View allAll Photos Tagged Relation
Pelham Crescent, Joseph Kay (no relation), 1824-1828.
"On a wild November day, when foaming white horses gallop up the beach hellbent on crashing into Hastings seafront, Pelham Crescent shrinks back into the cliff face, lowering its lashes, gathering its skirts. This delicately wrought architectural marvel, with its bow windows and curved balconies (as good as Cadiz!) was built by celebrated 19th-century architect Joseph Kay between 1824 and 1828 for Thomas Pelham, 2nd Earl of Chichester. Pelham owned Hastings Castle above it and cut back the sandstone cliff to make room for a terrace bearing his family name.
Kay incorporated both a church – St. Mary-in-the-Castle –and a shopping arcade into the design of the crescent. The church was a private chapel, consecrated for public use, and built, unusually, in a D-shape, so the preacher was closer to his congregation. It is now boarded up, its pews – once catering for 1,500 worshippers – layered with dust. At the time it was much admired: ‘The church is top-lit and has an Ionic prostyle portico, while beneath the terrace in front of the whole composition is an ingenious structure intended for shops and services.’ [Oxford Dictionary of Architecture]." ROSA Magazine
in relation to my previous image...
You can interpret the titles and the images as you wish but I think the general concept about love in the 2 images is quite clear...
It's not something that is affecting me right now but something I faced a while ago, I'm sure it's something many of us can identify with.
Speaking of love and all that sappy stuff I miss my love who is in the military at the moment, he'll be coming home soon, that makes me happy :)
(P.SI thought it was interesting how images from the same session could look so different with different color treatments/outfits and expression (pardon the lack of facial expression in the previous image)
(another thing, notice how much I love this window? I'm sorry but I do love the way the light makes everything glow... I promise to use it less often, but it's still really tempting)
Umblical relation/ “தொப்புள் கொடி” உறவு
Title inspired from Karthik'z
*** CHECK MY MANGALORE TRIP REPORT ***
HBW!
Shot on the way to Moodabidri from Mangalore.
Shot at 300mm.
Levels adjusted.
Check-out other Mangalore pics!
ALL RIGHTS RESERVED!
© Murali Alagar Photography
muraliwind@yahoo.com
La relation du château à ses habitants, du château à ses meubles, c’est également ce qui dicte le service imaginé par Raoul Marek pour la salle à manger. Un château est un lieu de prestige, on y reçoit pour les banquets. Raoul Marek a fait revivre cette dimension en concevant un service de 150 couverts, à l’effigie des habitants du village. Chaque set comporte le profil, les initiales et l’empreinte des lignes de la main d’un Oironnais. Une fois par an, depuis 22 ans, les convives se retrouvent pour partager un repas, servi au château, dans la vaisselle de Raoul Marek. Le banquet devient performance et appartient à l’œuvre même. Un moment convivial, qui a contribué à renforcer les liens entre les habitants et le château, à sensibiliser à l’art contemporain un public qui n’en était pas obligatoirement friand. Ce rituel de réactivation de l’œuvre durera aussi longtemps que ceux qui figurent sur les assiettes vivront.
The relationship of the castle to its inhabitants, from the castle to its furniture, is also what dictates the service imagined by Raoul Marek for the dining room. A castle is a place of prestige, we receive for banquets. Raoul Marek revived this dimension by designing a service of 150 seats, in the effigy of the inhabitants of the village. Each set contains the profile, the initials and the imprint of the lines of the hand of an Oironnais. Once a year, for 22 years, the guests meet to share a meal, served at the castle, in the dishes of Raoul Marek. The banquet becomes performance and belongs to the work itself. A convivial moment, which helped to strengthen the bonds between the inhabitants and the castle, to sensitize to contemporary art a public which was not obligatorily fond of it. This ritual of reactivation of the work will last as long as those on the plates will live.
The landscape appears.
-
That is already too much.
-
Appearance implies
a relation
between what is
and what is seen.
-
This relation
no longer holds.
-
The trees stand.
-
Not as objects.
-
As interruptions
in a field
that does not require distinction.
-
Their branches extend.
-
Not into space.
-
Across a surface
that has lost
its dimensional privilege.
-
You call this distance.
-
There is none.
-
Only variation
in density
without separation.
-
Light persists.
-
Not as illumination.
-
As residue
of a system
that once required
visibility.
-
It no longer does.
-
The ground receives nothing.
