By 1375 the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418 only the dome remained incomplete.
On 19 August 1418, the Arte della Lana announced a structural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, who was supported by Cosimo de Medici. Ghiberti had been winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained acute. Brunelleschi won and received the commission.[3]
Ghiberti, appointed coadjutator, was drawing a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, would potentially earn equal credit, while spending most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423 Brunelleschi was back in charge and took over sole responsibility.[4]
Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on March 25, 1436 (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame: the Roman Pantheon, a circular dome, was built in 117–128 AD with support structures. It was one of the most impressive projects of the Renaissance. During the consecration service in 1436, Guillaume Dufay's similarly unique motet Nuper rosarum flores was performed. The structure of this motet was strongly influenced by the structure of the dome.
The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed to the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.
The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two lateral doors, the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six lateral windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.
During its long history, this cathedral has been the seat of the Council of Florence (1439), heard the preachings of Girolamo Savonarola and witnessed the murder of Giuliano di Piero de' Medici on Sunday, 26 April 1478 (with Lorenzo Il Magnifico barely escaping death) in the Pazzi conspiracy.
Exterior
Plan and structure
The cathedral of Florence is built as a basilica, having a wide central nave of four square bays, with an aisle on either side. The chancel and transepts are of identical polygonal plan, separated by two smaller polygonal chapels. The whole plan forms a Latin cross. The nave and aisles are separated by wide pointed Gothic arches resting on composite piers.
The dimensions of the building are enormous: length 153 metres (502 ft), width 38 metres (124 ft), width at the crossing 90 metres (295 ft). The height of the arches in the aisles is 23 metres (75 ft). The height from pavement to the opening of the lantern in the dome is also 90 metres (295 ft).
Dome
By the beginning of the fifteenth century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15 ft) high 9.2 metres (30 ft) long, was standing in a side isle of the unfinished building, and had long ago become sacrosanct.[5] It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The Duomo viewed from the heights of Piazzale Michelangelo
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravante's model was chosen over a competing one by Giovanni di Lapo Ghini.[6] That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts, in addition to being a style favored by central Italy's traditional enemies to the north.[7] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. A wooden form had held the Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[8] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of bricks, due to its light weight compared to stone and easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco and still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one each at the top and bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. He was also able to accomplish this by setting vertical "ribs" on the corners of the octagon curving towards the center point. The ribs had slits, where platforms could be erected out of and work could progressively continue as they worked up,a system for scaffolding.[9]
A circular masonry dome, such as that of Hagia Sophia in Istanbul can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.[10]
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its base; it has no embedded chains.[11]
A modern understanding of physical laws and the mathematical tools for calculating stresses was centuries into the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design was for an octagonal lantern with eight radiating buttresses and eight high arched windows (now on display in the Museum Opera del Duomo). Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.[12]
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".[13]
The decorations of the drum gallery by Baccio d'Agnolo were never finished after being disapproved by no one less than Michelangelo.
A huge statue of Brunelleschi now sits outside the Palazzo dei Canonici in the Piazza del Duomo, looking thoughtfully up towards his greatest achievement, the dome that would forever dominate the panorama of Florence. It is still the largest masonry dome in the world.[14]
The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. But the façade was still unfinished and would remain so until the nineteenth century.
Façade
Façade of the cathedral
The original façade, designed by Arnolfo di Cambio and usually attributed to Giotto, was actually begun twenty years after Giotto's death.[citation needed] A mid-15th century pen-and-ink drawing of this so-called Giotto's façade is visible in the Codex Rustici, and in the drawing of Bernardino Poccetti in 1587, both on display in the Museum of the Opera del Duomo. This façade was the collective work of several artists, among them Andrea Orcagna and Taddeo Gaddi. This original façade was only completed in its lower portion and then left unfinished. It was dismantled in 1587-1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. Some of the original sculptures are on display in the Museum Opera del Duomo, behind the cathedral. Others are now in the Berlin Museum and in the Louvre. The competition for a new façade turned into a huge corruption scandal. The wooden model for the façade of Buontalenti is on display in the Museum Opera del Duomo. A few new designs had been proposed in later years but the models (of Giovanni Antonio Dosio, Giovanni de' Medici with Alessandro Pieroni and Giambologna) were not accepted. The façade was then left bare until the 19th century.
