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"...Le premier magistrat parla alors de fierté, de chance, de reconnaissance, de mission, de responsabilités en évoquant son statut de maire. Il mit aussi l’accent sur l’esprit de groupe, sur le collectif, sur le service public, sur l’intérêt général. Il remercia les anciens élus – ceux qui ne sont plus là – pour l’avoir accompagné durant ces six premières années et félicita chaleureusement les nouveaux arrivants, au nombre de dix-huit, qui depuis ce fameux lundi soir sont officiellement élus de la République. « Nous avons une équipe formidable pour servir notre ville. Je suis fier d’être Cassipontin, je suis fier d’être votre maire !" (sic)
So, in spite of the presence of my favorite subject matter in the abandoned house, the eye is certainly drawn to that tree, right?
The question of perception is about that tree...
I see a tree (walnut, maybe) with curves that look like a woman's body. A symbol of mother earth, mother nature...
Or maybe it's just a creepy-cool looking tree.
I have visited this property in Palo Alto County, Iowa before.
Explore #386
St Peter at the Waterfront, St Peter's Street, Ipswich
In 2008, I wrote: St Peter is a landmark church on the north side of Stoke Bridge, overlooking a busy junction. When the church was built, the river was wider, and this must have been a waterside church. It is the first of a line of three medieval dockside churches about 150m each apart. Its fine west tower makes it seem much bigger than it actually is, and the great view when approaching from the south or west is a modern, unfamiliar one; until 20 years ago, this church was surrounded by urban clutter. St Peter's tower has not been seen from a distance like this for hundreds of years, and perhaps never, because this has always been an urban, industrial parish. Indeed, because this is the oldest part of Ipswich, and Ipswich is England's longest continually occupied town, this is perhaps England's longest continually occupied urban parish.
Views from the east, however, are dismal and more typical. After this church was declared redundant in the early 1970s, it fell into a terrible state, at the time the most pitiful of all Ipswich churches. When St Peter was made redundant this was a far less busy area, and it was easy for vandals to break in and cause damage. This church was important enough for George Gilbert Scott to have been responsible for the considerable 1870s restoration of the nave and chancel, but this Victorian work seemed to be nearing the end of its structural life. The land here is very soft, and although St Peter doesn't suffer the problems that caused the closure of adjacent St Mary at Quay, there were cracks in the nave walls that have had to be urgently addressed.
As at St Stephen and St Lawrence, the main entrance is from the west, and there are elaborate niches flanking the doorway. This view has benefited greatly from the late 1990s restoration, of which more in a moment. To the east, the factory has been demolished, and this whole area is now part of Ipswich's biggest regeneration programme since the 1960s, the Waterside development. Soon, St Peter's neighbours will include an apartment block more than 20 storeys high, and the dockside silos and factories are being replaced by designer flats, bars and hotels. The wet dock itself is now a large marina. One day, this may well be a wonderful setting for the church. For now, it is still a bit of a building site.
Coming here in 2006 was a slightly distressing experience. Inside, the damage caused by vandalism, settlement and weather were readily apparent. The east window was still partly boarded up (at one time, they all were) and the paint had peeled from the walls. Virtually all the fixtures had gone, and so there was a poignancy about the way the altar and pulpit were dressed. But when I had first seen it, in the early 1990s, it had been much worse than this. The Ipswich Historic Churches Trust, which took over the care of St Peter, allowed it to be used by a model railway club for nearly 20 years. The nave was tightly packed with model train layouts, the arcades draped with electric cables, making a proper appreciation of the integrity of the interior impossible. This church was terribly uncared for, and it all seemed a shame.
This church was only open on the Historic Churches bike ride day, (unless, of course, you joined the model railway club), but a visit was always desirable, because St Peter has one great treasure. It has the finest black Tournai marble font in England. There are only 9 others, including St Peter's near-twin in Lincoln Cathedral. It is a mystery why the Anglican diocese allowed this to remain in such a vulnerable building when so much else - organ, benches, fittings - had been removed.
When a church falls redundant, the font is often the first thing to go, pressed into service at some other church. But here, the massive black square block remained, brooding, with its primitive carvings of lions. Once seen, this 12th century art treasure is never forgotten. And yet, for 364 days a year, the town's most important early-medieval artifact was locked away with the train-sets and the damp. Few decisions could have been more short-sighted. But it survived, of course, and has no doubt survived much worse over the centuries, and sits just to the east of the soaring tower arch.
St Peter's other treasure is the so-called 'Wolsey's gateway', a watergate which is all that remains of the school planned by Cardinal Wolsey as a feeder to his Oxford college. The school was never completed, its stone taken for use elsewhere in the town. The gateway itself, built into St Peter's south churchyard wall, is of mild interest, I suppose, its crest and brickwork eaten away by acidic fumes from the thousands of cars that pass within a few feet everyday. I don't suppose the Victorian factory fumes did it much good either.
The five medieval churches of Ipswich town centre which were declared redundant in the 1970s and 1980s were handed to the Borough Council, who established the Ipswich Historic Churches Trust to look after them. It was something of a poisoned chalice for those who became the churches' stewards, for there was little money available to be spent on them. Indeed, it sometimes appeared as if the financial problem was deliberately intended as a spur for the Trust to find fully commercial uses for the buildings.
In 1999, there was a chance of a business use for St Peter. Acorn Office Supplies, an established office equipment firm out on one of the industrial estates, were looking for a town centre showroom. The model railway club were sent packing, and the building was given an extensive (and essential) programme of restoration, revealing superb exterior flintwork, as bubbly as lace. Planning permission was obtained to convert St Peter into offices and a showroom for Acorn.
The firm was full of promises about allowing access to the font, which would have been a great thing for the town. Unfortunately, when John Blatchly of the Ipswich Historic Churches Trust wrote to me in November 2001 it was to say that Acorn Office Equipment had withdrawn. This is a great disappointment to us, he wrote, for the public were to have had access to much of the building during office hours, there would have been no permanent changes to the fabric of the building, and significant improvements would have been made to the building’s facilities and decorative state.
There had never been a satisfactory commercial reuse of a medieval church in Ipswich, and it wasn't going to happen this time. Chastened perhaps by the possible ultimate cost of the conversion, Acorn remained on their industrial estate. And, of course, they were correct to do so, because nowadays who in their right mind would go into a town centre to look at office furniture, when there is a perfectly good supplier on the edge of town?
And therein lies the problem. As planning laws have loosened, and buildings can be constructed swiftly with cheaper materials, no commercial organisation in its right mind was going to spend the seven figure sum required to bring a redundant medieval building up to standard. The early years of the new millennium really were dark days for the redundant town centre churches, because it really looked as if a quarter of a century's neglect might lead to their ultimate demise.
When I last wrote about this church in 2006, I asked a simple question. What should happen to St Peter? In this redevelopment area, everything was up for grabs; a borough that can give planning permission for a 23 storey block beside a medieval church is presumably capable of doing more or less anything to the church itself. St Peter's tower has become a landmark, an essential part of the townscape, and the font is a national treasure. I suggested then that perhaps the best way forward was to primarily consider the conservation of these two features, perhaps by demolishing the rest of the structure and turning it into a garden, perhaps entered through Wolsey's gateway. The font could then be enclosed beneath the tower by a glass atrium to east of the elegant tower arch. This may have sounded radical, but this is an area where radical ideas were being enthusiastically implemented, andwas in any case no more radical than the Brooke Report of the 1960s, which advised that redundant medieval churches should be demolished and the land sold.
There are many differences between the Britain of thirty years ago, when St Peter became redundant, and the Britain of today. Primarily, of course, we are now a rich country, and can afford the luxury of maintaining our priceless heritage more than we could then - unless we plan to cash in the family silver and spend the proceeds on the bombing of Middle Eastern countries, of course.
Secondly, a vast heritage industry has grown up in that time; people are now obsessed with the past, and historically themed villages and electronically enhanced 'experiences' cater for their hunger. There's nothing we like so much these days as a wander through a Viking town, or watching a medieval cobbler at work, or various troops of the Civil War beating seven shades out of each other.
Thirdly, there is a hunger for a sense of the numinous; people are searching for something that they didn't seem to want thirty years ago. Sometimes this is satisfied by New Age mysticism, but the Churches still have a lot to offer - the Church of England seems to have at last begun to grasp that most people don't want to attend Sunday services, but they may still want to wander into a church and look around, and to sit and to meditate. People go into a church when they want to pray or if they only want a good cry. They won't necessarily come back on Sunday - although, of course, they might - but the church building itself offers them a spiritual shelter, at least if it is open during the day, which most in Ipswich town centre are.
Fourthly, there is a huge passion in North America and Australia for tracing ancestral roots. Look at the visitors book in any East Anglian village church; a large proportion of the names will be of people returning to the village that their ancestors left perhaps centuries ago. They always make for the church. This wasn't the case thirty years ago.
Fifthly, television and books have created a fascination with art and architecture that most people did not tap into before. Programmes about churches and castles have unbelievably large followings. People can tell you what a clerestory is and what a hammerbeam was for in a way that they couldn't in the past.
It seemed to me that all these points needed to be taken into account when considering the future of redundant medieval churches. At the time I wrote that, the Ipswich Historic Churches Trust still seemed stuck in the 1980s, pursuing commercial solutions to the problem of finding new uses for its empty churches. But as a member of the IHCT committee confided in me, this is not going to happen; not at St Peter, and not at most of the other redundant churches. No business is going to pour cash into old buildings with poor service access, when there are now so few restrictions on building afresh on brownfield and even greenfield sites.
I finished my 2006 polemic by stating what I firmly believed to be true: there will never be a commercial use for this building. But I also believed that the future for St Peter, if it exists, must be a sustainable one. I asked what could be done to make people actually want to go to St Peter, and to persuade us that it is worth paying for, through our taxes or even through our pockets?
Even as I was typing that, plans were afoot to actually do something about St Peter. Now, I hope it doesn't sound too immodest of me to point out that my suggested future for the redundant nearby church of St Lawrence has come almost exactly true, so I am happy to report that here, at St Peter, the planners did not take me up on my suggestion of demolishing the nave and chancel. However, once it became clear that there was no possible commercial future for the building, people with energy started getting clever, and finding out about grant-funding and public sector finance. This was a sea-change in thinking, and an extremely important one, because today in England, only the public sector can afford to take on projects of this type. Here at St Peter, the church has been transformed into a concert space which will be home to the Ipswich Hospital Band, one of the best of its kind in the country.
The transformation has been a gentle one. A raked stage has been built up within the chancel, the floor has been replaced, the walls have been decorated, and the stained glass restored. It is simply and pleasingly done, and cost a good deal less than the £1.2 million required at St Lawrence. The Ipswich Millennium Tapestries are on permanent display, there is a local history exhibit, and the building is open every day for visitors.
At the turn of the Millennium, only one of the five churches had any sustainable future. Now, all five of them have a secure life ahead, and four of them are already in use - only St Clement waits to see what the Waterfront will make of it. For anyone who knew these churches twenty years ago, it is a most heart-warming experience to visit them now.
My first digital camera ever was a Casio EX-Z40. Then I upgraded to another point and shoot: Canon PowerShot SD870 IS. It wasn't until about 2008, when I got my first DSLR, a Nikon D80. Now most recently, since Sept 2011, I have a Nikon D7000! :)
I always get the question of "do you think Nikon or Canon is better?" I think they're both great companies and produce good quality cameras. Both cameras produce amazing results. I think it's more about preference on what you like and are looking for in a camera. What your friends shoot with also may shift your decision since you can personally try their camera and swap lenses on photo-outings! I can't answer that question well because, obviously I know more specifics about Nikon than Canon. I can tell you why I upgraded from a D80 to a D7000. I can tell you what I look for in a camera. But I can't give you a good answer to which brand is better.
That's why I love this quote:
"A photographer went to a socialite party in New York. As he entered the front door, the host said 'I love your pictures - they're wonderful; you must have a fantastic camera.' He said nothing until dinner was finished, then: 'That was a wonderful dinner; you must have a terrific stove.'"
--Sam Haskins
I love my camera. :) It fits perfectly in my hands and isn't too heavy. I'm so glad that I picked up photography as a hobby (Thanks Art! :D). It's a great stress reliever from school/work, motivation for me to improve and challenge myself constantly, great excuse to go exploring new areas and most of all capture beautiful memories to remember.
+1 in comments
This one reminds me of another, "A Mime is a terrible thing..."
I classify mimes along with clowns...creepy and unnecessary. They make me inexplicably uneasy.
This rental center is along Route 38 in Mt. Laurel, NJ. They have two such signs and show 4 different messages on a regular basis. I should get a job there, eh?
Grand Canyon Toroweap Sunset over Grand Canyon! Nikon D810 Dr. Elliot McGucken Fine Art Landscape & Nature Photography for Los Angeles Gallery Show!
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Feel free to ask questions at my new blog!
