View allAll Photos Tagged Refinement
Lauren from the meetup with Anna on Sunday in London.
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The 458 Speciale’s lean, muscular and sculpted form includes front and rear movable aerodynamics which balance downforce and cut drag, while the cockpit’s Alcantara™ and carbon fibre trim gives it a pared down, driver focused ambience that’s perfectly in tune with the car’s performance credentials.
Although outwardly similar to its 458 stablemates, the body of the 458 Speciale has been redesigned, with new composite bumpers and deep air channels on the bonnet to assist cooling. The thickness of the glass has been reduced to cut weight, while the rear screen is now a Lexan panel.
For drivers, the most significant innovation is the 458 Speciale is the Side Slip angle Control system (SSC) which makes it easier to achieve car control on the limit without restricting the skilled driver. Together with the specially-developed Michelin Pilot Sport Cup2 tyres, the chassis refinements help the 458 Speciale to achieve 1.35g, the highest-ever lateral force in cornering recorded by a roadgoing Ferrari. 0-62mph takes just 3.0 seconds, but the most impressive feature of the 458 Speciale is the way its technology puts racing superstar lap times within reach of the experienced yet non-professional driver.
New Ferrari 458 Speciale prices start from £206,945
After a hike down along the Merced river from Swinging Bridge, this scene came into view. It's typical of what greets visitors this time of the year. It was captured at the end of the day when the last bits of daylight was just catching the trees.
Image was run through Luminar for refinement. Crop was to a 4X5 ratio.
Post: Luminar & Lightroom 5 for basic setup.
Macro Mondays - Zed - 10 May 2021.
James Bond (Pierce Brosnan) gets zee girl ... yet again in GoldenEye (1995)!!
For the film, a convertible Z3 is equipped with the usual Q refinements, including a self-destruct feature and Stinger missiles behind the headlights. The Z3 does not have much screen time and none of the gadgets are used, which Martin Campbell (director) attributed to the deal with BMW coming in the last stages of production. The Z3's appearance in the film is thought to be the most successful promotion through product placement in 1995.
Ten years later, The Hollywood Reporter listed it as one of the most successful product placements in recent years. The article quoted Mary Lou Galician, head of media analysis and criticism at Arizona State University's Walter Cronkite School of Journalism and Mass Communication, as saying that the news coverage of Bond's switch from Aston Martin to BMW "generated hundreds of millions of dollars of media exposure for the movie and all of its marketing partners."
Interesting that Bond has gone back to Aston Martin!!
Reference: en.wikipedia.org/wiki/GoldenEye
Completing my lastest painting :: Das Vagues
(experimenting with techniques for using Watercolour on Canvas).
In my Studio and taking advantage of some glimpses of winter sunlight to get the final colour refinements correct.
Giselle decided to challenge the recent released Barbie Andy Warhol and here she is styled as Edie Sedgwick, Andy's muse.
Perfectly Suited Giselle Diefendorf is wearing:
Enigmatic Monogram coat
Barbie Basics LBD
Refinement Vanessa sunglasses
The Camera Loves Her Poppy Parker earrings
Pop of Color Annik bag
Foreverness/Huey Leong booties
This is a blend of two 30 second exposures. The base image is naturally lit to produce a silhouette (as I am shooting into the moon), the second is light painted from the right using an orange gel on a flash (fired manually, maybe 5-10 times at full power, though through a diffuser).
The lightpainting is then selectively blended in (using luminosity masks) to bring back in the autumnal foliage, as well as adding some definition to the stones, the tussock, and revealing the stones on the lake floor.
This is the first image I've processed where I've included light painting at all, and I'm quite happy with how it has worked out. The lightpainting itself lacked skill and refinement, partly because I was in a hurry (down to the last moments of my last camera battery, freezing fingers, waterlogged boots since I had climbed in up to my knees a little earlier, and 3 hours of road ahead of me). But through effective blending the critical elements can be brought in to produce a subtle result.
Big Boy 4014 is making its break-in run after a year long hiatus in 2020 with UP Train PCYDV 08. Here the train leaves the elevator complex at Ault behind on the UP Greeley Sub. bound for Denver.
With over a year since the 4-8-8-4's most recent run in 2019, the UP Steam Crew has made numerous refinements to the locomotive, and this particular trip was to test those, along with LEAP PTC, which uses a unique system utilizing the trailing diesel locomotive as mother unit to operate the Wabtec I-ETMS on the steam locomotive leader.
This in preparation for "The Big Boy 2021 Tour", departing Cheyenne on August 5 for New Orleans, LA and arriving back on September 7. Included in that excursion is a fundraiser trip in Louisiana benefiting the Union Pacific Museum.