Main portal of the cathedral
In 1864, a competition was held to design a new façade and was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery, but some think it is excessively decorated.
The whole façade is dedicated to the Mother of Christ.
Main portal
The three huge bronze doors date from 1899 to 1903. They are adorned with scenes from the life of the Madonna. The mosaics in the lunettes above the doors were designed by Niccolò Barabino. They represent (from left to right): Charity among the founders of Florentine philanthropic institutions, Christ enthroned with Mary and John the Baptist, and Florentine artisans, merchants and humanists. The pediment above the central portal contains a half-relief by Tito Sarrocchi of Mary enthroned holding a flowered scepter. Giuseppe Cassioli sculpted the right hand door.
On top of the façade is a series of niches with the twelve Apostles with, in the middle, the Madonna with Child. Between the rose window and the tympanum, there is a gallery with busts of great Florentine artists.
Interior
The Gothic interior is vast and gives an empty impression. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola.
Many decorations in the church have been lost in the course of time, or have been transferred to the Museum Opera del Duomo, such as the magnificent cantorial pulpits (the singing galleries for the choristers) of Luca della Robbia and Donatello.
As this cathedral was built with funds from the public, some important works of art in this church honour illustrious men and military leaders of Florence:
Dante Before the City of Florence by Domenico di Michelino (1465). This painting is especially interesting because it shows us, apart from scenes of the Divine Comedy, a view on Florence in 1465, a Florence such as Dante himself could not have seen in his time.
Funerary Monument to Sir John Hawkwood by Paolo Uccello (1436). This almost monochrome fresco, transferred on canvas in the 19th c., is painted in terra verde, a color closest to the patina of bronze.
Equestrian statue of Niccolò da Tolentino by Andrea del Castagno (1456). This fresco, transferred on canvas in the 19th c., in the same style as the previous one, is painted in a color resembling marble. However, it is more richly decorated and gives more the impression of movement. Both frescoes portray the condottieri as heroic figures riding triumphantly. Both painters had problems when applying in painting the new rules of perspective to foreshortening: they used two unifying points, one for the horse and one for the pedestal, instead a single unifying point.
Busts of Giotto (by Benedetto da Maiano), Brunelleschi (by Buggiano - 1447), Marsilio Ficino, and Antonio Squarcialupi (a most famous organist). These busts all date from the 15th and the 16th century.
Above the main door is the colossal clock face with fresco portraits of four Prophets or Evangelists by Paolo Uccello (1443). This one-handed liturgical clock shows the 24 hours of the hora italica (Italian time), a period of time ending with sunset at 24 hours. This timetable was used till the 18th century. This is one of the few clocks from that time that still exist and are in working order.
The church is particularly notable for its 44 stained glass windows, the largest undertaking of this kind in Italy in the 14th and 15th century. The windows in the aisles and in the transept depict saints from the Old and the New Testament, while the circular windows in the drum of the dome or above the entrance depict Christ and Mary. They are the work of the greatest Florentine artists of their times, such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno.
Christ crowning Mary as Queen, the stained-glass circular window above the clock, with a rich range of coloring, was designed by Gaddo Gaddi in the early 14th century.
Donatello designed the stained-glass window (Coronation of the Virgin) in the drum of the dome (the only one that can be seen from the nave).
The beautiful funeral monument of Antonio d'Orso (1323), bishop of Florence, was made by Tino da Camaino, the most important funeral sculptor of his time.
The monumental crucifix, behind the Bishop's Chair at the high altar, is by Benedetto da Maiano (1495–1497). The choir enclosure is the work of the famous Bartolommeo Bandinelli. The ten-paneled bronze doors of the sacristy were made by Luca della Robbia, who has also two glazed terracotta works inside the sacristy: Angel with Candlestick and Resurrection of Christ.