-
Because reception
implies direction.
-
There is no direction.
-
Only distribution
without intent.
-
The structure appears.
-
Too precisely.
-
Precision here
does not clarify.
-
It invalidates.
-
It exposes
that approximation
was the last function
of perception.
-
And that function
has failed.
-
You attempt
to assemble the scene.
-
Tree. Field. Horizon.
-
These are not elements.
-
They are habits
persisting
after their necessity
has been removed.
-
The horizon holds.
-
Not as limit.
-
As a refusal
to collapse
completely.
-
A residual line
that delays
the full equivalence
of everything.
-
The structure cuts.
-
Not through space.
-
Through assumption.
-
It divides
what was never unified.
-
It isolates
what never belonged.
-
You expect coherence.
-
Coherence implies
a governing principle.
-
There is none.
-
Only a field
that stabilizes
without rule.
_
The trees remain.
-
But remaining
does not confirm existence.
-
It confirms
that removal
has not yet been completed.
-
You see.
-
That is the last error.
-
Seeing assumes
that something
is given.
-
Nothing is given.
-
Everything persists
without offering itself.
-
The structure continues.
-
Not moving.
-
Maintaining
a precision
that erases
the need
for interpretation.
-
Interpretation
is no longer possible.
-
Not because meaning is hidden.
-
Because meaning
has been rendered unnecessary.
-
You remain.
-
But remaining
no longer situates you.
-
You are not in the landscape.
-
You are part
of the same failure
that still produces
the impression
that there is something
to perceive.
-
The trees stand.
-
The light holds.
-
The ground extends.
-
These statements
are no longer descriptions.
-
They are residues
of a language
that has not yet understood
its own obsolescence.
-
Nothing here disappears.
-
Nothing here transforms.
-
Everything stabilizes
in a state
that does not require
to be recognized.
-
And yet;
-
you continue
to see it.
-
Which means;
-
the error
persists.
Yuigahama (由比ヶ浜海岸) is a beach near Kamakura, a city in Kanagawa Prefecture, Japan. The relation between the beach and its neighboring areas is complex. Although Yuigahama is legally the entire 3.2 km beach that goes from Inamuragasaki, which separates it from Shichirigahama, to Zaimokuza's Iijima cape, which separates it from Kotsubo and the Miura Peninsula, the name is customarily used to indicate the portion west of the Namerigawa river, while the eastern half is called Zaimokuza Beach (材木座海岸). This is the reason why, although the beach gives its name to only the west part of the beachside community, traces of the name Yuigahama can be found also in Zaimokuza (for example in Moto Hachiman's official name, Yui Wakamiya). The center of Yuigahama came legally into being between 1964 and 1965 and was named after the beach. Today's Yuigahama was until then divided between Zaimokuza, Ōmachi, and Hase.
There are different theories about the origin of the name. According to one it derives from an earlier one, Yuigo (由比郷). According to another it derives from the presence of a cooperative (yui (結)). The name Yui itself has been written in various ways, among them 由井 and 湯井.
During the Kamakura period both the beach and the nearby areas were called Maehama (前浜). The name appears repeatedly in the Azuma Kagami to indicate spots going from Hase to Wakamiya Ōji. It was used to practice martial arts such as Kogasagake (小笠懸) (horseback archery) and yabusame (a horseback archery competition). It became a battlefield in 1180 at the time of the battle against Hatakeyama Shigetada, and again in 1333 for the fight between Nitta Yoshisada and the defense forces of the Hōjō. Lastly, it became a battleground in 1416 during Uesugi Zenshū's rebellion. Human bones of the era are still occasionally found during excavations. It is on this beach that Nichiren, the founder of the Buddhist Nichiren sect, was put on a boat to be taken to Katase and ordered to be executed.
The beach was considered sacred ground to the Minamoto clan and, before visiting shrines in Izu or Hakone, the shōgun would always purify his body here.