4014 was built by ALCO in November 1941 with a builder number 69585. The engine last ran on July 21, 1959 and was the second to last Big Boy to operate. It then spent 1962-2014 on public display at the Los Angeles Fairplex in Pomona, CA. It was removed from the RailGiants Train Museum in 2014. After a 5 year restoration in Cheyenne, WY at the UP Steam Shop, 4014 made its first runs in 2019, its first in 59 years.
Locomotives: UP 4014, UP 4015
7-8-21
Ault, CO
[ CPP Project example -- Fall 1997 ]
This is a part of an ongoing & experimental photo project of mine entitled "Corpse Photo-Poetics." (The particular piece was composed by myself & Melina, my former fiance, and was included in the Florida Emerging Artists exhibit @ the Arts On the Park Gallery in Lakeland, 1998).
CPP was first conceived of as a sort of abstraction a Surrealist game (known as "EXQUISITE CORPSE") while driving the lonely stretches of the 95 through the old American South (rural Georgia) in the spring of 1994. The project languished, a bit, for a while, but has been conferred new life due my ability to connect with other kind, creative souls here on Flickr! ^_^
I can't locate my formal description of the project, but I'll try to succinctly state its simplicity:
With E.C., partipants divide a piece of a paper into thirds or quaters, choosing, for instance, the human form. Each participant chooses a section of the form to complete, covering their work, leaving only lines to give the next player a starting point for the next section of the piece. The result can be something quite surprising and, sometimes even good! ;)
I chose to use double exposure photographs. The CPP images have mostly been produced directly in the camera (35mm). With no fixed form in mind, participants grab an image to be integrated with the photograph of another in the camera, and hopefully the result is just as surprising and, even good!
This is a randomly chosen example -- I have very few digital copies at this time, but will try to change that soon. I'm working on new methods and am always looking for new collaborators.
Let's see, thank you for taking a look, reading about this crazy project, & please LMK if you are interested. ;)
OK. Here's further description that I e-mailed to one recent participant, the amazing Ms. LaDonna Chaos:
Let’s see… I'll do my best to b-r-I-e-f-l-y describe the project off the top o' my chaotic head here.
Firstly, I've hand-picked only a few collaborators for this admittedly odd little project. I plan future gallery shows (a close friend is currently shopping it around NYC, for instance) and even [gasp> a coffee table book.
OK. But first, here' how it started:
In the 90s -- yes, WAY BACK THEN -- I began d-a-b-b-l-i-n-g in photography, and became QUICKLY fascinated w/ multiple exposures when an old Arette 35mm I tried had a broken winding mechanism, producing these wonderful, almost halucinatory double & triple exposures.
I began to then INTENTIONALLY use the double exposure technique (with a properly functioning camera this time) in my compositions.
OK. One day, whilst traveling the long, lonely stretches of the 95 through rural Georgia, it occurred to me to try abstractly applying the dAdAists' and surealists' exquisite corpse game to photography.
With my game -- CPP: Corpse Photo-Poetics -- two photographers each contribute a photo or exposure w/o knowing what the other person had done to see what kind of final composition or new form, if you will, they end up with.
Here's how we'd do this: I'll take a roll of pictures (none of them needing to be complete compositions, not necessarily), and when I'm finished, I'll rewind leaving the film leader extending from the roll so that it can be reloaded into another camera.
THEN, you'll indeed (or so I hope that you’ll want to =) load the roll into your camera and shoot over my set of images, producing (no doubt ;) some AbFAB double exposure photographs -- CPP's!!!
OK. I hope that made SOME sense. ;)
One thing to keep in mind is that many of these won't work out, but there will NO DOUBT be GEMS, my dear.
Well, I t-r-e-m-e-n-d-o-u-s-l-y look forward to discussing this further and to working with you on this!! I AM QUITE honored by your interest!!!
Incidentally, this is the primitive, FUN technique, but I will soon move to enact some refinements to the process. In any case, I just thought that we could have some fun for now in this still early stage of things. What do you reckon?
The Crevole Madonna is a tempera and gold on wood panel painting by Duccio di Buoninsegna, created c. 1283-1284. It was originally in the Pieve di Santa Cecilia in Crevole and now its held in the Museo dell'Opera metropolitana del Duomo in Siena. It was one of the artist's first works.
Based on his investigation, Vittorio Lusini believes that the panel was probably made for the Church of Santi Pietro e Paolo of Montepescini and then moved to the Augustinian hermitage of Montespecchio. With the suppression of the hermitage and the transfer of the monks in the 17th century, the panel was moved to the parish Church of Santa Cecilia in Crevole, which also housed the monks of Montespecchio. In recent times it was transferred to the Museo dell'Opera metropolitana del Duomo of the Siena Cathedral where it is located today. It was restored in 1929-1930. The state of conservation is more than satisfactory.
The work is not signed by the artist, nor are there written documents that help in the attribution. However, experts attribute it, without conflicting opinions, to the young Duccio.