In the back of the middle of the three apses is the altar of Saint Zanobius, first bishop of Florence. Its silver shrine, a masterpiece of Ghiberti, contains the urn with his relics. The central compartment shows us one his miracles, the reviving of a dead child. Above this shrine is the painting Last Supper by the lesser-known Giovanni Balducci. There was also a glass-paste mosaic panel The Bust of Saint Zanobius by the 16th century miniaturist Monte di Giovanni, but it is now on display in the Museum Opera del Duomo.
Many decorations date from the 16th-century patronage of the Grand Dukes, such as the pavement in colored marble, attributed to Baccio d'Agnolo and Francesco da Sangallo (1520–26). Some pieces of marble from the façade were used, topside down, in the flooring (as was shown by the restoration of the floor after the 1966 flooding).
It was suggested that the interior of the 45 metre (147 ft) wide dome should be covered with a mosaic decoration to make the most of the available light coming through the circular windows of the drum and through the lantern. Brunelleschi had proposed the vault to glimmer with resplendent gold, but his death in 1446 put an end to this project, and the walls of the dome were whitewashed. Grand Duke Cosimo I de' Medici decided to have the dome painted with a representation of The Last Judgment. This enormous work, 3,600 metres² (38 750 ft²) of painted surface, was started in 1568 by Giorgio Vasari and Federico Zuccari and would last till 1579. The upper portion, near the lantern, representing The 24 Elders of Apoc. 4 was finished by Vasari before his death in 1574. Federico Zuccari and a number of collaborators, such as Domenico Cresti, finished the other portions: (from top to bottom) Choirs of Angels; Christ, Mary and Saints; Virtues, Gifts of the Holy Spirit and Beatitudes; and at the bottom of the cuppola: Capital Sins and Hell. These frescoes are considered Zuccari's greatest work. But the quality of the work is uneven because of the input of different artists and the different techniques. Vasari had used true fresco, while Zuccari had painted in secco. During the restoration work ended in 1995, the entire pictorial cycle of the The Last Judgment was photographed with specially designed equipment and all the information collected in a catalogue. All the restoration information along with reconstructed images of the frescos were stored and managed in the Thesaurus Florentinus computer system.
Crypt
The cathedral underwent difficult excavations between 1965 and 1974. The subterranean vaults were used for the burial of Florentine bishops throughout the centuries.
Recently[when?] the archaeological history of this huge area was reconstructed through the work of Dr Franklin Toker: remains of Roman houses, an early Christian pavement, ruins of the former cathedral of Santa Reparata and successive enlargements of this church. Close to the entrance, in the part of the crypt open to the public, is the tomb of Brunelleschi. While its location is prominent, the actual tomb is simple and humble. That the architect was permitted such a prestigious burial place is proof of the high esteem he was given by the Florentines.
Also buried in the former cathedral of Santa Reparata was Conrad II of Italy.
A seguir, um texto, em português, da Wikipédia a Enciclopédia Livre:
A Basílica di Santa Maria del Fiore é a catedral, ou Duomo[1], da Arquidiocese da Igreja Católica Romana de Florença. Notabilizada por sua monumental cúpula - obra do celebrado arquiteto renascentista Brunelleschi - e pelo campanário, de Giotto, é uma das obras da arte gótica e da primeira renascença italiana, considerada de fundamenal importância para a História da Arquitetura, registro da riqueza e do poder da capital da Toscana nos séculos XIII e XIV. Seu nome (cuja tradução é Santa Maria da Flor) parece referir-se ao lilium, símbolo de Florença, mas, documento [2] do Século XV, por outro lado, informa que “flor”, no caso, refere a Cristo.