Will be busy printing and framing in nice large, matted formats and frames and museum glass! Five of these photos will be printed on 40" x 60" floating wall mounted metal sheets! I think I know which--will share photos of the photos hanging on the walls!
And I am mounting some on plexiglass/acryllic--front mounting them! Some I am printing on lossy fuji-crystal archival paper too, and then front mounting 40"x60" versions to plexiglass--will send photos!
The secret to HDR photography is that you want people to say, "Woe dude--that's unreal!" And not, "Dude--that's not real!" "Unreal" is the word they use when they're trying to figure out the photo--what makes it cool--is it a photo? Is it painted? How'd it come to be--how'd you bend the light that way? "That's not real," is what they say if you have the saturation/HDR/ etc. turned up too high. :)
Some (almost) final edits for my Los Angeles Gallery Show! Printing them on metallic paper at 13" x 19" and mounting and framing them on a 4mm 18x24 white mat and 2" dark wood frame. Also printing some 40" x 70" whihc is over three feet by five feet! Wish you all could come (and hang out with the goddesses)!
Let me know your favs.!
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Preparing for some gallery shows to celebrate 500,000,000 views! Printing a few dozen photographs in ~ 30"x40" formats and mounting/framing. Here are some close-to-final edits. HDR photography 7 exposures shot at 1EV and combined in photomatix: 36 megapixel Nikon D800E with the awesome Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens. 45SURF Hero's Odyssey Mythology Photography!
Epic Scenic HDR Landscaps Shot with Nikon D800E: Hero's Odyssey Mythology Photography!
Shot with the Nikon Nikkor wide-angle 14-24 mm 2.8 lens!
Seven exposures @ 1EV finished in photomatix.
Enjoy the Hero's Odyssey Mythology Photography, and all the best on a hero's odyssey of your own making!
These were shot with Nikon's best D810 with the 14-24mm wide-angle Nikkor lens. 7 exposures were taken at 1 EV intervals, and combined in photomatix to bring out the shadows and highlights.
Rather large HDR (high dynamic range) photo--you can see great detail both near and far! View the detail at full size!
The Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens rocks!
High Dynamic Range (HDR) photos rock in capturing the full dynamic range of the scene!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
Shot with the Nikon AF-S NIKKOR 14-24mm f/2.8G ED Lens !
Sony A7R RAW Photos of Pretty, Tall Blond Ballerina Model Goddess Dancing Ballet! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3
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New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
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).
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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.
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Pretty Swimsuit Bikini Model Goddess! :)
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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!
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.
Sony A7R RAW Photos of Pretty Blonde Bikini Swimsuit Ballerina Model Goddess Dancing Ballet! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Blond Hair!
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All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
This photo has been on explore: Nov 18, 2009 #495
Please View On Black
Sorry - could not resist.
Saumacus asked for big cows in Germany: www.flickr.com/photos/rschuetz/4114809100/in/photostream/...
Now - here we have a REAL big cow ;-)
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The hangings are like a missed light on Lucifer's forehead, it's probably a pending question for a gargoyle game.... What is the deep understanding of the creature suspended on Freiburg Cathedral in Breisgau? Much rain fell and the question remained suspended to the scepticism of official historians? while a Green Serpent read JW Goethe and fed on the heart of this stone suspended above our consciences limited by many proud clouds. The gargoyles are used to evacuate the flow of three-dimensional logic. The layer of paint forgotten by the architects of the Spirit limited by the green moss that invades their sectarian thoughts.
Just after the Flood, at the dawn of the current cycle, an era that the Egyptians called ZEP TEPI, "The First Times", a mysterious group of "gods", appeared to introduce the survivors to the rudiments of civilization. From Thoth and Osiris in Egypt to Quetzacoatal and Viracocha in the Americas, traditions around the world are bringing the origins of contemporary civilization into this sophisticated group. The creatures hanging on the top are suffering a flood, they have been vomiting since the dawn of time, but unfortunately we have lost their flood of messages. The East has nourished this Rhine land for centuries, today we are in ethnocentric explanations.....
Despite the misleading popularity of Von Danikan journalism, evidence from around the world, indicates these people were the hi-tech survivors of the previous civilisation. Like the nuclear survival bunkers and secret research facilities of our civilisation, there were those who arose from the underground "cities of the Gods", after the dust settled. They were the "prediluvian patriarchs", like Enoch and Methuselah, the "giants and heroes of old", mentioned in Genesis.
The enigmatic gods ancient Summer, Egypt and India, all hail from the fabulous times before the Flood. Since the declassification of the new ground-penetrating radar 2 years ago, the most staggering data has emerged of complex and labyrinthine underground systems in various parts of the world. At places like Guatemala in the South Americas, tunnels have been mapped under the Mayan pyramid complex at Tikal, which extend a full 800 kilometres to the opposite side of the country. Investigators remarked, it was possible to understand how half a million Mayan Indians escaped the decimation of their culture.
In similar fashion, the SIRA radar was deployed in Egypt as early as 1978, mapping an extraordinary subterranean complex beneath the Egyptian pyramids. Arrangements made with President Sadat of Egypt, resulted in three decades of top secret excavations to penetrate the system. At a recent meeting in Australia, one of the key scientists on the Giza project, Dr. Jim Hurtak, showed film footage of work in progress called, CHAMBERS OF THE DEEP, due to be released at the end of the century. The film reveals the discovery of a vast megalithic metropolis, 15,000 years old, reaching several levels below the Giza plateau.
While the rest of the Nu-Age speculates about a hidden chamber under the left paw of the Sphinx, the legendary "City Of The Gods", lays sprawled beneath. Complete with hydraulic underground waterways, the film shows massive chambers, the proportions of our largest cathedrals, with enormous statues, the size of the Valley of the Nile, carved in-situ. Researchers, risking their lives with lights and cameras, carefully negotiated rubber dinghies across subterranean rivers and kilometer-wide lakes, to penetrate sealed chambers beyond. Already, remarkable caches of records and artifacts have been found. It is the legacy of a civilisation and a technology way beyond our own. A technology capable of creating a vast underground city, of which the sphinx and pyramids are merely the surface markers. The project scientist, Dr. Hurtak, likens it to the impact of contact with an advanced extraterrestrial culture. He described it as the discovery of the Fourth Root culture, the so-called Atlantean civilisation, destroyed by the last earth tumble. It presents unequivocal evidence that all languages, cultures and religions trace back to a single common source, which Dr. Hurtak refers to as the "Parent Civilisation".
The technology unearthed is way beyond machine technology, as we know it. As Arthur C. Clark once joked, "any technology beyond our own would seem like magic to us." According to Dr. Hurtak, this was a culture who cracked the genetic code and possessed the keys of the physical spectrum, the "Higher Light Physics" of the ancients... everything old Gilgamesh went searching for in his famous trek to the lost "City of the Gods" to search the tunnels beneath "Mt. Mashu" in the desert lands.
Hurtak refers to a "language of light" and a great priest-scientist of the previous time cycle, named ENOCH, who is associated with the building of the Great Pyramid complex. Hurtak alludes to a grand spiritual science, a science which describes a genetic stairway to the stars. The priest-scientist ENOCH, is a prediluvian patriarch, one of the most famous and seminal characters of the previous time cycle. Father of Methuselah and great grandfather of Noah, Enoch is credited in the Bible as architect of the original Zion, the legendary "City of Yahweh", as well as inventor of the alphabet and calendar. Enoch is also history's first astronaut, who "is taken aloft by the Lord" and shown "the secrets of earth and heaven". He returns to earth with the "weights and measures" for all humankind.
Known to the Egyptians as THOTH, the "Lord of Magic and Time" and to theGreeks as HERMES, "messenger of the gods", he is even remembered in the Celtic tradition as the enigmatic wizard Merlin, who disappears up an apple tree to mythic Avalon, seeking the secret of immortality and vowing to return. As one who attained immortality, the secret of how we "might become as gods", Thoth/Enoch promises to return at the end of time "with the keys to the gates of the sacred land."
In the controversial Dead Sea Scrolls, revealing the lost Books Of Enoch removed from the Bible by early religious leaders, Enoch describes a wondrous civilisation in the past, who misused the keys of higher knowledge and were unable to save themselves from the last cataclysm. Both literally and figuratively they lost the "keys", they lost all higher knowledge.Yet, Enoch, along with many traditions, even the Mayan legend of Quetzacoatal, promises a return of this knowledge at "The end of time", the end of the present time cycle.
Biblical Revelations promise "all will be revealed" at the end of the present world. The extraordinary discoveries in Egypt and other parts of the world, describe not just an advanced technology but, evolutionary path beyond our present state. Careful scientific examination of the world's key pyramid sites, reveal them to be sophisticated harmonic structures, not only mirroring positions of the planets and stellar systems but, designed to mimic the chakras and harmonic cavities of the human body. Even each stone within the Great Pyramid is harmonically tuned to a specific frequency or musical tone. The sarcophagus in the centre of the Great Pyramid is tuned to the frequency of the human heart beat. Astonishing experiments, conducted by Dr. Hurtak and colleagues at the Great Pyramid and other sites in the South Americas, demonstrate the pyramids to be voice-activated "geophysical computers."
Intoning specific ancient sounds, the scientific team produced visible standing waves of light, above and within the pyramids and were even able to penetrate, hitherto, inaccessible chambers. Subsequent discoveries indicate the ancient priest-scientists employed some sort of harmonic sound technology within the temple structures. The lost Enochian knowledge reveals the mother tongue as a "language of Light". Known to the ancients as HIBURU, it is the primal seed language, introduced at the beginning of this time cycle.
Modern research confirms, the most ancient form Hebrew to be a natural language, the alphabetic forms emerging from the phosphene flare patterns of the brain. The same shapes, in fact, born of a spinning vortex. It is a true language of light, coursing through our very nervous system. Encoding the natural waveform geometries of the physical world, Hiburu is a harmonic language, mimicking the waveform properties of light.
The "keys" Enoch speaks of, turn out to be sound keys, keys to be vibratory matrix of reality itself, the mythic "Power of the World". The Enochian knowledge describes sonic equations, encoded within the ancient mantras and god names, capable of directly affect the nervous system and producing profound effect of healing and higher consciousness states. As the ancient texts declare, "If you would speak with the gods you must first learn the language of the gods."
DNA, the ancient cabalistic "Tree Of Life" portrayed in the Biblical Torah, is now coming to be viewed as a live vibrating structure, rather than a fixed tape recording. Many modern scientists, regard DNA as a shimmering, waveform configuration, able to be modified by light, radiation, magnetic fields or sonic pulses. The legacy of Thoth/Enoch suggests this "language of Light", the harmonic science of the ancients, could actually affect DNA. The evidence in Egypt, indicates this was the grand 6,000 year genetic experiment attempted by the Egyptians, the quest for immortality and the stars, a quest described by the great ones of old, a quest initiated by Gilgamesh so very long ago.
The Egyptians were not fixated on the afterlife, as thought by early Christian translators but, focussed on creating a higher type of human. Along with many ancient cultures, they believed DNA came from the stars and was destined to return.The knowledge of Thoth/Enoch implies humans are meant to evolve beyond our present terrestrial form, as the Bible tells us, "we may become greater than angels".The Egyptians record stories of the "Star Walkers", occasional individuals who, like Enoch, travelled "beyond the Great Eye of Orion" and returned, to walk like gods amongst men.
Despite the bleaching of semi-divine beings from modern consciousness, could it be possible, as the ancient texts insist, we are destined to "become as gods"? are the Mayan "Lords of Light" and the Egyptian/Tibetan "Shining Ones" really a higher form of human? According to many earth legends, such beings are supposed to return regularly, at the beginning and end of each time cycle, the 13,000 year half-point of our solar system's 26,000 year zodiacal orbit around galaxy centre. Because of conditions on our galactic orbit, these 13,000 year intervals or "worlds", seem to be separated by cataclysmic upheaval. According to the "calendar in stone" of the Great Pyramid, which describes the so-called "Phoenix Cycle" of our galactic orbit, the present time period ends (converted to our present calendar) in the year 2012 AD.
The Greek word PHOENIX, derived from the Egyptian word, PA-HANOK, actually means, "The House of Enoch". The Enochian knowledge suggests, these regular cataclysmic changes act as an evolutionary agent provocateur, to quicken the resident life forms to the next evolutionary phase, prior to exodus from the womb planet. Human evolution may proceed more rapidly than previously thought. The evidence now appearing, records civilisations before us, who mastered the physical continuum and progressed beyond this world. There were also those who failed.
We, too, have equal opportunity to make it or break it.The discoveries emerging from Egypt, describe the existence of a world wide pyramid temple system in prehistory, mounted like antennae on the key energy meridians, which were employed by ancient priest-scientists as a musical system to stabilize the tectonic plates of the planet... cataclysmic geology at it's finest.