As for the elements that led to its dating, the table does not contain any of the Gothic novelties found in the Rucellai Madonna (1285), but the face of the Madonna and Child are already characterized by a figurative sweetness and refinement that are still absent in Duccio's first works, namely the Gualino Madonna (1280-1283). The most correct dating therefore seems to be around 1283-1284.
The table depicts the Madonna with her head reclined in three quarters and a Child who stretches his right arm to tenderly touch his mother's veil. Two small angels appear in the upper corners of the table. The setting is that of the Madonna Odigitria of the Byzantine tradition, with the variant of the tender gesture of the son caressing his mother, whose sad expression is due to the premonition of the destiny of sacrifice and death of Jesus, symbolized by the apparition of angels. The panel is very similar, in general setting, to the Madonna di Castelfiorentino exhibited in the Museum of Santa Verdiana in Castelfiorentino (Florence) and attributed to Cimabue. This similarity supports the theory, also formulated on the basis of other much more solid evidence, that the young Duccio of these years was a pupil of the older Cimabue.
Beyond this similarity, the faces of the Madonna and Child are much more delicate and humanized in Duccio's table. Maria's face is more elongated and her eyes are closer to each other, but it is also the greater pictorial delicacy that makes the difference (compare the dimples above the mouth and the backs of the two noses). The face of Jesus is also softer and less angular, with a characteristic potato chip nose. The veiled transparency of his robe and the intimate gesture with his right arm towards his mother, very different from the rude fussing of Cimabue's, contribute to making his figure more delicate. These perceptible differences show the progressive detachment of Duccio's style from that of Cimabue, a detachment that appeared almost imperceptible in the previous Gualino Madonna (1280-1283) of a decidedly Cimabuesque influence A further detachment from the master Cimabue will take place with the subsequent Rucellai Madonna (1285) where Duccio will introduce Gothic elements that will never characterize Cimabue's work.
Or alternate title "I hate it when I build something only to realize I'll never have enough pieces to finish it."
The building, while cool, Is definitely lacking design focus. I wouldn't be surprised if it got torn down and rebuilt a few times while I figure out a direction I want to take it.
My personal pros and cons to the building:
Pros: Cool angles, neat modern/futuristic look, it's got a sweet pool at the base.
Cons: Base is too small resulting in a cramped building, lower doors need at least one more solid glass panel on the left side, Too many styles in one building; needs refinement.
Anywho, don't hold your breath for ths one, it's definetely been placed under the 'Long term project' catagory, because I need more 2x2 tiles (dk grey) and more glass panels and clips.
I think everyone would be more for drone warfare if they had railguns on them. That's what I think, anyway. This was just a tablescrap so some refinement is needed, but it came out much better than expected. Inspired by Oky- Space Ranger's incredible quadcopter drone which if you haven't seen yet, do it before I slap you, 'cause it's awesome.
Jewel of Pays d’Auge, Normandy en.normandie-tourisme.fr/normandy-tourism-109-2.html, the Castle of Saint-Germain de Livet is striking by its architecture. Surrounded by moats, it is made up of a timber-framed manor dates back to the 15th century and a Renaissance wing built during the 16th century. This part is remarkable for its painting tiles. The castle houses marvellous frescoes dated from the 16th century. The visit is extended by the discovery of the flowery and raised park. This castle is also a museum. It presents the furniture and the works of art of the family Riesener-Pillaut who bequeathed the castle to the city of Lisieux in 1957. The inside testifies the refinement and the lifestyle of the 19th century. The trail evokes the artistic and personal journey of the painter Léon Riesener (1808-1878), grandson of the cabinet maker Jean-Henri Riesener and cousin of Eugène Delacroix. Visit the furnished interior of the Château de Saint-Germain-de-Livet, where you can also admire paintings by the artist Léon Riesener. The castle has been the property of the town of Lisieux since 1958. www.calvados-tourisme.co.uk/diffusio/en/discover/sites-mo...
Putting the words "heavy" and "minigun" next to eachother seems redundant but eh. I made this to give my Yeren frames a ranged weapon that wasn't integrated into the frame itself. This minigun could use some refinement (not happy with the colors being "gray" and "darker gray") but otherwise it came out nicely.
....THE MOST MAGIC TALE, WHERE EVERYTHING IS ENVELOPED IN A SOFT,
HAPPY ATMOSPHERE MADE OF JOY AND SERENITY...AND...MISTERY
THE MOST MAGIC MOMENTS IN THE MOST ENCHANTED TOWN,
WHERE EVERYONE CAN GIVE SOUL AND HEART, IMAGINATION AND LOVE...
THE MAGIC DREAM IN THE MOST MAGIC TOWN....
THIS IS VENICE CARNIVAL...