História
O Duomo de Florença, como o vemos hoje, é o resultado de um trabalho que se estendeu por seis séculos. Seu projeto básico foi elaborado por Arnolfo di Cambio no final do século XIII, sua cúpula é obra de Filippo Brunelleschi, e sua fachada teve de esperar até o século XIX para ser concluída. Ao longo deste tempo uma série de intervenções estruturais e decorativas no exterior e interior enriqueceriam o monumento, dentre elas a construção de duas sacristias e a execução de esculturas e afrescos por Paolo Uccello, Andrea del Castagno, Giorgio Vasari e Federico Zuccari, autor do Juízo Final no interior da cúpula. Foi construída no lugar da antiga catedral dedicada a Santa Reparata, que funcionou durante nove séculos até ser demolida completamente em 1375.
Em 1293, durante a República Florentina, o notário Ser Mino de Cantoribus sugeriu a substituição de Santa Reparata por uma catedral ainda maior e mais magnificente, de tal forma que "a indústria e o poder do homem não pudessem inventar ou mesmo tentar nada maior ou mais belo", e estava preparado para finaciar a construção. Entretanto, esperava-se que a população contribuísse, e todos os testamentos passaram a incluir uma cláusula de doação para as obras. O projeto foi confiado a Arnolfo em 1294, e ele cerimoniosamente lançou a pedra fundamental em 8 de setembro de 1296.
Arnolfo trabalhou na construção até 1302, ano de sua morte, e embora o estilo dominante da época fosse o gótico, seu projeto foi concebido com uma grandiosiddade clássica. Arnolfo só pôde trabalhar em duas capelas e na fachada, que ele teve tempo de completar e decorar só em parte. Com a morte do arquiteto o trabalho de construção sofreu uma parada. Um novo impulso foi dado quando em 1330 foi descoberto o corpo de São Zenóbio em Santa Reparata, que ainda estava parcialmente de pé. Giotto di Bondone então foi indicado supervisor em 1334, e mesmo que não tivesse muito tempo de vida (morreu em 1337) ele decidiu concentrar suas energias na construção do campanário. Giotto foi sucedido por Andrea Pisano até 1348, quando a peste reduziu a população da cidade de 90 mil para 45 mil habitantes.
Sob Francesco Talenti, supervisor entre 1349 e 1359, o campanário foi concluído e preparou-se um novo projeto para o Duomo, com a colaboração de Giovanni di Lapo Ghini: a nave central foi dividida em quatro espaços quadrangulares com duas alas retangulares, reduzindo o número de janelas planejadas por Arnolfo. Em 1370 a construção já estava bem adiantada, o mesmo se dando com o novo projeto para a abside, que foi circundada por tribunas que amplificaram o trifólio de Arnolfo. Por fim Santa Reparata terminou de ser demolida em 1375. Ao mesmo tempo continuou-se o trabalho de revestimento externo com mármores e decoração em torno das entradas laterais, a Porta dei Canonici (sul) e a Porta della Mandorla (norte), esta coroada com um relevo da Assunção, última obra de Nanni di Banco.
Contudo, o problema da cúpula ainda não fora resolvido. Brunelleschi fez seu primeiro projeto em 1402, mas o manteve em segredo. Em 1418, a Opera del Duomo, a centenária empresa administradora dos trabalhos na Catedral, anunciou um concurso que Brunelleschi haveria de vencer, mas o trabalho não iniciaria senão dois anos mais tarde, continuando até 1434. A Catedral foi consagrada pelo Papa Eugênio IV em 25 de março (o Ano Novo florentino) de 1436, 140 anos depois do início da construção. Os arremates que ainda esperavam conclusão eram a lanterna da cúpula (colocada em 1461) e o revestimento externo com mármores brancos de Carrara, verdes de Prato, e vermelhos de Siena, de acordo com o projeto original de Arnolfo.
A fachada
A fachada original, desenhada por Arnolfo di Cambio, só foi começada em meados do século XV, realizada de fato por vários artistas em uma obra coletiva, mas de toda forma só foi terminada até o terço inferior. Esta parte foi desmantelada por ordem de Francesco I de Medici entre 1587 e 1588, pois era considerada totalmente fora de moda naquela altura. O concurso que foi aberto para a criação de uma nova fachada acabou em um escândalo, e os desenhos subseqüentes que foram apresentados não foram aceitos. A fachada ficou, então, despida até o século XIX, mas estatuária e ornamentos originais sobrevivem no Museu Opera del Duomo e em museus de Paris e Berlim.