>From the mother tongue word JEDAIAH, meaning "the way of the Word" or "the power of the Word", the ancient JEDAI priests used the language of Light to tune the planet like a giant harmonic bell. Much is being rediscovered in the last days of this time cycle. In the words of Dr. Jay Franz, of the Omega Foundation, "even if we don't dare to name it, there is a universal feeling of something impending on the world stage
50% off all In Store Items. Items at events not discounted. So come have a look and grab that Christmas gift or some items for yourself. This Sale will run now until Dec 31st. Happy Shopping, any questions reach out to me. The Cheeky Monkey hunt items for Nov and Dec are currently in the store as well.
Red Eared Slider catching some rays - Urban Wildlife taken on a walk around the lake at Los Medanos College Pittsburg, CA
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are at Glynes, the grand Georgian family seat of the Chetwynds in Wiltshire, and the home of Lettice’s parents, the presiding Viscount and Countess of Wrexham and the heir, their eldest son Leslie and his wife Arabella. Lettice is staying at her old family home for the festive season as she usually does between Christmas and Twelfth Night*. However, this year she had an extra reason for being with her family this Christmas.
For nearly a year Lettice had been patiently awaiting the return of her then beau, Selwyn Spencely, son of the Duke of Walmsford, after being sent to Durban by his mother, Lady Zinnia in an effort to destroy their relationship which she wanted to end so that she could marry Selwyn off to his cousin, Pamela Fox-Chavers. Having been made aware by Lady Zinnia in October that during the course of the year, whilst Lettice had been biding her time, waiting for Selwyn’s eventual return, he had become engaged to the daughter of a Kenyan diamond mine owner whilst in Durban. Fleeing Lady Zinnia’s Park Lane mansion, Lettice returned to Cavendish Mews and milled over her options over a week as she reeled from the news. Then, after that week, she knew exactly what to do to resolve the issues raised by Lady Zinnia’s unwelcome news about her son. Taking extra care in her dress, she took herself off to the neighbouring upper-class London suburb of Belgravia and paid a call upon Sir John Nettleford-Hughes.
Old enough to be her father, wealthy Sir John is still a bachelor, and according to London society gossip intends to remain so, so that he might continue to enjoy his dalliances with a string of pretty chorus girls of Lettice’s age and younger. As an eligible man in a aftermath of the Great War when such men are a rare commodity, with a vast family estate in Bedfordshire, houses in Mayfair, Belgravia and Pimlico and Fontengil Park in Wiltshire, quite close to the Glynes estate belonging to her parents, Lettice’s mother, Lady Sadie, invited him as a potential suitor to her 1922 Hunt Ball, which she used as a marriage market for Lettice. Selwyn rescued Lettice from the horror of having to entertain him, and Sir John left the ball early in a disgruntled mood with a much younger partygoer. Lettice recently reacquainted herself with Sir John at an amusing Friday to Monday long weekend party held by Sir John and Lady Gladys Caxton at their Scottish country estate, Gossington, a baronial Art and Crafts castle near the hamlet of Kershopefoot in Cumberland. To her surprise, Lettice found Sir John’s company rather enjoyable. She then ran into him again at the Portland Gallery’s autumn show where she found him yet again to be a pleasant and attentive companion for much of the evening.
Sir John also made a proposition to her that night: he offered her his hand in marriage should she ever need it. More like a business arrangement than a marriage proposal, Sir John offered Lettice the opportunity to enjoy the benefits of his large fortune, be chatelain of all his estates and continue to have her interior design business, under the conditions that she agree to provide him with an heir, and that he be allowed to discreetly carry on his affairs in spite of their marriage vows. He even suggested that Lettice might be afforded the opportunity to have her own extra marital liaisons if she were discreet about them. Turning up unannounced on his doorstep, she agreed to his proposal after explaining that the understanding between she and Selwyn was concluded. However, in an effort to be discreet, at Lettice’s insistence, they did not make their engagement public until the new year: after the dust about Selwyn’s break of his and Lettice’s engagement settled. Sir John motored across from Fontengil Park in the days following New Year and he and Lettice announced their engagement in the palatial Glynes drawing room before the Viscount and Lady Sadie the Countess, Leslie, Arabella and the Viscount’s sister Eglantyne (known by all the Chetwynd children affectionally as Aunt Egg). The announcement received somewhat awkwardly by the Viscount initially, until Lettice assured him that her choice to marry Sir John has nothing to do with undue influence, mistaken motivations, but perhaps the person most put out by the news is Aunt Egg who is not a great believer in the institution of marriage, and feels Lettice was perfectly fine as a modern unmarried woman. Lady Sadie, who Lettice thought would be thrilled by the announcement of her engagement, received the news with a somewhat muted response and she discreetly slipped away after drinking a toast to the newly engaged couple with a glass of fine champagne from the Glynes wine cellar.
We now find ourselves in the Glynes morning room where after noticing her prolonged absence, the Viscount has discovered his wife sitting quietly alone.
The Glynes morning room is very much Lady Sadie’s preserve, and the original classical Eighteenth Century design has been overlayed with the comfortable Edwardian clutter of her continual and conspicuous acquisition that is the hallmark of a lady of her age and social standing. China cabinets of beautiful porcelain line the walls. Clusters of mismatched chairs unholstered in cream fabric, tables and a floral chaise lounge, all from different eras, fill the room: set up to allow for the convivial conversation of the great and good of the county after church on a Sunday. The hand painted Georgian wallpaper can barely be seen for paintings and photographs in ornate gilded frames. The marble mantelpiece is covered by Royal Doulton figurines and more photos in silver frames. Several vases of Glynes’ hothouse flowers stand on occasional tables, but even their fragrance cannot smother Lady Sadie’s Yardley Lily of the Valley scent which is ever present in the air.
“I say! What are you doing in here, old girl?” the Viscount asks as she sees his wife sitting at her bonheur de jour** in the corner of the morning room. “The rest of the family is still in the drawing room, including Lally and Charles, who have returned from their visit to Bowood.***”
“I’m well aware of that, Cosmo. I heard them come back.” Lady Sadie says peevishly. “And less of the old, if you don’t mind.”
“Sorry Sadie.” the Viscount apologises. “It’s having all the young ones around and their new vernacular. It’s ‘old boy this’ and ‘old girl that’. It’s catching.”
“That’s alright, Cosmo, so long as it doesn’t catch on, here.” Lady Sadie replies with a cocked eyebrow.
“We were wondering where you’d gotten to.” the Viscount says. “I’ve opened another bottle of champagne.”
“Have you, dear?” Lady Sadie remarks absently.
“Of course I have, Sadie!” the Viscount chortles. “After all, it isn’t every day that our youngest daughter gets married.”
“I suppose not, Cosmo.” Lady Sadie replies rather laconically.
The Viscount watches his wife as she picks up a studio photograph taken in London by Bassano**** of their eldest daughter, Lally as a gangly young teenager, and Lettice as a girl of seven, both dressed in the pre-war uniform fashion of young girls: white lawn dresses with their hair tied in large satin bows. She sighs.
“Sir John is suggesting that we all motor over to Fontengil Park for luncheon, now that Lally and Charles are back.” the Viscount remarks awkwardly in an effort to break his wife’s unusual silence. “To celebrate the good news as it were. I thought it was rather a capital idea! Don’t you agree, Sadie?”
Lady Sadie doesn’t reply, instead staring deeply at the faces of her two daughters forever captured within Mr. Basanno’s lens, her look expectant, as if she were waiting for them to speak.
“You know, I must confess, I wasn’t too keen on him to begin with, nor the idea of he and Lettice marrying.” He looks guiltily at his wife. “I never really liked him, and always thought him a bit of an old lecher, sniffing around young women half his age, like our daughter. But Lettice assures me that she has made up her mind to marry him, and that there was no undue influence in the making of her decision.”
“Undue influence.” Lady Sadie muses in a deadpan voice.
“And now that I’ve really met him and chatted with him properly, I actually don’t mind Sir John, even if I do worry that he may be a tad old for Lettice. He’s quite a raconteur, very eloquent and worldly, and he obviously wants to make her happy. He might be just what she needs after all: a mature man who can help guide her in life, and indulge her too. He says he has no intention of stopping her career as an interior designer.”
Lady Sadie does not reply to her husband’s observations.
“Of course Eglantyne is quite against the engagement.” The Viscount chuckles. “But then, you know her opinions about marriage.”
Lady Sadie’s silence unnerves the Viscount as he tries desperately to fill the empty void between the pair of them.
“I thought I might get Harris to motor Leslie, Arabella, the grandchildren, you and I over there together.” the Viscount goes on when no opinion is forthcoming from his wife. “It might be fun for Harrold and Annabelle to come for a ride with us in the big old Daimler. Charles and Lally can go in their car with nanny and the baby.”
“Piers is hardly a baby anymore, Cosmo.” Lady Sadie opines as she puts down the photo of Lally and Lettice and picks up one of their eldest son, Leslie, as a boy of six in a Victorian sailor suit, with his soft blonde waves swept neatly behind his ears. “He’s two now, nearly three.” She then adds, “Won’t that be rather tiresome for Sir John’s cook, catering for us all?”
“We are connected to the exchange, Sadie. He can telephone ahead.”
“As you like.” she replies in a rather non-committal way. “Although I might cry off with one of my heads.”
“You don’t have one of your heads, Sadie.” the Viscount says darkly.
“How do you know I don’t, Cosmo. You don’t suffer them as I do.”
“I’ve been married to you long enough to know when you have a headache and when you don’t.” he replies. “And you certainly don’t have one now, even if you say you do.”
Putting down the photo of Leslie and picking up one of their second son, Lionel also in a sailor’s suit, and wearing a straw hat, Lady Sadie shudders. His look is sweet, but already at the tender age of three or four he was causing trouble, playing nasty tricks and hurting his nannies and worse, his own siblings. When Lettice was born a few years after the photograph was taken, Lady Sadie had to warn Lettice’s nurses that they were never to leave her unattended in Lionel’s presence, lest he smother her with a pillow, which he tried to do on several occasions when the nurses were slack in their observation of Lady Sadie’s rule or they were caught off guard.
“And of course Sir John can take Lettice over there in that topping blue Bugatti Torpedo***** of his.”
“Ghastly, vulgar and showy.” Lady Sadie opines. “Tearing up the country lanes as he speeds along them, so that no decent person of the county can walk them any more without fearing for their lives when he’s visiting the district.” She sniffs. “Or so I have it on good authority.”
She returns to her perusal of photos.
“I say, Sadie,” the Viscount remarks in surprise. “What’s the matter?”
“Whatever do you mean, Cosmo?” she asks, lifting her head from a baby photo of Leslie sitting on the corner of a button back****** sofa taken at the same time as the one she has of him leaning precariously against a rocking chair in a silver frame standing on the right side of her bonheur de jour.
“You know perfectly well.” the Viscount retorts. “Don’t be obtuse.”
“I’m not being obtuse, Cosmo!” Lady Sadie retorts.
The Viscount sighs, knowing in order to get an answer, he must play his wife’s game of teasing out the answer from her: a game he is well versed in playing after many years of marriage.
“You’re obviously not happy about the engagement, which I have to say surprises me. Why have you suddenly taken so much against Sir John? I thought you’d be delighted by the announcement.”
Lady Sadie ignores her husband’s question and picks up a large and ornate framed photograph of a wedding group taken in the early years of the Twentieth Century. It features a rather beaky looking bride in a pretty lace covered white wedding dress and a splendid black feather covered Edwardian picture hat. Her groom, dressed in his Sunday best suit with a boutonnière******* in his lapel and a derby on his head sits back in his seat, looking very proud. Around them stand various men and women in their Edwardian best, but the flat caps and mismatched jackets and trousers of the men and similarly mismatched outfits of the ladies suggest that this is not an upper-class wedding. In front of the bride a five year old Lettice stands proudly dressed as a flower girl in a white lace dress with ribbons in her hair, clutching a bouquet.
“Didn’t you take that photograph with your first Box Brownie********, Sadie?” the Viscount asks as he walks over and stands next to his wife and looks at the photograph.
“Yes, I did, Cosmo.” Lady Sadie acknowledges. “How good of you to remember.”
“Oh, who could forget that occasion?” the Viscount chortles sadly. “That was poor Elsie Bucknell’s wedding to that wastrel who turned her head with all his talk of being a tailor to all the great and good of Swindon, when in fact he was nothing but a con man from Manchester.”
“You were very good to settle the debts he left her with after he and his real wife absconded with all her money.” Sadie says, pointing at the rather pretty woman in white and a neat picture hat sitting to the groom’s right.
“Well, it was the right thing to do, wasn’t it? As lord of manor, it was my duty to support her, poor jilted woman.”
“Yes, the right thing.” Lady Sadie agrees with a sigh. “You’ve always done the right thing, Cosmo.”
“Well, I also did encourage her to marry him when she asked my opinion of him.”