♪ ℳℰ℘ ♪ ♪ ℳℰ℘ ♪ ♪ ℳℰ℘ ♪ ♪ ℳℰ℘ ♪
FOR A MAGIC MUSIC FROM VENICE, I SUGGEST YOU:
Rondò Veneziano - Odissea Veneziana -
www.youtube.com/watch?v=i15dgTJFV04
Rondo Veneziano * Fantasia*
www.youtube.com/watch?v=q-PtVNu4Kww
Rondo Veneziano - Rondo Veneziano
www.youtube.com/watch?v=2O8y7Xe6hb8
Rondo Veneziano-La Serenessima
www.youtube.com/watch?v=_miI-kAgkUM
Rondo Veneziano Gondole
www.youtube.com/watch?v=YRIZzZSl_qM
♪ ℳℰ℘ ♪ ♪ ℳℰ℘ ♪ ♪ ℳℰ℘ ♪ ♪ ℳℰ℘ ♪
ABOUT THE HISTORY OF VENICE CARNIVAL:
It is said that the Carnival of Venice was started from a victory of the "Serenissima Repubblica" against the Patriarch of Aquileia, Ulrico di Treven in the year 1162. In the honor of this victory, the people started to dance and make reunions in San Marco Square. Apparently, this festival started on that period and became official in the Renaissance. In the seventeenth century, the baroque carnival was a way to save the prestigious image of Venice in the world. It was very famous during the eighteenth century. It encouraged licence and pleasure, but it was also used to protect Venetians against the anguish for present time and future. However, under the rule of the King of Austria, the festival was outlawed entirely in 1797 and the use of masks became strictly forbidden. It reappeared gradually in the nineteenth century, but only for short periods and above all for private feasts, where it became an occasion for artistic creations.
After a long absence, the Carnival returned to operate in 1979. The Italian government decided to bring back the history and culture of Venice, and sought to use the traditional Carnival as the centerpiece of its efforts. The redevelopment of the masks began as the pursuit of some Venetian college students for the tourist trade. Today, approximately 3 million visitors come to Venice every year for Carnival. One of the most important events is the contest for la maschera più bella ("the most beautiful mask") placed at the last weekend of the Carnival and juried by a panel of international costume and fashion designers.
AND FOR MORE INFORMATIONS, PLEASE FOLLOW THIS LINK:
en.wikipedia.org/wiki/Carnival_of_Venice
“It is an illusion that photos are made with the camera…
they are made with the eye, heart and head.”
[Henry Cartier Bresson]
*************************************************************************************
Please don't use any of my images on websites, blogs or other media without my explicit written permission.
© All rights reserved
Comes with a 90% chance of destruction.
A little more refinement would be of benefit to this one but I'm a little tired of working on it at the moment. Hopefully I will get a clearer shot on white + additional refinement, but I liked the darker tone of this shot enough to post.
Welcome to the Ocean Palms Hollywood
Ocean Palms oceanfront residences in Hollywood Beach
Ocean Palms - South Florida Refinement
Build: 2006, units 240/cabanas 16, Floors 41, Bedrooms 2-3, Grand Penthouse
If warm sands, warm sun, and sparkling waters are your idea of paradise, then Ocean Palms in Hollywood Beach, Florida is your home. This property provides oceanfront living at its best. Hollywood has a reputation for quality, refinement, and luxury, and the Ocean Palms is no departure from that. However, the property does offer an amazingly direct way to dive into your South Florida lifestyle.
Ocean Palms offers 240 units, all featuring ocean views or the Intracoastal Waterway. The property was designed to provide you with a pampered experience and the incredible lifestyle that you crave. With state-of-the-art amenities, a full range of services, and the best that the world has to offer, the Ocean Palms is the single best place in Hollywood for you to call home.
The property features some of the very best amenities possible. The soaring tower features some of the most innovative design influences in use today. In addition, the property boasts almost 250 feet of beachfront, which allows you to experience the real reason why South Florida is such a hot destination for travelers from around the world. Surrounding the property, you will find lushly landscaped tropical gardens that are ideal for finding solitude or a romantic walk for two. The gardens are designed to flow seamlessly between the beach and the natural landscape of the area and live up to their promise.
The pool and sundeck overlook the ocean, providing a spectacular view for your enjoyment. In addition, the pool complex is nothing short of spectacular, with a spacious pool, an enormous sundeck, and all the facilities that you would expect, as well as some that you might not. Poolside towel service, an outdoor whirlpool spa, and incredible services make a trip to the pool much more than a quick swim.
The fitness center rises two full stories above the surrounding area and offers a sauna and a full massage room. Enjoy the relaxing feeling of skilled hands as they massage tense muscles in your neck and back, hit the sauna after a great workout, and more. The tennis courts, covered parking, 24-hour concierge services, and many other amenities add value and convenience to your life.