Em 1864, Emilio de Fabris venceu um concurso para uma nova fachada, que é a que vemos hoje, um enorme e magistral trabalho de mosaico em mármores coloridos em estilo neogótico, com uma volumetria dinâmica e harmoniosa. Pronta em 1887, foi dedicada à Virgem Maria, e é ricamente adornada com estatuária de elegante e austero desenho. Em 1903 terminaram-se as monumentais portas de bronze, com várias cenas em relevo e outras decorações.
Interior
Sua planta é basilical, com três naves, divididas por grandes arcos suportados por colunas monumentais. Tem 153 metros de comprido por 38 metros de largo, e 90 metros no transepto. Seus arcos se elevam até 23 metros de altura, e o cume da cúpula, a 90 metros.
Suas decorações internas são austeras, e muitas se perderam no curso dos séculos. Alguns elementos acharam abrigo no Museu Opera del Duomo, como os coros de Luca della Robbia e Donatello. Subsistem também os monumentos a Dante, a John Hawkwood, a Niccolò da Tolentino, a Antonio d'Orso, e os bustos de Giotto (de Benedetto da Maiano), Brunelleschi (de Buggiano - 1447), Marsilio Ficino, e Antonio Squarcialupi.
Sobre a porta de entrada há um relógio colossal com decoração em pintura de Paolo Uccello, e acertado de acordo com a hora italica, uma divisão do tempo comumente empregada na Itália até o século XVIII, que dava o por-do-sol como o início do dia.
Os vitrais são os maiores em seu gênero na Itália entre os séculos XIV e XV, com imagens de santos do Velho e Novo Testamento. O crucifixo é obra de Benedetto da Maiano, a talha do coro de Bartolommeo Bandinelli, e as portas da sacristia são de Luca della Robbia.
This pumping station has been shut down many years ago. But the smell is still there…I just love the decay in places like this. It always makes me wonder and asks me questions….
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New Record out now! to order the record, please send me an email (gene@crushed-eyes.com)
more infos here:
www.geengerrecords.com/products/705284-ippio-payo-genelab...
We had to do a Self Portrait for school.
Here is mine
Strobist :
One sb800 with softbox in front of me @1/4
That's all
Is anyone still gonna enter this? Cause I really hope so. I hope I could get some more entries for my contest. So please enter my contest.
Recently my friend Bill Storage asked a question in DeletemeUncensored titled "What's Wrong With Flickr." The thread wasn't meant to complain about Flickr but to talk about how Flickr could be improved if one were starting from scratch. I wrote a couple of long responses out to Bill in the thread, but thought that some of the ideas really belonged in a longer-form blog post.
Alot of people give me crap for criticizing Flickr. They ask me why I use Flickr if "hate" it so much. The fact of the matter is that I don't hate Flickr at all. In fact I love Flickr (even if they don't love me anymore). I spend more time on Flickr than any other site on the web. I think Flickr represents the best place on the web for a photographer to share photos today and I think as a whole that Flickr is one of the cultural gems of our lifetime. What's more, a lot of the stuff on Flickr works really, really well and is really really great.
That said, I've always viewed criticism as a positive thing. As something that helps us improve and grow. Hopefully we learn from our critics and hopefully one can view suggestions as opportunities for improvement rather than simple mindless negativity. I blog alot about Flickr because I care about Flickr. I care about photography on the web. I care about the greater Flickr community and I want to see it get better and better. So don't see this list as a bitch list about Flickr, rather see it as some honest ways that Flickr can improve.
1. Improve the process on how account and group deletions are handled. Flickr is increasingly becoming known as a place that deletes accounts willy nilly without warning. Flickr's "Community Guidelines" are notoriously vague (you can be deleted without warning on Flickr for being "that guy" or if Flickr feels that you are "creepy.")