“You’ve not always been the best judge of character, Cosmo.” Lady Sadie remarks.
The Viscount laughs. “What does that say about me choosing you as my bride then, Sadie?”
“I did imply that your poor judgements of character only happen sometimes, not always.” She runs her fingers over the glass in front of Lettice’s smiling face. “Lettice was as pleased as punch to be the flower girl at that wedding. Do you remember?”
“I do believe she thought all the smiles and gushing of the adulating congregation were for her and not for Elise behind her.”
“I do believe you are right, Cosmo.” Lady Sadie chuckles. “Did you know that’s why they call them, ‘Flappers’?”
“Who dear?”
“The newspapers and magazines.” Lady Sadie muses. “I found out not all that long ago, from Geraldine Evans of all people, if you can believe it,” she remarks with another chuckle, mentioning the elder of two genteel spinster sisters who live in Holland House, a Seventeenth Century manor house, in Glynes village. “She told me that they call the young girls of the Bright Young Things********* ‘Flappers’ because it refers to the fact that when they were girls and their hair was still down, it was tied by flapping ribbons or tied in pigtails that flapped.” She points to the big bow in the young Lettice’s hair.
“No. No, I didn’t know.” the Viscount replies a little awkwardly. “Look, what’s all this got to do wi…”
“Thinking of the right thing, Cosmo, I really should take this photo out of the frame, what with all the sad connotations it has, but I can’t quite bear to do it.” Lady Sadie goes on, interrupting her husband. “I’m rather proud of this photograph.”
“There’s no need. Elise has long since left Glynes after all the scandal, so she won’t know. Anyway, it’s a very good shot, Sadie.” her husband agrees, putting his hand around her and giving her right shoulder an encouraging squeeze.
“I’ve never been what you’d call artistic, like Eglantyne,” Lady Sadie says, referring to her husband’s favourite younger sibling, who is an artist of some renown in London. “Or like Lettice, but I’m not bad at taking photographs.”
“I think you’re a dab hand at it, Sadie my dear.” He rubs his wife’s right forearm, and bestows a kiss on her greyish white waves atop her head. “Far better than me, or Leslie. But I ask again, what’s any of this to do with Sir John, and your sudden dislike of him?”
“You know, you think you know what, or who your children will become,” Lady Sadie says wistfully, replacing the photograph in the frame back on the surface of her bonheur de jour. “And yet, they always surprise you.”
“Oh, I don’t think either Leslie or Lally have been particularly surprising.” the Viscount retorts.
“No?”
“No. As the eldest son, Leslie has turned out to be the fine heir to the Glynes estate that we always wanted. He’s responsible, and goodness knows his insight and forward thinking has prevented us from finding ourselves in the straitened circumstances that the Brutons or poor Nigel Tyrwhitt and Isobel are in now. And now that he’s married, it will only be a matter of time before he and Arabella give us a grandson to carry on the Chetwynd line and one day become the next Viscount Wrexham.” He smiles indulgently at the thought. “And Lally’s marriage to Charles Lanchenbury is all we could hope for, for her. I mean, Charles may not inherit a hereditary title from old Lanchenbury, which is a bit of a pity. But still, he’s a successful businessman and she’ll never wont for anything. She seems to rather enjoy playing lady or the manor in High Wycombe with her brood.”
“Oh yes.”
“Lionel was a surprising one.” The Viscount picks up the photograph of his second son in his Victorian sailor’s outfit and wide brimmed straw hat that his wife had held before. “Who would have imagined that behind such an angelic face lurked the depraved character of the devil incarnate?” He feels his wife shudder again at the thought of their wayward son beneath his hand. “There, there, Sadie my dear.” he coos. “The further away from us he is, the less we have to think about him,” He heaves a great sigh of regret. “Or deal with his messy affairs.”
“You know I received a letter from him yesterday?” Lady Sadie asks.
“No.”
“Yes,” Lady Sadie snorts derisively. “From Durban of places, would you believe?”
“The same as young Spencely.”
“Yes! Isn’t that a coincidence? It was quite a good letter actually, and the first I’ve had since Leslie’s wedding where he doesn’t implore me to ask you to bring him back here. He writes that he went to Durban to show off two of his new Thoroughbreds to a perspective buyer: some playboy horse racing son of a nouveau riche businessman. It sounds like he’s had a bit of luck, as he seems quite flush at the moment, going to nightclubs and the like down there.”
“Squandering his earnings on gambling, women and god knows what else, down there, I’ll warrant.” the Viscount opines gruffly.
“No doubt.” Lady Sadie sighs.
“Poor Lettice.” the Viscount adds in a softer tone, as his mind shifts to his youngest daughter’s heartbreak at the hands of Selwyn Spencely.
“Aahh, and then there was Lettice.” Lady Sadie remarks, taking up a round gold frame featuring a studio photograph of a beaming Lettice at age ten in a smart winter coat and large brimmed hat, full of confidence sitting before the camera. “The most surprising child of all, not least of all because she was a surprise late pregnancy for me.”
“Oh, Lettice is no surprise to me, Sadie.” the Viscount retorts. “I mean, Eglantyne picked her as having an artistic temperament right from the beginning, and she was right. I knew she had more brains than our Lally has, which is why I gave her all those extra lessons.”
“You indulged her, Cosmo!” Lady Sadie remarks. “You’ve always spoiled her. So does Eglantyne. She’s your pet, and hers too.”
“Every bit as much as Leslie is yours, Sadie.” He points to the silver framed portrait of Leslie.
“You were the one who encouraged her to start up this ridiculous interior decoration nonsense.”
“Well, in reality it was really Eglantyne who drew my attention to her flair for design, but I’m glad that she did. Look at the successes she has had! She runs her own business, with very few hiccups or missteps,” He momentarily remembers the kerfuffle that there was with Lettice signing a contract drawn up by Lady Gladys Caxton’s lawyers without consulting the Chetwynd family lawyers. “And she’s very good at keeping accounts.”
“Excellent, she’ll make the perfect bookkeeper.” Lady Sadie remarks sarcastically.
“It will put her in good stead for running Sir John’s households, Sadie.” the Viscount tempers. “Goodness knows he has enough of them. And she has received accolades from Henry Tipping**********, printed in Country Life********** for all to see, and that is fine feather for her cap, you must confess.”
“I don’t deny that.” Lady Sadie agrees somewhat reluctantly.
“No, I always knew Lettice would be the greatest success of all our children.” the Viscount says proudly.
“Did you, Cosmo?”
“Of course I did, Sadie. I understand her.”
“You!” Lady Sadie scoffs. “You may decry that you love your youngest and favourite daughter so well, Cosmo, and without a doubt, you do. However, whatever you say, you don’t understand Lettice.”
“And you do, Sadie?” the Viscount retorts hotly. “When she comes home to lick her wounds after Zinnia sent Selwyn away, craving comfort, you drove her from the house, telling her she needed to throw herself into the social rounds, rather than stop and miss him. Is that understanding?” He folds his arms akimbo and looks away from his wife in disgust. “No wonder she kept her engagement to Sir John a secret for the last month or so, since you suddenly seem to despise her husband-to-be: a man whom I should like to point out, you thought was perfectly suitable for her not so very long ago. Sir John may not have the title of duke, but he has a title nonetheless, and I have no doubt that his fortune is equal to that of the Duke of Walmsford.”
“You misunderstand me, and my motives, Cosmo.” Lady Sadie replies, hurt by his words, but also resigned to the fact that he believes them. “As always, I am portrayed like one of Mrs. Maingot’s derided pantomime villains in the Glynes Christmas play.”
“If the cap fits, Sadie.”
“See, you think I don’t understand my children, but I assure you that, aside from Lionel, I do.”
“Who could ever understand that child of the devil, Sadie?”
“Indeed, well aside from our errant black sheep, I understand the others. You love them, Cosmo, probably far more than me, but I on the other hand, understand them.”
“How so, Sadie?”
“You misalign my actions because you don’t understand them, either. When Lettice came here after Zinnia packed Selwyn off to Durban, what did you do? You gave her a place to shelter, yes, but you mollycoddled her: feeding her shortbreads and allowing her to retreat from the world.”
“Well, that’s what she needed, Sadie.”
“No. That’s where you are wrong, Cosmo. She didn’t need mollycoddling. It just made things worse. It amplified her situation and how she felt as you allowed her to spend her empty days brooding. Lettice is apt to brood, when given the opportunity. What she really needed was to be told that the sun will still rise and set, in spite of her own innermost turmoil, and what she needed was to be sent back out into the world, so that she could be distracted, and build up her resilience. That’s what she needed, Cosmo, and I helped her achieve that. And that, my dear, is what I mean by truly understanding Lettice. Believe it or not, I understand her as a young woman, and I understand what she needs.”
“Well, if you wanted to build resilience in her, that’s what you’ve achieved, and admirably at that. Selwyn jilts our daughter and what does she do? Rather than moping, which is what you seem to think I would have encouraged her to do, she went out and got herself engaged to one of the most eligible bachelors in the county, in England no less. Yet you don’t seem at all happy about the engagement, even though you put Sir John into the mix at the Hunt Ball that you used as a marriage market for Lettice.”
“Once again, Cosmo, you see your daughter, but you don’t understand her.”
“Then pray enlighten me, Sadie because I certainly don’t understand you right at this moment.”
“Lettice’s heart is breaking, and ever since she was a child, when her heart is broken, she lashes out, like when Mopsy died. Remember her Cavalier King Charles Spaniel?”
“How could I forget that beautiful dog. But surely you aren’t comparing her tears and tantrums as a seven year old child, to now, Sadie? There are no tears this time, no tantrums.”
“But that’s where you are wrong, Cosmo. This is her tantrum. It just isn’t one that exhibits itself in the same way. Lettice is trying to prove to Selwyn,” She pauses for a moment and thinks. “No, more prove to Zinna, that she isn’t defeated by whatever nasty games she is playing to break the romance between Lettice and Selwyn. She’s trying to exact revenge on them both.” Lady Sadie sighs. “But she’s going about it all wrong.”
“What do you mean, Sadie?” The Viscount sighs as he sinks down onto the edge of one of the morning room chairs nearest him and looks across at his wife, who sits, slumped in her own seat at her desk, looking defeated.
“I blame myself really for this turn of events.” Lady Sadie gulps awkwardly. “I’m almost too ashamed to admit it, but I was misaligned in some of my thinking, and wrong in my judgement, and now the results have well and truly come home to roost.”
“What are you talking about, Sadie?”
“Sir John, Cosmo.” She says simply. “When I held that Hunt Ball, I practically threw Lettice at Sir John.”
“Well, to assuage your fears, Sadie, that is what I meant by confirming that there were no undue influences in Lettice’s decision.” the Viscount pronounces. “I asked her whether she felt obliged to marry Sir John because you had encouraged the match, and that she feared being stuck on the shelf.” He looks meaningfully at his wife. “But she says that neither of these had any influence on her decision. She says that Sir John isn’t perfect, but that he’s a good man, and that he isn’t lying to her. As I said - as you said – Sir John may not be young, but he’s eligible and wealthy to boot. Lettice will be chatelaine of a string of fine properties, and she’ll never have to worry about going without.”
“But Lettice is wrong about him nor lying to her.”
“What’s that?”
Lady Sadie snatches the lace handkerchief poking out of her left sleeve opening at her wrist and dabs her nose, sniffing as she does. “Several of my friends, Lally, and even Lettice tried to warn me about him. They said that he’s a lecherous man, with a penchant for younger women, actresses in particular.”
“Well,” the Viscount chuckles. “Plenty of men of good standing have been known to have the odd discreet elicit affair with a Gaiety Girl*********** or two.” He then blusters. “Not myself of course!”
“Of course not, Cosmo.” She reaches out one of her diamond spangled hands to her husband and takes his own proffered hand. “Never you. You were always too much of a gentleman to have a liaison with another woman. As I said, you always do the right thing, Cosmo. Do you know, I do believe that is why Zinnia stopped coming to our house parties. You weren’t for conquest, no matter how much she threw herself at you. And she did, quite shamelessly.”
“Did she?” the Viscount asks innocently.
“You know she did!” Lady Sadie slaps her husband’s wrist playfully. “Now who’s being obtuse?”
“Well, maybe I did sense her overtures towards me, but she never stood a chance, Sadie!” the Viscount replies with an earnest look. “You were only ever going to be the one for me.”
“That’s sweet of you Cosmo, and I appreciate it. But, for all his pedigree and wealth, and for all his apparent care for Lettice, your judge of character of Sir John is fatally flawed my dear.”
“Flawed?”
“Sir John Nettleford-Hughes is not for our youngest daughter.” Lady Sadie goes on. “Nor any good and upstanding young lady of society. I know now that he is a philanderer: discreet yes, but not discreet enough, and no matter how many houses he has, or wealth, he will never make Lettice happy – quite the opposite in fact, I fear, even if she can’t see that in her present state of besottedness. She will become the neglected, deserted wife and the ridicule of society. And that is why I am against Sir John, and this marriage, which will be as disastrous for her as dear Elsie Bucknell’s was for her.” Sadie points to the wedding party photograph again.