Each residence is designed with an incredible amount of space. Rich European wood cabinetry, custom lighting, tile floors, and deep whirlpool tubs make your residence a retreat from the everyday. Floor plans range from 1730 square feet all the way up to 3000 square feet and offer you the ultimate evolution of luxury.
Ocean Palms offers 240 units, all featuring ocean views or the Intracoastal Waterway. It is the crowning jewel of Hollywood Beach. Just minutes north of Sunny Isles Beach and Miami Beach, and a breeze away from Fort Lauderdale, Ocean Palms is located in the center of all the entertainment, dining, and water sports.
More than 240 feet of beachfront
- Elevated pool deck overlooking the ocean
- Beautifully designed pool facility with surrounding sun deck
- 2-story facility with top-line fitness machines, sauna, and massage room
- Tennis court
- 24-hour valet parking
- Media room and billiard room
- Business center with concierge
Other Companies Involved in Building Construction:
Construction Company: Coastal Construction
Developer: Avatar Properties,
The Plaza Group
Structural Engineering: CHM Structural Engineers, LLC
Credit for the data above is given to the following websites:
www.emporis.com/buildings/156435/ocean-palms-hollywood-fl...
www.oceanpalmsflorida.com/About
© All Rights Reserved - you may not use this image in any form without my prior permission.
Sorry, Italia )) Animal species refinement. Not Тритон Лауренти (Серопятнистый тритон) / Triturus carnifex / Italian crested newt. Another species.
The Balkan-Anatolian Crested Newt (Balkan crested newt or Buresch's crested newt) (Triturus ivanbureschi) is a newt species of the crested newt species complex in genus Triturus. The species was redescribed from southern crested newt (Triturus karelinii), with a new type specimen, as T. ivanbureschi in 2013, the species epithet was chosen in honour of Bulgarian zoologist and entomologist Ivan Buresh. Buresh was curator of the Royal Museum of Natural History (Bulgaria), director of the Royal Institutes of Natural Science, which included the Royal Museum of Natural History, the Sofia Zoo and the Botanical Garden.
Its distribution ranges from the Southeastern Balkan peninsula (Western Macedonia, Northwestern Greece, Bulgaria, Eastern Thrace) to Western Anatolia, Turkey. An isolated population, surrounded by other crested newt species, occurs in Serbia.
For the populations of crested newts most dangerous is destruction of the forests, as they are terrestrial animals living in mountainous areas, including deciduous and coniferous forests, and only during the breeding season goes into waterways.
Балкано-Анатолийский хохлатый тритон Triturus ivanbureschi был переописан в 2013 году из вида Тритон Карелина (Triturus karelinii), видовой эпитет был выбран в честь болгарского зоолога Ивана Буреша, основателя Болгарского орнитологического центра, в течение 33 лет - директора Научно-природоведческого музея в Софии, затем директора Зоологического института и Софийского зоопарка.
Ареал - юго-восток Балканского полуострова (Западная Македония, Северо-Западная Греция, Болгария, Восточная Фракия) в Западной Анатолии, Турция. Изолированная популяция, в окружении других видов хохлатых тритонов, имеется в Сербии.
Для популяций хохлатых тритонов наиболее опасно разрушение лесов, т.к. они являются наземными животными, обитают в горных местах, в том числе в широколиственных и хвойных лесах, и только во время сезона размножения уходят в водоемы.
“The spirit of the tea beverage is one of peace, comfort, and refinement.”
Arthur Gray
That, and I really love the color of tea when sunlight passes through it.
[ CPP Project example - Winter 1997 II ]
This is a part of an ongoing & experimental photo project of mine entitled "Corpse Photo-Poetics." (This was composed by myself & Melina, my former fiance.) It was conceived as a sort of abstraction of the Surrealist game, "Exquisite Corpse."
I can't locate my formal description of the project, but I'll try to succinctly state its simplicity:
With E.C., partipants divide a piece of a paper into thirds or quaters, choosing, for instance, the human form. Each participant chooses a section of the form to complete, covering their work, leaving only lines to give the next player a starting point for the next section of the piece. The result can be something quite surprising and, sometimes even good! ;)
I chose to use double exposure photographs. The CPP images have mostly been produced directly in the camera (35mm). With no fixed for in mind, person grans an image to be integrated with the photograph of another in the camera, and hopefully the result is just as surprising and, even good!
This is a randomly chosen example -- I have very few digital copies at this time, but will try to change that soon. I'm working on new methods and am always looking for new collaborators.
Let's see, thank you for taking a look, reading about this crazy project & LMK if you are interested. ;)
OK. Here's further description that I e-mailed to one recent participant, the amazing Ms. LaDonna Chaos:
Let’s see… I'll do my best to b-r-I-e-f-l-y describe the project off the top o' my chaotic head here.