Many of my friends have had their entire accounts deleted for pretty minor offenses that are not specifically prohibited in more specific language in the TOS. In some cases photos with historical significance have been permanently lost. A while back Flickr nuked a group that I administered killing thousands of permanent threads. Thousands of threads by a group with thousands of members. Threads about cameras, workflows, photographic techniques, etc. Institutional knowledge stricken from the web forever.
Flickr really only should nuke accounts or groups as a matter of absolute last resort. They should try to work with their members (especially their long-term and paying members) if they find content that they object to. They should give members opportunities to take self-corrective action before just pulling the plug on their account. If they object to a single thread or a single image, they should just delete that image rather than nuking a user's entire account.
When Flickr nukes a group or an account it says to a user, "I don't respect you or your data." It creates an atmosphere of fear and uncertainty is bad for community.
At Flickr when they nuke your account it is also permanent and irrevocable. There is no undo button. Even if Flickr staff mistakenly deletes an account or if a hacker maliciously deletes your account, there is no getting that data back. It's gone forever.
Flickr could probably very easily create a system where deleted accounts are simply turned completely private and inaccessible from the web without actually removing all of the data. They could then give a user an opportunity to fix whatever they have a problem with in order to get their account turned back on. This would be a far better way of managing community than Flickr does at present.
2. Create a more robust blocking tool. Today at Flickr when you block someone, all it means is that they can't fave or comment on your photos. This is a very weak blocking system. If someone really wants to harass you blocking them does nothing. They can still comment on photos after you do so that their comments show up in your recent activity. They can still follow you around in groups and post things that you're forced to look at etc. Especially with cheap throw away troll accounts this creates unnecessary conflict on the site.
A few years back, over at FriendFeed, they developed a far more robust blocking system. When you block someone on FriendFeed they become entirely invisible to you. Not only can they not comment in your threads, anyplace else they post on the site is made invisible to you. They are wiped off the planet as far as you are concerned.
Now this would accomplish a few things at flickr. First it would give users far more control over eliminating anything that they found personally offensive or negative on the site. You don't like my paintings of nudes from a museum and don't like seeing them when you search for the de Young Museum? Fine. Then block me and you never see any of my content again. You don't like someone who uses language that you find offensive in a group post? Fine, block them as well.
Second though, this sort of tool would encourage more civil interaction between users. If a user creates a troll account and starts behaving badly. They are quickly blocked and become irrelevant. This encourages them not to troll creating a more positive experience for the rest of us.
Many of the personality clashes that occur on Flickr could be avoided if Flickr simply empowered the user to block more robustly.
3. SmartSets. Having to manually construct sets is an incredibly inefficient way to build and maintain your sets. That's why I use Jeremy Brooks' SuprSetr. It's probably the best third-party app ever built for Flickr. Flickr should hire Jeremy in fact as he's doing groundbreaking work here, but that's another topic.
Flickr should consider building SuprSetr technology directly into their Organize section. Let users build sets by keywords. It makes it much easier for users to build and maintain their sets. If I build a Las Vegas set for instance. In the future every single photo of mine keyworded Las Vegas, automatically gets added to this set when I run SuprSetr. Very slick.
4. Better Group thread management. At present Flickr has a very strong and robust Groups section. Here users can create groups (and there are probably literally millions of groups at this point) and talk about whatever they want and post photos into a pool. Games have been created around groups. Businesses have set up groups. Local communities have created their own groups. There are niche groups about anything and everything -- from graffiti in South Florida to a specific neon sign in San Jose. Some groups have more robust discussion threads than others, but all offer this feature.
One of the problems with group threads on Flickr though is that you are constantly losing track of conversations that you are having because you have to manually go to each and every group to check the threads. If I post something in a group, but then don't remember to go back to that specific group and that specific thread, I have no way of knowing if someone has answered my question or commented after my thoughts or whatever.
Flickr should create a page that aggregates all of the group threads that you are participating in or have chosen to follow. This page would encompass all threads from all group in a nice aggregated section. This way if you posted a really important question in a group three months ago that someone has finally got around to answering, you will actually see it, the moment it is bumped to the top of your aggregator.