“What?”
“Yes.” Lady Sadie cocks an eyebrow as she gives her husband a withering look. “His latest conquest is an up-and-coming West End actress named Paula Young. Such a nasty, common name.” she opines. “Then again, it suits a nasty and common little upstart tart of an actress!”
“Sadie!”
“Sorry Cosmo, but that’s what she is, if she allows herself to be seen in such an…” Lady Sadie shudders. “An intimate situation with a man like Sir John.”
“Surely there is some kind of misunderstanding: just gossip, Sadie.”
“Gossip yes, but verified nonetheless.” Lady Sadie answers sadly. “Though I wish to god that I could say it wasn’t. My cousin Gwendolyn was having dinner at the Café Royal************ and saw them together herself less than a week ago.”
“What was Gwendolyn doing at the Café Royal?”
“She is a duchess, Cosmo dear, or have you forgotten?”
“Who could ever forget that Gwendolyn is the Duchess of Whiby, Sadie? She certainly won’t let anyone forget it.”
“Well, she was escorting her grand-nice Barbara who debuted last year as part of the London Season, because poor Monica had influenza and was confined to bed, and she noticed Sir John and that that cheap actress at a shaded corner table.”
“A simple dinner between two friends., Sadie.” the Viscount tries to explain the situation away.
“Gwendolyn says that he was practically devouring her as he lavished her bare forearms with kisses.” Lady Sadie replies with another shudder and a look of disgust. “In public! With an actress! How vulgar, and certainly not discreet, even if at a corner table in the shadows!”
“Gwendolyn goes looking for gossip wherever she goes, Sadie, even in places where it isn’t.” the Viscount cautions his wife.
“I know, but be that as it may, Cosmo, I also have it from your own sister, Eglantyne, that many years ago, before she was married, he also had an elicit affair with that awful romance novelist Gladys Caxton, whom Lettice and you had all the trouble with not long ago.”
“Well you know Eglantyne doesn’t believe in the institution of marriage.” the Viscount begins.
“This was before any of us even knew of the understanding reached between Lettice and Sir John, Cosmo.”
“Well,” he chuckles in an effort to shake he sudden concerns off. “If that affair was many years ago, who cares, Sadie? It has no significance now.”
Lady Sadie slides open a drawer of her bonheur de jour and takes out a sheet of paper on which is written a list of names.
“After Gwendolyn’s revelations, I did a bit of digging myself, and these are the actresses ingénues and parvenues I was able to connect him to.”
“The cad!” the Viscount gasps as his widened eyes run down the list. “There must be at lest two dozen women on this list.”
“There are twenty-nine to be exact, Cosmo, and they are only the ones I could find and link him to.”
“You know I always thought that he was an old letch.” the Viscount restates his long held belief again. “I can’t deny that I’d heard the rumours too, but being unmarried I didn’t pay them much mind. And when he showed up here today, all charm, and was so solicitous to Lettice, making my little girl so happy, well...”
“You were swayed on your judgment of this character.” Lady Sadie says with an arched eyebrow and a knowing look.
“I was.” the Viscount agrees. “I was persuaded: taken in by him as a matter-of-fact! What a fool I am!”
“Charming people can always beguile, dear Cosmo.”
“I shall go into the drawing room this very minute and have it out with him!” He gets to his feet, trembling with anger and frustration as his elegant hands form into fists. “I’ll fling Sir John out on his philandering ear!”
Lady Sadie reaches out again to still her husband, wrapping her hand comfortingly around his wrist. “No you won’t, Cosmo.” she says calmly and matter-of-factly, gazing up at him sadly. “It would be the wrong thing to do, and you know it. And, as we have agreed, you always do the right and decent thing. It would be too embarrassing to conduct such a scene before a houseful of guests, even if they are family: for Sir John, Leslie, Arabella, Lally, Eglantyne, me, you,” She lowers her voice and adds sadly. “For Lettice.”
“You’re right, Sadie.” the Viscount says, still trembling with anger. “Shall I speak to Lettice?” he suggests. “Pull her aside and have a discreet word with her?”
“Why, Cosmo?”
“I could forbid her to marry him. I could threaten to cut her allowance off.”
Lady Sadie laughs in a sad and tired fashion. “Cosmo, what purpose would that serve? She’s already told you that she intends to go through with this marriage, and that she won’t be swayed.”
“Well, Lettice might come to her senses if I tell her… tell her the reasons why I’m forbidding her to marry that… that bounder!”
“She knows already what kind of man Sir John is, Cosmo. She was one of the people who told me that he’s a philanderer.”
“What?”
“Lettice told me herself that he has a penchant for young ladies.”
“Well, if she hears it from me, her own father?”
“You’ll only drive her deeper into his arms, Cosmo. She’s angry. She’s hurting. She’s rebelling, God help us all!” Lady Sadie says knowingly. “She’s seeking revenge. And your threat to cut off Lettice’s allowance would be meaningless if she marries Sir John. As you have duly noted already, he’s richer than Croesus*************. Besides, thanks to you and Eglantyne she also has a successful business venture to support her now.”
“What the devil is she playing at then?” the Viscount asks. “Is it not bad enough that we have an errant son in Lionel, that we must now have a daughter who marries a known philanderer with a penchant for young actresses, and will doubtless end up being dragged through the divorce courts as a result, casting shame on the family?”
“I don’t know, Cosmo, other than she is lashing out at Lady Zinnia, exacting her revenge as she sees it.”
The Viscount looks down at his wife sadly and ponders. “You’re being remarkably calm about all this, Sadie.”
“Yes,” she replies with a derisive snigger as she starts to take up some of the lose photos and file them together. “I know. Usually, it’s me having histrionics, not you. However, there is something I keep reminding myself of that brings me solace as I mull this situation over in my mind.”
“What on earth can bring you solace about this disastrous situation Lettice has willingly foisted upon herself?”
Lady Sadie looks knowingly at her husband. “One swallow does not a summer make**************, Cosmo. And an engagement, especially a hasty one, does not necessarily lead to marriage.”
“What are you saying, Sadie?”
“I’m simply saying that if a man breaks off his engagement with a lady, he’s a cad and a bounder. However, a lady is perfectly entitled to break off her engagement with a gentleman. In fact,” She smiles smugly. “It is her prerogative to do so.”
“Are you suggesting that we should encourage Lettice to break her engagement with Sir John?” the Viscount asks. He sighs and rubs his cleanly shaven chin. “I say! What a clever ploy, Sadie.” he muses. “Quite brilliant! Quite Machiavellian, no less!”
“No, I’m not saying that at all, Cosmo.” Lady Sadie quips. “You misunderstand me again.” She releases an exasperated sigh. “This is also what I mean by you not understanding Lettice. There is no talking to her right now, she’s so focussed on her own hurt and anger, and is determined to exact her own misaligned form of revenge on Selwyn and Zinnia. At the moment you could say that Sir John is made of glass and will shatter into a thousand slivers the moment she marries him and stab her to death, and she’ll still marry him to spite them, because she simply cannot see straight. She’s so angry that she won’t listen to reason.” She settles back in her seat and steeples her fingers before her as she stares off into a future only she can see. “Lettice is like a blizzard: blustery, but eventually her anger will peter out.”
“So you are suggesting what?”
“So, what I’m suggesting is that in this case, we must be patient with Lettice. We must settle ourselves in for the long game, and just watch what happens when her storm peters out.”
“So, in your opinion, we do nothing, then?” the Viscount blasts.
“For the time being, no, Cosmo.”
“But if we do nothing, she’ll marry the cad, and then where will we be?”
“I’m not convinced, Cosmo.” Lady Sadie assures her husband. “I think that if we cool our heels and let things play out, Lettice will come to her senses in the fullness of time.”
“You seem very sure of that, Sadie.” the Viscount says with a dubious look at his wife.
“I am, Cosmo.”
“And if you’re wrong? What then?”
“I’m not.” she assures him. “But if I were to be, then we shall simply have to steer her back to her senses when she is in a frame of mind that best allows us to encourage her to break off this disastrous marriage with Sir John.”
The Viscount shudders. “How can I have a son-in-law who’s as old as I am, or older.”
“Not quite, Cosmo, dear.” Lady Sadie assures him. “He’s a year and a half younger than you. I know. I did my in depth research about him before putting him forward as a potential suitor in 1922.”
“Evidently not in depth enough, Sadie,” He holds up the sheet of paper before he wife before screwing it up in anger and throwing it vehemently into her waste paper basket. “If Lettice is now engaged to a wealthy womaniser who carries on with actresses in public.”
“Don’t worry.” Lady Sadie continues to soothe in a soft voice, “We won’t have Sir John as our son-in-law. You’ll see.”
“Now that I know what I know,” the Viscount sighs. “I just hope you’re right, Sadie.”
“I usually am, Cosmo,” Lady Sadie resumes shuffling the photographs. “In the end.”
*Twelfth Night (also known as Epiphany Eve depending upon the tradition) is a Christian festival on the last night of the Twelve Days of Christmas, marking the coming of the Epiphany. Different traditions mark the date of Twelfth Night as either the fifth of January or the sixth of January, depending on whether the counting begins on Christmas Day or the twenty-sixth of December. January the sixth is celebrated as the feast of Epiphany, which begins the Epiphanytide season.
**A bonheur de jour is a type of lady's writing desk. It was introduced in Paris by one of the interior decorators and purveyors of fashionable novelties called marchands-merciers around 1760, and speedily became intensely fashionable. Decorated on all sides, it was designed to sit in the middle of a room so that it could be admired from any angle.
***Bowood is a Grade I listed Georgian country house in Wiltshire, that has been owned for more than two hundred and fifty years by the Fitzmaurice family. The house, with interiors by Robert Adam, stands on extensive grounds which include a garden designed by Lancelot "Capability" Brown. It is adjacent to the village of Derry Hill, halfway between Calne and Chippenham. The greater part of the house was demolished in 1956.
****Alexander Bassano was an English photographer who was a leading royal and high society portrait photographer in Victorian London. He is known for his photo of the Earl Kitchener in the Lord Kitchener Wants You army recruitment poster during the First World War and his photographs of Queen Victoria. He opened his first studio in 1850 in Regent Street. The studio then moved to Piccadilly between 1859 and 1863, to Pall Mall and then to 25 Old Bond Street in 1877 where it remained until 1921 when it moved to Dover Street. There was also a Bassano branch studio at 132 King's Road, Brighton from 1893 to 1899.
*****Introduced in 1922, the Type 30 was the first production Bugatti to feature an Inline-8. Nicknamed the “Torpedo” because of its similar look to the wartime munition, at the time Bugatti opted to move to a small two-litre engine to make the car more saleable, lighter and cheap. The engine capacity also made the Type 30 eligible for Grand Prix racing, which was a new direction for the marque. Despite the modest engine capacity, the power output was still remarkable thanks to the triple-valve arrangement. Also benefiting the Type 30 was good road handling, braking and steering which was common throughout the marque. The Type 30 was also the first Bugatti to have front brakes.
******Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.
*******A boutonnière is a flower that someone wears in the buttonhole of, or fastened to, their jacket on a special occasion such as a wedding.
********The Brownie (or Box Brownie) was invented by Frank A. Brownell for the Eastman Kodak Company. Named after the Brownie characters popularised by the Canadian writer Palmer Cox, the camera was initially aimed at children. More than 150,000 Brownie cameras were shipped in the first year of production, and cost a mere five shillings in the United Kingdom. An improved model, called No. 2 Brownie, came in 1901, which produced larger photos, and was also a huge success. Initially marketed to children, with Kodak using them to popularise photography, it achieved broader appeal as people realised that, although very simple in design and operation, the Brownie could produce very good results under the right conditions. One of their most famous users at the time was the then Princess of Wales, later Queen Alexandra, who was an avid amateur photographer and helped to make the Box Brownie even more popular with the British public from all walks of life. As they were ubiquitous, many iconic shots were taken on Brownies. Jesuit priest Father Frank Browne sailed aboard the RMS Titanic between Southampton and Queenstown, taking many photographs of the ship’s interiors, passengers and crew with his Box Brownie. On the 15th of April 1912, Bernice Palmer used a Kodak Brownie 2A, Model A to photograph the iceberg that sank RMS Titanic as well as survivors hauled aboard RMS Carpathia, the ship on which Palmer was travelling. They were also taken to war by soldiers but by World War I the more compact Vest Pocket Kodak Camera as well as Kodak's Autographic Camera were the most frequently used. Another group of people that became posthumously known for their huge photo archive is the Nicholas II of Russia family, especially its four daughters who all used Box Brownie cameras.