Firstly, I've hand-picked only a few collaborators for this admittedly odd little project. I plan future gallery shows (a close friend is currently shopping it around NYC, for instance) and even [gasp> a coffee table book.
OK. But first, here' how it started:
In the 90s -- yes, WAY BACK THEN -- I began d-a-b-b-l-i-n-g in photography, and became QUICKLY fascinated w/ multiple exposures when an old Arette 35mm I tried had a broken winding mechanism, producing these wonderful, almost halucinatory double & triple exposures.
I began to then INTENTIONALLY use the double exposure technique (with a properly functioning camera this time) in my compositions.
OK. One day, whilst traveling the long, lonely stretches of the 95 through rural Georgia, it occurred to me to try abstractly applying the dAdAists' and surealists' exquisite corpse game to photography.
With my game -- CPP: Corpse Photo-Poetics -- two photographers each contribute a photo or exposure w/o knowing what the other person had done to see what kind of final composition or new form, if you will, they end up with.
Here's how we'd do this: I'll take a roll of pictures (none of them needing to be complete compositions, not necessarily), and when I'm finished, I'll rewind leaving the film leader extending from the roll so that it can be reloaded into another camera.
THEN, you'll indeed (or so I hope that you’ll want to =) load the roll into your camera and shoot over my set of images, producing (no doubt ;) some AbFAB double exposure photographs -- CPP's!!!
OK. I hope that made SOME sense. ;)
One thing to keep in mind is that many of these won't work out, but there will NO DOUBT be GEMS, my dear.
Well, I t-r-e-m-e-n-d-o-u-s-l-y look forward to discussing this further and to working with you on this!! I AM QUITE honored by your interest!!!
Incidentally, this is the primitive, FUN technique, but I will soon move to enact some refinements to the process. In any case, I just thought that we could have some fun for now in this still early stage of things. What do you reckon?
[ 923 First Holga rolls -- multiple exposure mess, scan 009 ]
I'm continuing to (finally) scan the remaining prints from my first Holga rolls.
With this one, there's the ubiquitous boat (in sunnier conditions), along with signs for a pharmacy that I've been to (in stormy weather).
As mentioned, I just really played, trying to see for myself what I can and cannot do w/ this wondrous little camera -- testing it through a range of conditions, knowing much of it would not work out. So, I look forward to refinements & being able to post some better shots.
Thank you for taking a look! ^_^
the animation below takes a minute or two to load up...
sorry about the lack of appendages - this is more of an experiment than anything else - some refinements required
This is a different perspective and take on the famous statue of the gang of Kampung (village) boys jumping into the Singapore river near the Fullerton Hotel.
The hotel had several tenants before it came to being - the General Post Office, the Singapore Club and several government departments.
A great place to visit, even if you are not staying there.
(edit)
This one hit #3 on Explore!
CBD, Singapore
2006
| Arjun Purkayastha • travel & fine art photography • | Facebook page |
“i'm becoming more and more myself with time. i guess that's what grace is. the refinement of your soul through time.”
~ jewel
You can see what everybody else creates here.
_____________________
tumblr /// facebook /// homepage /// analog stream /// twitter /// buy prints /// instagram: laurazalenga
The second of three images I'm posting from my new favourite place in Wales!
To be fair, it's only about a mile from my previous favourite place in Wales, but hey, with age comes wisdom and refinement, right ? ;-)
I was taken to this location one afternoon in October by Greg Whitton and Lee Acaster on a (superb) workshop they ran. We went up to try to get some good evening light, but arrived nice and early with hours to spare. So I got a chance for quite a bit of roaming-around-handheld-snapping, just exploring and scouting spots for sunset. In the end I didn't get images I was pleased with from the evening , but looking back I actually quite like these earlier afternoon snaps... which give a sense of the place in all its wild, rocky grandeur.
If you want to see some proper, deeply classy landscapes from this neck of the woods, check out the quite brilliant Nicholas Livesey's stream!!
here we were in front of the palace of the Pharaoh's treasure which presents itself with a ellenistic facade, in a triumph of refinement, symmetry, harmony of proportions and grandeur.
The temple was carved into the sandstone rock by the ancient Nabataean people
Forever Veronique Perrin.
Vanessa Out Sass blouse and bag / Vanesa refinement skirt / Agnes October Issue shoes / Veronique Forever earrings
A very good looking 1955, that appeared at the 2022 Ol' Marais River Run Car Show held at Forrest Park in Ottawa Kansas.