Flickr should also allow you to hide group threads. Both in your aggregator as well as in the more general group view. If I don't care about the latest Pentax camera (because I'm a Canon 5D M2 owner) I should be able to mute that thread in the group and never see it again. This would also help decrease negative trolling and bumping of threads on the site as offensive threads could just be hidden by a user if they didn't want to see it.
5. Kill explore and replace it with a recommendation system based on your contact's/friends photos. Flickr blacklisted me from Explore a while back after I wrote a negative blog post about actions that someone on their community management team had taken. They capped my photos in it at 666 (cute huh?). But this isn't why I don't like Explore. There's a whole thread called "So I Accidentally Clicked on Explore" in DMU devoted to crappy photos that end up in Explore. The problem with Explore is that it largely shows you photos that you are less interested in. Broad general popular photos of cliches. Sunsets and kittens as the saying goes.
If I choose to follow people on Flickr, I'm probably much more interested in their style of photography or them personally than I am images in Explore. Maybe I'm a graffiti writer and am most interested in graffiti photos. Maybe my thing is mannequins. Maybe I want to see photos of classic cars. Whatever. Instead of presenting the community what Flickr feels is the best of the whole community, show each member the best of their contacts each, day, week, month. I would be far more interested in the photos of people that I actually follow, like, know, etc. Maybe Aunt Edna's photo of her dog will never hit Flickr's explore. But it just might hit my own personalized explore and because I know Aunt Edna and she is my contact, it might be a much more rewarding experience for me to see than say another random dog shot from a user that I don't even know.
Flickr does have a page that shows your contacts most recent uploads, but this page is very limited and only shows the most recent 1 or 5 photos. There is also no way to filter it so that you see the photos that are faved/commented on the most and are likely to be the more interesting photos.
Get rid of Explore and replace it with something that is focused much more on your contacts than people you don't even know. A personalized Explore would be a far more interesting page.
6. Improve Group Search. I have no idea why Group Search sucks so badly on Flickr but it does. Frequently you will search for terms that you've posted in group thread conversations and Flickr will not return the thread where the word exists. I would think that Yahoo! should know a few things about search and am surprised that searching for threads in groups has been so spotty for so many years. I have no idea why this is so bad, but it shouldn't be.
7. Improve Data Portability. Flickr gives lipservice to data portability, but is not serious about it. As long as 99% of Flickr users can't or won't figure out how to move their photos easily to another site they are just fine with things. Functional lock in. The data that we put on Flickr is our data. It belongs to us. We are paying Flickr to hold it for us, but it belongs to us.
Recently my friend Adam wrote up a post on a help forum post about the language Flickr uses for encouraging people to buy Pro accounts. They said that they felt that Flickr is holding your photos hostage (beyond the 200 photo free limit) if you don't upgrade to Pro. Only Pro accounts have access to original images on Flickr.
Flickr should let any member get their photos out of Flickr at any time. Further they should offer competitors API keys to allow them to build service to service direct transfer applications to move your photos to another service if you want. If I don't want to renew my Pro account on Flickr and want to move my photos to Picasa, this should be as easy as me pressing a single button and having all of my photos transfer over.
Today it is very difficult and clunky to get your photos off of flickr. A few third party apps are available, but there are lots of problems with them. They fail if you have too many photos. They are only Windows based, etc. etc. Flickr has functional lock in and holds photos in a silo while talking about how they allow you to get your photos out of Flickr. Flickr should follow the lead of Google here and publicly both state and help make our data more portable. This ought to be part of being a good web citizen today.
8. Uncensor Singapore, Hong Kong, India, Korea, Germany and Maktoob.com. At present Flickr censors content to these places. It's still mind boggling to me that a photo of a painting that I took in the Art Institute of Chicago can't be seen by people in India. Trying to censor the world's web is messy business. Flickr/Yahoo should take a stand for freedom and uncensor these locations. Google last year took a bold step of choosing to walk about from China rather than censor results there. Yahoo should stand for freedom and stop censoring in these places.