*********The Bright Young Things, or Bright Young People, was a nickname given by the tabloid press to a group of Bohemian young aristocrats and socialites in 1920s London.
**********Henry Tipping (1855 – 1933) was a French-born British writer on country houses and gardens, garden designer in his own right, and Architectural Editor of the British periodical Country Life for seventeen years between 1907 and 1910 and 1916 and 1933. After his appointment to that position in 1907, he became recognised as one of the leading authorities on the history, architecture, furnishings and gardens of country houses in Britain. In 1927, he became a member of the first committee of the Gardens of England and Wales Scheme, later known as the National Gardens Scheme.
***********Country Life is a British weekly perfect-bound glossy magazine that is a quintessential English magazine founded in 1897, providing readers with a weekly dose of architecture, gardens and interiors. It was based in London at 110 Southwark Street until March 2016, when it became based in Farnborough, Hampshire. The frontispiece of each issue usually features a portrait photograph of a young woman of society, or, on occasion, a man of society
************Gaiety Girls were the chorus girls in Edwardian musical comedies, beginning in the 1890s at the Gaiety Theatre, London, in the shows produced by George Edwardes
*************The Café Royal in Regent Street, Piccadilly was originally conceived and set up in 1865 by Daniel Nicholas Thévenon, who was a French wine merchant. He had to flee France due to bankruptcy, arriving in Britain in 1863 with his wife, Célestine, and just five pounds in cash. He changed his name to Daniel Nicols and under his management - and later that of his wife - the Café Royal flourished and was considered at one point to have the greatest wine cellar in the world. By the 1890s the Café Royal had become the place to see and be seen at. It remained as such into the Twenty-First Century when it finally closed its doors in 2008. Renovated over the subsequent four years, the Café Royal reopened as a luxury five star hotel.
**************The idiom “richer than Croesus” means very wealthy. This term alludes to Croesus, the legendary King of Lydia and supposedly the richest man on earth. The simile was first recorded in English in 1577.
**************The expression “One swallow does not a summer make, nor one fine day; similarly one day or brief time of happiness does not make a person entirely happy” is attributed to Aristotle (384 – 322 BC).
Cluttered with photographs and furnishings, Lady Sadie’s bonheur de jour is different from what you might think, for it is made up entirely of 1:12 size dollhouse miniatures from my collection.
Fun things to look for in this tableau include:
The Chetwynd’s framed family photos seen on the desk and hanging on the walls are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are almost all from Melody Jane’s Dollhouse Suppliers in the United Kingdom and are made of metal with glass in each. The largest frame on the right-hand side of the desk is actually a sterling silver miniature frame. It was made in Birmingham in 1908 and is hallmarked on the back of the frame. It has a red leather backing.
The remaining unframed photographs and photograph album on Lady Sadie’s desk are a 1:12 size miniatures made by the British miniature artisan Ken Blythe. Ken Blythe is known for his miniature books. Most of the books crated by him that I own may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. The photo album, although closed, contains pages of photos in old fashioned Victorian style floral frames on every page, just like a real Victorian photo album. Not only did Ken Blythe create books, he also created other 1:12 miniatures with paper and that includes the photographs. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. He also made the packets of seeds, which once again are copies of real packets of Webbs seeds and the envelopes sitting in the rack to the left of the desk. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter. I hope that you enjoy this peek at just two of hundreds of his books that I own, and that it makes you smile with its sheer whimsy!
The vase of primroses in the middle of the desk is a delicate 1:12 artisan porcelain miniature made and painted by hand by Ann Dalton.
The desk and its matching chair is a Salon Reine design, hand painted and copied from an Eighteenth Century design, made by Bespaq. All the drawers open and it has a lidded rack at either end. Bespaq is a high-end miniature furniture maker with high attention to detail and quality.
The wallpaper is a copy of an Eighteenth Century blossom pattern.
Question mark sign in the Minneapolis Sculpture Garden right across from the Walker Art Center. Goes perfectly with the new Writing Topic on red Ravine inspired by playwright and actor Anna Deavere Smith - 3 Questions. Read more about her work at red Ravine.
Minneapolis, Minnesota
Field Number: IMG_7251
full post on red Ravine:
Tag # | 20 things about me
~ X ~
Rules
1- Find a cool, random, picture that helps describe one of your questions.
2- Write 20 things that NO ONE really knows about you (if you don't have many things, you can shorten the amount)
3- After you're done, tag all your friends!"
~ X ~
J'ai été tagué par .: Mιmι ιη ωσηdεяℓαηd ~♫ :. / Bee ~ Mélounette L'abeille / Mademoiselle Umako / Zorha Nightwood / Holly Hatter / Little Crow ~ / Darek Donnfhlaidh / Delilah Dahmer / konato / Azazelle / Yuki Kurohoshi / Kalea-chan
Comme je fait ce tag en retard.. je Tag personne ! :D
~ X ~
1 ~ J'adore mon teint pâle et mes petites taches de rousseur. ♥
2 ~ Je rêve d’être rousse et les cheveux longs ! (Pas carotte hein, un beau chocolat qui vire un peu au roux au soleil *______*) - (J'avais les cheveux en bas du dos a une époque, ziout tout au épaules du jour au lendemain, avec le temps je regrette un peu ce geste -___-')
3 ~ Sans musique je peux pas vivre ♫
4 ~ Je me maquille jamais.. je trouve sa inutile, je préfère être naturelle.
5 ~ J'aime les couleurs pâles, les motifs toile juit, la musique classique (Vivaldi ♥), les nœuds ,les meubles d'époque, mais aussi les crête punk, le rock, le noir
6 ~ J'aimerai avoir 2 chat plus tard, j'ai grandi avec des chats et je pense que je pourrais jamais m'en passer..
7 ~ Cuisiner, c'est pas pour moi, sauf les gâteaux niiihhh ♪
8 ~ Je rêve de parler Anglais couramment ♥__♥
9 ~ Je rêve beaucoup ! Je beaucoup d'imagination :3
10 ~ Désormais le fait de ne pas photographier mes dolls me dérange pas, le fait de savoir quelles sont la, que je peux les regarder me suffit.
11 ~ Je me sépare jamais de mon téléphone a la pomme croquée :P
12 ~ L'an prochain je voudrai faire de la basse, j'aurais du cette année mais mon emploi du temps me ne le permettait pas é___è
13 ~ Mon chiffre préféré ! ♥
14 ~ Depuis quelques moi, je réfléchit a un unique tatouage regroupant ce que j'aime.
15 ~ Il y a plus d'un an, le 13/02 (la veille de la St Valentin) je me suis faite plaquer. Depuis j'ai le cœur... en morceau mais je revis depuis peu. Sa, je pense restera un cicatrice sur mon cœur. Je déteste la St Valentin.
16 ~ Je suis bien dans une pièce quand il fait entre 21° et 23°.
17 ~ La seule chose qui me reste de ma grand-mère maternelle est une boite a musique. Quand je tourne la modèle, la mélodie me fait pleurer. Sa fait plus de 3 ans quelle est partie et sa fait comme si c'était il y a 6 mois seulement.
18 ~ Des fois je voudrai être une petite souris et être dans mon trou, seule, a l'écart de tout.
19 ~ Je suis frileuse, maladroite, adorable voir trop gentille, mais je peux m'énerver facilement et je me contrôle plus dans ces moments la. (un jour j'ai choper un mec dans mon lycée qui me fessait chier, je l'est plaqué contre le mur et l'est soulever, je m'en suis pas rendue compte. il devait peser dans les 60kg et faire ma taille.)
20 ~ Je ment jamais. Ce que je vous est dit la est vrai.
Its a question of lust
Its a question of trust
Its a question of not letting
What weve built up
Crumble to dust
It is all of these things and more
That keep us together
Independence
Is still important for us though (we realise)
Its easy to make
The stupid mistake
Of letting go (do you know what I mean)
(c) Depeche Mode
Bernard Buffet
Rétrospective
Du 14 octobre 2016 au 26 février 2017
Le Musée d’Art moderne de la Ville de Paris organise une rétrospective de l’œuvre de Bernard Buffet (1928 - 1999), considéré comme l’un des peintres français les plus célèbres du XXème siècle, mais également l’un des plus discutés. À travers une sélection d’une centaine de peintures, l’exposition propose une relecture d’une œuvre qui a été en réalité très peu vue.
Le parcours, organisé selon une présentation chronologique, s’ouvrira sur les débuts de Bernard Buffet, au moment où ses œuvres renouvellent le sens de tout un répertoire de formes et d’objets. Le contexte artistique de l’après-guerre, moment de débats autour de la question des réalismes, de la figuration et de l'abstraction, sera évoqué. Il s’agira de révéler le peintre comme un artiste paradoxal, qui se réfère à la peinture d’histoire à une époque de la disparition du sujet, qui allie peinture austère et aisance financière, grand succès public et rejet du monde de l’art.
This one appeared to be sucking up sediments from the gravel with its super long proboscis. And yes, that's its real name.
Best viewed in lightbox
Je me suis faite taguée par.... baaah trop trop de gens.... ^^
Photo : cf point 10 et 11
-----------------------------------------------------
Rules :
1- Find a cool, random, picture that helps describe one of your questions.
2- Write 20 things that NO ONE really knows about you (if you don't have many things, you can shorten the amount)
3- After you're done, tag all your friends!"
-----------------------------------------------
Je me suis demandé comment je pourrais répondre de manière amusante à ce petit jeu Flickr....
Alors je me suis imposé une règle : que chaque paragraphe ait un lien avec le paragraphe du dessus. Et comme il s'agit d'une liste de chose, je commence avec l'idée de "liste"... Enjoy!
1. J'adore les listes. Des listes de choses à faire, à acheter, des listes de mes mots de passe, même une des "raisons pour lesquelles je ne dois pas sortir avec qq pour le moment" (sisi).
2. Vous voyez la jauge de bonne humeur dans Les Sims ? Eh bien je me suis reproduite une liste similaire "des critères d'accès au bonheur" pour voir ce qui va et ce qui va pas à un moment T, en mettant des smiley heureux ou non (dans des domaines très particuliers). Et je sais ainsi quels points je dois améliorer pour être d'humeur parfaite ^^
3. Actuellement sur cette liste je n'ai que des :D et ça dure depuis le 5 juin .... date à laquelle j'ai eu confirmation que j'avais validé mes 3 années de licence et que j'étais diplômée de japonais.... \o/ y'a pas à dire, je suis absolument sur un nuage, je suis au summum du bonheur depuis !
4. Je suis une personne plutôt positive, je prend les choses du bon côté, et même quand il m'arrive des choses très difficiles je reste pudique avec mes sentiments et je n'en parle que très rarement. Ce qui fait que ça se voit généralement pas quand je souffre ^^'
5. Par contre quand je suis heureuse je rayonne littérallement de bonheur ! J'aime sourire ^^ Si bien qu'un jour que je remerciait une voiture qui me laissait traverser en souriant, un type a sorti la tête et m'a dit "Merci pour ton sourire !!" Ça m'a beaucoup fait rire !
6. J'aime beaucoup l'humour noir ^^
7. Mais je ne raconte pas de blagues que je considère comme inadaptées à un certain âge devant les jeunes gens en question (oui c'est totalement arbitraire). De manière générale, je suis assez protectrice envers les plus jeunes que moi.
8. Et il y a environ 4 ans, en Martinique, j'ai sauvé (?) la vie d'un jeune garçon qui manquait de se noyer dans une piscine.
9. Je préfère la plage à la piscine, et de très très loin. Je m'appelle Marine, et j'aime la mer, j'aime l'eau, j'aime le sens de mon prénom ^^
10. Je suis une fille oui, mais alors j'aime pas du tout les fi-filles. La mode, les chaussures, le maquillage, la coiffure et tout ça..... ça ne m'intéresse pas du tout...
11. Par contre j'adore porter des robes.... ! ♥ J'en ai 5 auxquelles je tiens et chacune est si pleine de souvenirs...
12. J'ai très mauvaise mémoire, même de choses que je refuse d'oublier. Un visage, une conversation, un moment... mes souvenirs m'échappent alors je relis beaucoup s'il y a des traces écrites d'un évènement en particulier.
13. J'aime beaucoup lire. Je n'ai pas une culture littéraire affolante, mais j'adore me poser quelque part, ouvrir un livre et me laisser porter dans des univers différents.
14. 本といえば、本を読むのは外旅行する方と思います。J'aime voyager, j'aurais aimé faire ça plus souvent dans ma vie.
15. J'ai pu aller au Japon l'été dernier. Mon souvenir le plus fort et le plus beau restera à jamais la montée du Mont Fuji. Éprouvant mais sensations inimaginables si on ne le vit pas. J'espère avoir une bourse pour étudier une année là-bas.