The Corvette engineering corps wanted more power. Corvette advertisers wanted more power. Corvette aficionados wanted more power. The Ford Thunderbird team…well, they probably would have preferred that the Corvette stick to its Blue Flame Six engine for another few years at least. But more power is exactly what the Corvette got. For the 1955 model year, Chevrolet’s two-seater finally gained the muscle to fulfill the promise of its catch-me-if-you-can exterior. V-8 power had arrived. And the Corvette would never be without it again
Edward N. Cole, Chief Engineer for GM’s Chevrolet Division, led the process to develop a new power plant that was ready for production which would, ultimately, play a pivotal part in the re-birth of Corvette into American culture: the amazing new 265-cid small-block V-8.
This engine, which he had been developing for Chevy’s totally redesigned passenger cars, would become the “heart and soul” of the 1955 Corvette
The original intent of the 265-cid V-8 was to have a capacity of 231 cubic inches, which made it physically smaller than the “Blue Flame” six-cylinder of the 1953 and 1954 Corvette. It was Edward Cole that had the engine’s capacity increased to 265 cubic inches. Cole also reworked the cylinder heads, concentrating on efficient gas flow and better combustion.
Upon completion, this V-8 engine was 300lbs lighter than the ‘Stovebolt Six” and was a remarkably compact unit. The inclusion of a short-stroke crankshaft allowed the engine to rev to 6,000rpmAt about the same time, a new member had allied himself with the Corvette engineering team.
The new 1955 “Turbo-Fire” V-8 did wondrous things for the Corvette’s performance. Developing 195 horsepower, a 40-hp improvement over the Blue Flame Six, the V-8 helped the Vette sprint from 0 to 60 mph in roughly 8.5 seconds — more than two seconds quicker than the six-cylinder car. (A new three-speed manual transmission, unveiled in late ’55, helped improve acceleration even more.) Top speed climbed from 107 mph to 120. Remarkably, even the fuel economy improved. The Corvette was fast becoming a true no-excuses sports machine.
Of course, the refinement of the car was not limited solely to the engine, although the addition of the V-8 certainly encouraged other accommodations to be made to the car. For the first time since the original 1953 Motorama Corvette, an automatic choke was included as well as a modern 12 volt electrical system, though the older 6-volt system was retained for the few six-cylinder Corvettes that were built that year. Electric wipers replaced vacuum-operated units and foot-operated windshield washers were included.
Tires changed from tube type to the tubeless variety and were available in both white wall and black wall versions. Although the Powerglide two-speed automatic remained for most of 1955, about 75 cars were built with Corvette’s first manual gearbox. This was a new close-ratio three-speed manual transmission which was shifted via a stubby chrome shifter rod capped by a small, white ball and surrounded by a boot that was clamped to the floor by a bright metal ring showing the shift pattern.
As a whole, 1955 marked a pivotal year for the engineering behind the Corvette, despite the fact that sales continued to be an overwhelming failure. In 1955, only 700 were produced by GM for the model year, and of these, only 674 were actually sold. It appeared that GM had learned from their previous model years over-production mistakes.
Source: Vette-Net
Model: Aristocratic Agnes Von Weiss
Dress: www.marcelojacob.com
Earrings: Wonderdolls by Noemí de Lama
Jewelry: Integrity Toys & Mattel
Shoes: Foreverness by [https://www.flickr.com/photos/hueywei/]
Bag: Refinement Vanessa Perrin
The 1911 Pro from J-Tac Industries is the last word in 1911 refinement; lightened, smoothed and properly balanced, this .45 packs a mean punch in a contemporary package.
Edited in MS Paint - I made one gun with left details, saved the image and flipped it and then went back to PMG, deleted the left details, added the right and then pasted both sides in paint.
The Royal Palace of Turin, seat of the Dukes and later Kings of the House of Savoy, stands at the heart of the city as a symbol of political power and artistic patronage. Originally a medieval fortress, it was transformed in the 17th century by architects like Carlo di Castellamonte and Guarino Guarini into a magnificent Baroque residence. With its lavish staterooms, grand staircase, and adjacent Royal Armory and Chapel of the Holy Shroud, the palace served as the center of court life and state affairs. Today, it is a UNESCO World Heritage site and a key part of the Residences of the Royal House of Savoy, reflecting centuries of dynastic ambition and cultural refinement.
These puddles in my neighbourhood (a.k.a. 'lakes') feature often in my photostream and may have bored you. This time I am just experimenting with the image quality and enlargement potential of a humble phone snap. I guess this can be ptinted in A1 size, or even larger?
The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the Laudesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella (in 1591, the painting was moved to the adjacent, much larger Rucellai family chapel, hence the modern title of convenience). It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.
The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation (the other is the Maestà of 1308–11). The altarpiece was commissioned by the Compagnia dei Laudesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the Laudesi. The patron had the right of refusal.
In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession (1853-5). In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.