9. Let people sell their photos for stock photography. Flickr missed the boat by giving away stock photography to Getty Images. Stock photography is probably the single easiest way for Yahoo to dramatically increase the profitability of Flickr. Getty Images represents a tiny fraction of the images available on Flickr. The Flickr/Getty deal was probably done as a defensive move by Getty more than anything to keep Yahoo out of the multi billion dollar market that is stock photography today. What resulted is that users get a paltry 20% payout for a very small number of their images that can be sold.
Flickr could be a far more formidable competitor to Getty. Flickr has the size and market share to dramatically disrupt this market. The stock photography marketplace is *far* more complicated than this. But oversimplifying things, Flickr should offer two collections for sale (if a user chooses to offer their photos for sale). Cleared photos and uncleared photos. Uncleared photos should pay more to the photographer than cleared photos. Cleared photos would be reviewed by a team of stock photography experts (Yahoo could even buy one of the smaller stock agencies that already has experience clearing images) and result in a lower payout to the photographer. By turning Flickr into the world's largest stock photography agency Yahoo could receive significant revenue from Flickr and Flickr photographers personally could benefit much more from posting their work there.
10. Build a better mobile app. The Yahoo built mobile app for Flickr sucks ass (sorry). As I understand it, it wasn't even developed by the Flickr team. Over at Quora former Flickr Engineer Kellan Elliott-McCrea answers the question, "Why did Flickr miss the mobile photo opportunity that Instagram and picplz are pursuing?" There is no compelling mobile Flickr experience today.
Recently, one of my favorite Flickr photographers, Michael Wilbur, deleted his entire Flickr account and is now one of the most popular photographers on Instagram. Flickr needs to develop a more compelling mobile experience. Part of this should be a very easy way to view group threads via mobile.
There you go. Food for thought. And keep on flickering.
Quante domande mi affollano la testa
In questi giorni di grande dolore
Oggi è il primo giorno del tempo che ci resta
Un giorno buono per incominciare
Quante persone ci son passate già
Da questo incrocio pieno di domande
Milioni di milioni da qui all'eternità
Ma la risposta non è mai abbastanza grande
Per riempire il vuoto che ci manca
Per riempire il cuore dell'umanità
I got so many questions running up inside my mind
Life is so long but it isn't still enough time
To answer all the questions I got inside my mind
My Mom is not a big fan of my art work because she can't hang it on her walls. : )
So I've decided to branch out a bit and do some flower/foliage/cats photography as well. I want to stay true to my own style - even if it is with different subjects.
I saw these beautiful rolled flowers with strong leaves and it reminded me a torches. So that is the theme I went with.
Let me know what you think!
Also - add any tags you think should apply.
Teleidoscope 35/52 Foreign. I picked this for the theme because this is soooooo foreign to what I normally do! I haven't done anything like this - ever.
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Big shout out to Color Carnival!!!!!
When it comes to nature she inspires me!!! If you haven't checked out her stream - you should.
www.flickr.com/photos/colorcarnival/
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Artist Collectible Cards and prints on etsy
My take on a shot by JenniPenni.
Andddddd J is for "Just Wondering"
:D
Finally going home today! I'll miss my grandparents, yes, but I have limited props and wardrobe here! It was killing me!
Um.. this was supposed to be a bit ironic.. I feel like too many are taking it seriously. Giving me the meaning of life! I mean, I adore everyone's opinions, htough :)
I just have to say "Thank You" to all my contacts!! You have been so supportive! You have listened to me when I was in doubt, encouraged me, answered all my questions and have always shown up when I needed that last award to go on to the next level especially in Rainbow. Plus you have continually provided me with beautiful images to admire and inspire to. THANK YOU!!
The street fighting in the streets of Kowloon last year amounted to damage to property and people, but one has to ask the question of what can a small army of spirited people hope to achieve against the militia and its armoury. Observing broken bamboo barricades brought home to me the poignancy of their fight.