16. L'université à Lille est la meilleure chose qui ait pu m'arriver. Je n'aurais jamais pensé autant apprécier 3 années. Sans doute les plus dures niveau travail, mais les plus belles niveau rencontres ♥
17. Tous les jours ou presque, une copine de fac fait le tour de notre cercle d'amis pour nous lire nos horoscopes. Je suis du signe du Bélier donc je passe souvent en 1ere ^^
18. Je suis très superstitieuse, je crois en mon horoscope (surtout de RTL le matin quand je me lève XD), j'adore les chiffres impairs (et j'y fais attention), je déteste les chiffres pairs sauf ceux qui sont multiples de 3. Je déteste au plus haut point les chiffres 2 et 4.
19. J'ai longtemps caché à ma mère : j'ai commencé depuis quelques semaines à jouer du piano et j'adore ça ♥ bien que j'ai du mal à utiliser mes deux mains :s *débute*
20. Allez, un truc que peu de gens savent.... j'ai aujourd'hui encore beaucoup de mal avec ma droite et ma gauche, et encore plus de mal à lire l'heure ! XD
34/365
We are so vain that we even care for the opinion of those we don't care for. - Marie Ebner von Eschenbach
Texture from Paurian's Art Textures
Oh dear.. in the absence of my royal court photographer, Little Pip has taken it upon himself to take todays picture…
Apparently he felt a bite guilty for having eaten all the muffins while I was asleep… he blamed the moon and handed me a calling card from Pipson, Pipson and Pip if I had further questions regarding the incident…
Taking the picture didn’t go quite as planned either, Pip seemed a bit too eager to make sure the lens was clean enough…
Let’s hope my Uncle returns safely tomorrow… before I starve!
I wouldn't normally post a photo with such awful backlighting, but this one was hard to pass up. A boy is looking up at a woman who towers over him threatening to snuff out his torch. Is she the angel of death? Does she have to make room on earth for the baby on her left arm? And what is the kid grabbing with his left hand?
This sculpture is actually called Mother. It was commissioned from Albin Polasek by the cemetery for it's 50th anniversary in 1927. So maybe she's protecting the older child's torch even as a new sibling has joined the family.
~QUESTION OF THE DAY~
Have you ever had that a random person starts talking to you? Or that someone says something and you're like "What?" but after saying "What?" three times you just laugh.
Insert funny stories below.
Pretty model goddess with blue eyes and long blond hair! New blog celebrating my philosophy of photography with tips, insights, and tutorials!
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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 odyssey 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 odyssey 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! :)
No that wasn't a question! I want you to like my legs! If wanting isn't sufficient, then I demand that you like my legs!
This snug fitting strapless black & gold minidress that came from coquetryclothing.com.
I've matched it up with my super shiny Platino Cleancut 15 denier pantyhose over Hanes Alive Barely There pantyhose and my 5½" black patent pumps.
To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
DSC_2120-17
Title.
Silver. White. Blue.
(LUMIX G3 shot)
Manhattan. New York. USA. 2017. … 10 / 13
(Today's photo. It is unpublished.)
Images.
Toshiki Kadomatsu ( 角松 敏生 )- Magic Hour
youtu.be/UVB5oNTZ2PY?si=eZsH8F_PD-KYHLsk
::Link photo music and iTunes playlist::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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Important Notices.
I have relaxed the following conditions.
I will distribute my T-shirt to the world for free.
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
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Exhibition in 2024
theme
Goodbye , Photo .
Images
Ai Otsuka ( 大塚 愛 ) / Goodbye photo ( 恋愛写真 )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
Sponsored by
design festa
place
Tokyo Big Site
schedule
November 16 and 17, 2024.
exhibition.mitsushiro.nakagawa@gmail.com
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Notice regarding "Lot No.402_”.
From now on # I will host "Lot No.402_".
The work of Leonardo da Vinci who was sleeping.
That is the number when it was put up for auction.
No sign was written on the work.
So this work couldn't conclude that it was his work.
However # as a result of various appraisals # it was exposed to the sun.
A work that no one notices. A work that speaks quietly without a title.
I will continue to strive to provide it to many people in various ways.
October 24 2020 by Mitsushiro - Nakagawa.
Mitsushiro Nakagawa belong to Lot No. 402 _.Copyright©︎2024 Lot No.402_ All rights reserved.
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Profile.
In November 2014 # we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model # and will conclude a confidentiality agreement with them.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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Interviews and novels.
About my book.
I published a book a long time ago.
At that time # I uploaded my interview as a PDF on the internet.
Its Japanese and English.
I will publish it for free.
For details # I explained to the Amazon site.
How to write a novel.
How to take a picture.
A sense of distance to the work.
All of these have something in common.
I wrote down what I felt and left it.
I hope my text will be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
3 Interview Japanese version
4 novels. unforgettable ' JPN version.
5 A streamlined trajectory. only Japanese.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel : Unforgettable'
(This book is Dedicated to the future artist.)
Synopsis
Kei Kitami, who is aiming for university, meets Kaori Uemura, an event companion who is 6 years older than her, on SNS.
Kaori's dream of coming to Tokyo is to become friends with a famous artist.
For that purpose, the radio station's producer, Ryo Osawa, was needed.
Osawa speaks to Kaori during a live radio broadcast.
"I have a wife and children. But I want to meet you."
Rika Sanjo, who is Kei's classmate and has feelings for him, has been looking into her girlfriend Kaori's movements. . . . .
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
Main story
There are two reasons why a person faces the sea.
One to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other to brush the dust of memory like an old man who misses old days staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left # how many times did I depend too much on her # doubt her # envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me # a guy filled with ambiguous unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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My Works.
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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Do you want to hear my voice?
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
3
About when I started Fotolog. Architect 's point of view.
4
Why did not you have a camera so far?
5
What is the coolest thing? The photo is as it is.
6
About the current YouTube bar. I also want to tell # I want to leave.
7
About Japanese photographers. Japanese YouTube bar is Pistols.
8
The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
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What is a good composition? What is a bad composition?
10
What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
11
Family photos. I can not take pictures with others. The inside of the subject.
12
About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
13
About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs # it will be useless.
14
About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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I talked about how to make a work.
About work production 1/2
About work production 2/2
1 Photo exhibition up to that point. Did you want to go?
2 Well # what is an exhibition that you want to visit even if you go there?
3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.
4 works are materials and silhouettes. Similar to fashion.
5 Who is your favorite artist? What is it? Make it clear.
6 Creating a collage is exactly the same as taking photos. As I wrote in the interview # it is the same as writing a novel.
7 I want to show it to someone # but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.
8 What is copycat? Nowadays # it is suspected to be beaten. There is something called Mimesis?
kotobank.jp/word/Mimesis-139464
9 What is Individuality? What is originality?
www.youtube.com/user/mitsushiro/
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Explanation of composition. 2
1.Composition explanation 2 ... 1/4
2.Composition explanation 2 ... 2/4
3.Composition Explanation 2 ... 3/4
4.Composition Explanation 2 ... 4/4
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My shutter feeling.
Today's photo.
It is a photo taken from Eurostar.
This video is an explanation.
I went to Milan in 2005.
At that time # I went from Milan to Venice.
We took Eurostar into the transportation.
This photo was not taken from a very fast Eurostar.
When I changed the track # I took a picture at the moment I slowed down.
Is there a Japanese beside you?
Please have my video translated.
:)
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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threads.
www.threads.net/@mitsushiro_nakagawa
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Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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my statistics. (As of February 7, 2024)
What is the number of accesses to Flickr and U-Pik?
Flickr 21,694,434 Views
Youpic 7,003,230 Views
What is the number of accesses to Flickr and YouPic?
(As of November 13, 2023)
Flickr 20,852,872 View
Youpic 6,671,486 View
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Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsu Nakagawa belong to Lot No. 204 _ . Copyright©︎2020 Lot No.402_ All rights reserved.
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Title.
シルバー。ホワイト。ブルー。
( LUMIX G3 shot )
マンハッタン。ニューヨーク。アメリカ。2017年。 … 10 / 13
(今日の写真。それは未発表です。）
Images.
Toshiki Kadomatsu ( 角松 敏生 )- Magic Hour
youtu.be/UVB5oNTZ2PY?si=eZsH8F_PD-KYHLsk
::写真の音楽とiTunesプレイリストをリンク::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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重要なお知らせ。
僕は以下の条件を緩和します。
僕はTシャツを無料で世界中へ配布します。
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
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２０２４年の展示
テーマ
Goodbye , Photo
Images
大塚 愛 ( Ai Otsuka ) / 恋愛写真 ( Goodbye photo )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
主催
デザインフェスタ
場所
東京ビッグサイト
日程
2024年11月16日。17日。
exhibition.mitsushiro.nakagawa@gmail.com
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” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsushiro - Nakagawa.
Copyright©︎2021 Lot No.402_ All rights reserved.
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プロフィール
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
１ インタビュー 英語版
２ 小説。unforgettable’ 英語版。
３ インタビュー 日本語版
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
(四百字詰め原稿用紙４５６枚)
あらすじ
大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。
上京してきた香織の夢は、有名なアーティストの友達になるためだ。
そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。
大沢は、ラジオの生放送中、香織へ語りかける。
「僕には妻子がある。しかし、僕は君に会いたいと思っている」
ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。
本編
人が海へ向かう理由には、二つある。
ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。
もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。
二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。
再生だ。
明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。
それが再生の意味だ。
十八歳だった僕には大切な人がいた。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
５ 流線形の軌跡。 日本語のみ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
_________________________________
_________________________________
Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
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僕の作品。
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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あなたは僕の声を聞きたいですか？
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
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作品制作について 1/2
作品制作について 2/2
１ それまでの写真展。自分は行きたいと思ったか？
２ じゃ、自分が足を運んででも行きたい展示とは何か？
３ 原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。
４ 作品とは、素材とシルエット。ファッションと似ている。
５ 自分が好きなアーティストは誰か？ どんなものなのか？ そこをはっきりさせる。
６ コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。
７ 誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。
８ パクリとは何か？ 昨今、叩かれるパクリ疑惑。ミメーシスとは？
https://ja.wikipedia.org/wiki/ミメーシス
https://kotobank.jp/word/ミメーシス-139464
９ 個性とはなにか？ オリジナリティってなに？
おまけ 眞子さまについて
という流れです。
お時間がある方は是非聴いてください。
:)
www.youtube.com/user/mitsushiro/
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構図の解説２
1.構図の解説２ ... 1/4
2.構図の解説２ ... 2/4
3.構図の解説２ ... 3/4
4.構図の解説２ ... 4/4
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僕のシャッター感覚
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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threads.
www.threads.net/@mitsushiro_nakagawa
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Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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僕の統計。（2024年2月7日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 21,694,434 View
Youpic 7,003,230 View
僕の統計。（2023年11月13日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 20,852,872 View
Youpic 6,671,486 View
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Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsushiro Nakagawa belong to Lot no.204_ . Copyright©︎2020 Lot no.204_ All rights reserved.
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” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsushiro - Nakagawa.
Copyright©︎2024 Lot No.402_ All rights reserved.
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This photo appeared in the following ideotrope albums:
Biking the Mojave Fall 2007 - Introduction
I biked through Death Valley in October 1996. It was 109°F at Furnace Creek. The area is beautiful, but it was way too hot at that time of year. I knew I wanted to come back on my bicycle when it was cooler. This year it worked out to take about 3 weeks after Thanksgiving. I ended up spending 18 days to cycle from Palm Springs to Las Vegas. I spent about half of that time in Death Valley NP. In Baker I met a group of cyclists on racing bikes with a support vehicle. They were cycling from Palm Springs to Las Vegas in 2 days. I saw a lot more desert than they did.
Coachella Valley and Joshua Tree National Park
I crossed the Coachella Valley on Ramon Rd. It was over 70°F, probably the warmest day of the trip. It wasn't 'til I turned onto Thousand Palms Rd. that I felt like I was heading out into the desert on my own. The San Andreas Fault system runs along the northern end of the Coachella Valley. The faults allow groundwater to rise to the surface resulting in a number of California fan palm oases. It's wonderful to see oases in the desert.
It was a 1300m climb on Berdoo Canyon Rd. to the Coachella Valley-Pleasant Valley saddle in Joshua Tree NP. I didn't see a single person or vehicle in Berdoo Canyon. Climbing out of Pleasant Valley I saw the first person, a fellow adventurer. Patrick was walking solo across Joshua Tree NP from west to east. That's a heck of a trek. That park is huge and has only one known spring. Patrick had set up two water caches before his trip.
Amboy Road and Mojave National Preserve
I bought enough food in 29 Palms to last 4 days to Baker. Heading east on the Amboy Rd. I met the only other touring cyclist of the trip. He had come down from Bishop through Death Valley NP, Baker, Kelso, Amboy - much the same route I was planning to take. When I met him, he had run out of food. I shared some almonds with him but didn't have much sympathy with his plight. The reason he didn't buy food in Baker was because there wasn't a health food store! Well, I told him there was a grocery store in 29 Palms, but it might not be up to his standard.