The work, measuring 4.5 by 2.9 meters, was painted in egg tempera on a five-pieced poplar panel. The panel and frame would have been constructed by a master carpenter and then handed over to Duccio for painting. The frame is of the same wood. Although the contract required Duccio to use costly, ultramarine blue, made from ground lapis lazuli, conservators restoring the panel in 1989 determined the pigment of the Virgin's robe to be the cheaper substitute, azurite. Over the centuries, the blue pigments darkened considerably and the green bole underpainting of the fleshtones became more visible. A more recent restoration has rectified those issues, thereby greatly enhancing the tonal unity and subtle naturalism of the work.
The iconography of the painting was determined by the needs of the patrons and the Dominican order. The members of the Laudesi met in the chapel to sing lauds, or Latin hymns praising the Virgin; an image of Mary provided a focus for those devotions. The roundels on the frame represent apostles, saints, and prominent members of the Dominican order, including Saints Dominic and Thomas Aquinas.
Given the bitter political enmity of Florence and Siena, the Florentine civic group's choice of a Sienese artist is noteworthy. Siena regarded the Virgin not only as its patron saint, but as Queen of the city. As a result of this association, Sienese artists like Guido da Siena and Duccio came to specialize in Marian imagery. Although compositional and iconographic sources of the Rucellai Madonna are Byzantine icons, Duccio's work was modeled on recent Sienese works, and not derived directly from a Greek model. The emphasis on grace and refinement seen in the Virgin's gown and stylized anatomy may reflect a familiarity with French Gothic art[8] (which is also suggested by the aspects of the later Maestà).
The Rucellai Madonna is currently displayed in the first gallery of the Galleria degli Uffizi, along with Cimabue's Santa Trinità Maestà (c. 1285) and Giotto's Ognissanti Madonna (1306). This choice follows Vasari's example by locating the originary moment (“i primi lumi”) of Italian Renaissance painting in the works of those artists. This tendentious and teleological conception of late medieval works as early instantiations of the naturalistic, volumetric, and spatial concerns of the quattrocento is, however, misleading at best, as it divorces those images from their proper historical contexts and selectively emphasizes stylistic qualities that resemble later artistic currents of which 13th-century painters would obviously been unaware. Hence, Rucellai Madonna is often described as a naturalistic advance over primitive Italo-Byzantine stylization, a willful misreading of a gold-ground, highly stylized and ethereal image that has much more in common with Paleologan icons than with Masaccio.
"Tuckingmill Valley has been transformed from the most visible derelict land site in West Cornwall into an award winning park. The site is situated in the heart of Camborne and Redruth and has become a symbol of regeneration for the area." (Cornwall Council)
This valley was filled with stream works (ore refinement facilities) from several local mines, so the land here was heavily contaminated. So much so that the stream is known as the 'Red River'. The transformation made due to the regeneration project is simply amazing, and worth every penny (part of which came from the EU, which some people seem to forget). While most of the industrial ruins have been removed, one or two remain, including this arsenic calciner and chimney by the stream.
I FINALLY found the time to fix Vanessa's hair, now I can stand her!
She's wearing a Barbie navy T-shirt and Admiration Monogram suit
I think art is not an ornament or refinement at the fringes of human intelligence, I think it's at the center. It's at the core.
- Robert Pinsky
Aert de Gelder (October 26, 1645 - August 27, 1727) - The Holy Family - (1685-1710) oil on canvas 80.5 x 97.3 cm - Gemäldegalerie, Berlin
De Gelder inizialmente fece l'apprendista presso Samuel van Hoogstraten a Dordrecht intorno al 1660 prima di entrare nella bottega di Rembrandt ad Amsterdam, dove fu influenzato dal suo stile tardo.
Nella foto si vede Maria con un bambino in grembo, a cui Giuseppe offre un'arancia. A destra, tagliata dal bordo dell'immagine, una ragazza è inginocchiata. L'esecuzione di genere del tema conferisce alla rappresentazione il carattere di un semplice idillio domestico e di grande intimità. Solo l'abbigliamento dall'aspetto orientale del raffigurato fornisce un indizio per riconoscere la Sacra Famiglia nelle figure. A causa delle varie strutture dell'applicazione con pennello, stile di pennello e spatola e la risultante moltitudine di interruzioni di colore attraenti, de Gelder ha ottenuto un'esecuzione senza pittura di estrema raffinatezza.
De Gelder was initially apprenticed to Samuel van Hoogstraten in Dordrecht around 1660 before joining Rembrandt's workshop in Amsterdam, where he was influenced by his late style.
Pictured is Mary with a baby on her lap, to whom Joseph offers an orange. To the right, cut off from the edge of the image, a girl is kneeling. The genre execution of the theme gives the representation the character of a simple domestic idyll and great intimacy. Only the oriental-looking clothing of the depicted person provides a clue to recognize the Holy Family in the figures. Due to the various textures of the application with brush and palette knife style and the resulting multitude of attractive color breaks, de Gelder achieved a paintless execution of extreme refinement.