One of the things I was looking forward to on this trip was experiencing the transition zone between the Sonoran Desert (lower, farther south) and the Mojave Desert (higher, farther north). Creosote bushes grow in both, but most other flora is limited to one ecosystem or the other. In the transition zones you can see a mix of vegetation. What I saw ended up being less dramatic than Washington County, Utah where the Colorado Plateau, the Basin and Range country, and the Mojave Desert all come together. Joshua Trees were the main ecosystem indicator for me. I knew I was climbing high when I started to see them.
I was surprised how much traffic there was on the Amboy Rd. It wasn't much, but a lot of the paved roads that I was on during the trip would have one car every 10-30 minutes and perhaps none all night. The only truly busy roads were the road north out of Baker (on a Saturday morning) and the Pahrump-Las Vegas superhighway which has a wonderful bicycle lane.
I climbed Sheep Hole Pass to get into the Amboy Valley. It was in the Amboy Valley where I became accustomed two aspects important to cyclists in the Mojave:
Distances are deceiving. You can see really far. It takes much longer to cross these valleys that it appears that it would.
The slight inclines up alluvial fans or other fill climb a lot more than they appear to. In Colorado I'm not accustomed to seeing the whole climb since there are usually canyon climbs here. Leaving Amboy, for example, I climbed over 3000 ft. on a slowly rising alluvial plane. It took hours.
I enjoyed time off the bike to walk out to and up Amboy Crater. The following day I climbed to the top of the Kelso Dunes. And one day later I climbed one of the cinder cones east of Baker. I enjoyed having a diversion each day. Each of those areas is beautiful in its own way. The creosote bushes in the Amboy Valley are particularly green because of the shallow water table. Kelso Dunes are simply fantastic, and the cinder cone area with over 30 cinder cones and not another person felt like another planet.
In Baker I bought enough food to last 10 days and ate at the Mad Greek at my brother's recommendation. I had taken a rest day the previous day because of rain, and Baker was a bit flooded. Folks were out pushing water around with brooms. At the store the locals were telling each other how much their roofs leaked.
Death Valley National Park
Heading north of Baker the saddle that separates the Silurian Valley from Death Valley is only about a 50' climb. From there I left the pavement and stopped at Saratoga Springs to see the incredible wetlands in the desert. I had planned on climbing the Ibex Dunes, but wind was blowing sand off the top of the dunes and everything was still a bit wet from the rain. The following day I reached the pavement, took it for 5 miles and then headed west up Warm Springs Canyon.
The 1400m climb up Warm Springs Canyon was not the longest of the trip, but it was the toughest. The climb started out hard from below sea level in Death Valley and continued to be hard all the way to the saddle leading into Butte Valley. I struggled in my easiest gear (which is really low) the whole way. Surprisingly I walked very little. It always seemed to be just slightly easier to pedal than to walk.
Butte Valley felt remote. The views to the east were phenomenal giving Greater View Spring its name. I could see range after range. I stopped at Stella Anderson's place and cut some chicken wire to repair my glasses. The rattling had loosened a screw which I couldn't find. It was important to get a good fix since I wore those glasses a lot riding in the early morning and late afternoon. I found I had about 10 hours of light to ride in with perhaps 45 minutes of twilight on either end to mess around in camp. The sun was theoretically up for 8 or 9 hours, but it was often a lot less than that in the canyons. My repair job worked well, and I didn't even strip the threads so the glasses are good as new again :)
Mengel Pass is rough and keeps too many people from taking this route between Death Valley and Panamint Valley. Down in Goler Wash I met Rock(y), one of two residents of Ballarat. His father is the other. Rocky was poking around Goler Wash with his girlfriend who was visiting from LA. He had worked with various mining operations in the area, and I enjoyed his stories. It was also fun to talk with his Isreali girlfriend. We compared this desert with the eastern Mediterranean desert where I have also cycled.
In Ballarat the following day I talked with Rocky some more, but the girlfriend had already returned to LA. There are a surprising number of springs on the west side of the Panamints (due to faults, I'm sure) and a surprising number of fighter jets playing overhead. I scared a coyote into some bushes near a spring and then was scared myself by the jet passing just overhead. Once the quiet returned I could hear the coyotes, packs of them, howling and yipping in the bushes. The yipping made it sound like there were a lot of youngsters. Fun to hear the bushes make such unusual noises.
Hunter Mountain to Racetrack Playa
I was pretty tired this day and finally made it to Panamint Springs where I had planned to get water. There's a store as well, but they really only have candy bars. The restaurant, however, was able to sell me some bread and cheese. I bought a veggie burger for lunch as well. That rejuvenated me enough to climb about half of the 1100m paved climb that afternoon.
I was lucky that the following day was stunningly warm since I climbed to over 7000 ft. The 1100m paved climb was followed by 600m of climbing on a dirt road. I'm sure it ended up being more than that since there were a number of descents thrown in as well. To give an idea of the terrain the only two flat places I went through that day were named: Lee Flat and Ulida Flat! Lee Flat was filled with the most Joshua trees I've ever seen in one place. I camped in Ulida Flat next to one of the only Joshua trees out there.
I made it over Hunter Mountain, through Hidden Valley, down Lost Burro Gap, and arrived at Teakettle Junction with enough water to be able to make the ~16 mile detour to Racetrack Playa. Of course I'd seen photos of the moving rocks at Racetrack Playa, but I was absolutely blown away being at the site in person. It's not simply the amazement of seeing the evidence of the moving rocks and all the different directions and shapes of the tracks, but also how well preserved the area is. It wouldn't take too many people moving rocks from the tracks, driving on the playa, or walking out there when the surface is wet to really ruin the magic of the place. Additionally Racetrack Playa is so big and so flat. The flat playa blends in in the distance with the hills miles away. I loved this place. I was lucky enough to be there when I was. The rain from 5 days earlier had completely dried out, and it rained some more just 10 hours after I was there.
I recovered my stashed gear and water at Teakettle Junction and headed uphill into a cold, stiff wind climbing out of Racetrack Valley. By this point in the trip I had started to associate Joshua trees with cold weather. At the saddle in the twilight I made it my goal to descend far enough down to get away from the Joshua trees and perhaps into warmer weather. It was practically dark by the time I got off my bike, but I succeeded! It sprinkled off and on all night, but I was dry and fairly warm.
Through the bottom of Death Valley
The downhill continued all the way to the pavement at Ubehebe Crater, but I had to push the bike a bit once I got to the lava/cinder area. The black sand of the roadbed was much finer and deeper than the surface of most of the descent. Getting to Ubehebe concluded what I had planned for this trip. The only thing left was to get to Las Vegas. Berdoo Canyon, Mengel Pass, and Hunter Mountain had all been hard excursions, but each took about a day less than I had (conservatively) expected. I had time to make it a pleasant, easy ride to Vegas. I hiked around Ubehebe Crater and relaxed in the wind at the parking lot. Only two cars plus a ranger came by during the ~3 hours I was there. Each car stopped, the occupants got out, took a couple photos, and were driving away less than 2 minutes later. Incredible! This place is the middle of nowhere. I couldn't understand why anyone would drive so far and spend so little time. It turns out though that Ubehebe is only a 10 mile detour from the Scotty's Castle road.
I didn't make much distance this day even though it was flat and I had a tailwind after Ubehebe. I camped illegally near the paved road but was careful to avoid washes since I could tell it was going to storm. Storm it did. The wind bent my tent sideways, and rain poured down for hours. Death Valley received about a third of their annual average rainfall in this ~6 hour period. It was December 7, and it rained almost as much as it had from January 1 to December 6. The nice flat sandy spot I had chosen for my tent was just a bit lower than the surrounding area. The whole area was really quite flat, but the soil there can't absorb water very quickly. In the middle of the night I found my tent sitting in an inch or so of water. Only my thermarest was above it. I moved the tent in the pouring rain, but it was too late. Most of my stuff was pretty wet. Both pairs of socks and the bottom of my down bag were soaked. I wrapped my feet in a wool scarf like a Ace bandage and tried to get some sleep.
I was up early in the morning. I had managed to keep my down coat fairly dry so I put that over my damp clothes to ride away in the morning. Tons of rocks up to the size of softballs had poured across the 2-lane paved highway out of washes that were only a foot or two wide. It had snowed down to 4000'. In every direction were snow-covered peaks. I was so lucky to be down low, near pavement. The dirt roads that I had spent much of the last week on were probably impassable that morning. Ulida Flat where I had camped two nights earlier was probably covered in snow. I was able to keep warm biking in my down coat, but I was down at sea level, the warmest place around!
The sun came out. Everything warmed up. The views were phenomenal. In spite of the damp clothes it was a fantastic day to be cycling. At Furnace Creek I was directed to the sunny employee picnic area where I pulled everything out of my bags and dried everything out while enjoying lunch and wine from the grocery store. I hung out there for 2-3 hours before anyone else showed up. It was Herb, the night maintenance man. Enthralled with the bike he asked lots of questions about touring and the LHT specifically. He kept getting calls on his radio but continued to talk with me. Herb plans to live on his bike for a while and had been researching bicycles. I enthusiastically encouraged him since I know from experience that a lot of folks discourage that kind of crazy plan. Before he left to finally answer one of his calls, he asked me, "did you find the free showers?" I hadn't. Hohoho, that shower felt wonderful.
I spent a rest day at Furnace Creek and talked to Herb to 2 or 3 more times. I also met Mary and Paul from Rogue River, Oregon, who invited me to dinner at their campsite. I didn't carry a stove on this trip. The hot meal that Mary put together was the best meal of the trip. She had dried tomatoes and zucchini from their garden, a hot sauce with peppers that they grew, a jalepeno artichoke dip as an appetizer, and plenty of red wine. Was I ever a happy camper!
And on to Las Vegas
Back on the bike I rode south with a tailwind past Badwater all the way to the 5 miles of paved road that I had ridden between Saratoga Springs and Warm Springs Canyon over a week earlier. Instead of heading south to Baker I climbed Jubilee Pass. The following day I climbed Salsberry Pass on the coldest day of the trip. I simply couldn't warm up since I couldn't get away from the wind. And then I came to Tecopa Hot Springs! That cut the chill even though the wind was so fierce that I was dry within minutes of getting out of the pool. Around the corner I stopped at a RV park to get some water and ended up spending an hour talking with the 75-year-old man who runs the place with his wife. He ran an ultra-marathon when he was 55, had biked from Las Vegas to Sedona, had run a bunch of marathons. In the summer they leave Tecopa Hot Springs and explore the country in their 35' motorhome.
Later that afternoon I came upon Victor. Stopped at the side of the road, he handed me a Guinness and two granola bars. We chatted for a while using his car as a windbreak. He's taking a break from his 'round the world bicycle trip on a crazy rig that he built himself.
The following morning the only indication that I entered Nevada was a sign reading "Inyo County Line". Lower down on the same post was a smaller sign at an angle because it was falling off. That sign said "leaving". About 3 cars passed me in an hour, and then a car stopped. It was the couple from RV park in Tecopa Hot Springs. She had baked muffins that morning, put together a package of them for me, and handed them to me! They were still warm! Oh, I was cycling with a big smile yet again! I was on a gradual climb that continued all the way to Mountain Springs Pass. To get an idea of how long the climb was, consider that the couple drove all the way to Las Vegas, went to the dentist, drove back, and passed me just one minute before I crested the pass. They honked, smiled, and waved as did I. The first 2000' of descent was fast and cold, but I was warm and happy in my down coat.
My last excursion before Las Vegas was to ride through the scenic Red Rock Canyon National Conservation Area. The cliffs and cemented sand dunes in that area reminded me much more of the Colorado Plateau than anything I'd seen on my journey through the Mojave Desert. In the morning I rolled into Vegas, found a bike shop, boxed my stuff, and took a taxi to the downtown Greyhound station. In Denver a day later I rebuilt my bike at the Greyhound station for the short ride to Market St. Station. I took the bus to Boulder and rode through the snow to get home.
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
View this photograph on my Website ⇒ kevinlogan.com/?p=4096.
Archival Giclée Prints are available to purchase. 28 inch (71.2cm) wide inexpensive sample prints of my panorama photographs are available as well. Questions??? Email me: Kevin@KevinLogan.com
If you wouldn't mind, could you share my post??? Cheers, Kevin
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!
Nikon D810 Photos Pro Women's Surfing Swatch Women's Pro Trestles Sports Photography With New Tamron SP 150-600mm F/5-6.3 Di VC USD Lens for Nikon!
New blog!
I get a lot of questions here, so if you have one, please ask at the blog! Thanks!
Swatch Women's Pro in Trestles San Clemente with pro surfers /models Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomer Nikki Van Dijk, and more!
The new Nikon D810 rocks for sports photography! New Instagram!
Goddess videos! vimeo.com/45surf
Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracels took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the bright sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS, but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.
The new Nikon D810 rocks for sports photography New Instagram!