Yuigahama - Wikipedia
Beaches of Kamakura (japan-guide.com)
Yuigahama (由 比 ヶ 浜 海岸) es una playa cerca de Kamakura, una ciudad en la prefectura de Kanagawa, Japón. La relación entre la playa y sus áreas vecinas es compleja. Aunque Yuigahama es legalmente toda la playa de 3,2 km que va desde Inamuragasaki, que la separa de Shichirigahama, hasta el cabo Iijima de Zaimokuza, que la separa de Kotsubo y la península de Miura, el nombre se usa habitualmente para indicar la parte al oeste del río Namerigawa. mientras que la mitad oriental se llama Playa Zaimokuza (材 木 座 海岸). Esta es la razón por la que, aunque la playa da su nombre solo a la parte oeste de la comunidad junto a la playa, también se pueden encontrar rastros del nombre Yuigahama en Zaimokuza (por ejemplo, en el nombre oficial de Moto Hachiman, Yui Wakamiya). El centro de Yuigahama se creó legalmente entre 1964 y 1965 y recibió su nombre de la playa. El Yuigahama de hoy estaba dividido hasta entonces entre Zaimokuza, Ōmachi y Hase.
Existen diferentes teorías sobre el origen del nombre. Según uno, se deriva de uno anterior, Yuigo (由 比 郷). Según otro, se deriva de la presencia de una cooperativa (yui (結)). El nombre de Yui en sí se ha escrito de varias formas, entre ellas 由 井 y 湯 井.
Durante el período Kamakura, tanto la playa como las áreas cercanas se llamaban Maehama (前 浜). El nombre aparece repetidamente en Azuma Kagami para indicar lugares que van desde Hase hasta Wakamiya Ōji. Se usó para practicar artes marciales como Kogasagake (小 笠 懸) (tiro con arco a caballo) y yabusame (una competición de tiro con arco a caballo). Se convirtió en un campo de batalla en 1180 en el momento de la batalla contra Hatakeyama Shigetada, y nuevamente en 1333 para la pelea entre Nitta Yoshisada y las fuerzas de defensa de los Hōjō. Por último, se convirtió en un campo de batalla en 1416 durante la rebelión de Uesugi Zenshū. Los huesos humanos de la época todavía se encuentran ocasionalmente durante las excavaciones. Es en esta playa donde Nichiren, el fundador de la secta budista Nichiren, fue subido a un bote para ser llevado a Katase y ordenada su ejecución.
La playa se consideraba terreno sagrado para el clan Minamoto y, antes de visitar los santuarios en Izu o Hakone, el shōgun siempre purificaba su cuerpo aquí.
© Cynthia E. Wood
www.cynthiawoodphoto.com | FoundFolios | facebook | Blurb | Instagram @cynthiaewood
Taken from the Le Lyrial Ship on the crossing from South Georgia to the Antartica peninsula. The was the biggest seas we got (about 9 metres) which apparently was nothing in relation to the highest which can be up to 14 metres. Thank goodness for sea sickness patches.
Webb has revealed an exoplanet atmosphere as never seen before!
The telescope has revisited gas giant WASP-39 b to give us the first molecular and chemical profile of an exoplanet’s atmosphere, revealing the presence of water, sulfur dioxide, carbon monoxide, sodium and potassium, as well as signs of clouds. This builds on Webb’s initial look at the planet back in August, which showed the first clear evidence of carbon dioxide in a planet outside our solar system. The latest findings bode well for Webb’s capability to investigate all types of exoplanets, including the atmospheres of smaller, rocky planets like those in the TRAPPIST-1 system.
We learn about exoplanet atmospheres by breaking their light into components and creating spectra. Think of a spectrum as a barcode. Elements and molecules have characteristic signatures in that “barcode” we can read.
This planet is what is known as a “hot Saturn” — a planet about as massive as Saturn but eight times closer in orbit around its star than Mercury is around the Sun. The data shown here is taken from 3 of Webb’s science instruments. Together, they mark a series of firsts in science, including the first detection of sulfur dioxide in an exoplanet atmosphere. This, in turn, is the first concrete evidence of photochemistry — chemical reactions initiated by high-energy light, which are fundamental to life on Earth — on an exoplanet. Understanding the ratio of different elements in relation to each other also offers clues as to how the planet was formed.
Want to see the data in more detail and learn more? Head to the feature here: www.nasa.gov/feature/goddard/2022/nasa-s-webb-reveals-an-...
Download different versions of this graphic (and individual spectra) here: webbtelescope.org/contents/media/images/2022/060/01GJ3Q66...
Image credit: Credits: NASA, ESA, CSA, J. Olmsted (STScI)
Image description:
Graphic of the atmospheric composition of exoplanet WASP-39 b, showing 2 graphs and a background illustration of the planet and its star.
(Left side)
The top graph shows data from Webb’s NIRISS instrument, the bottom graph data from NIRSpec. Both graphs show the amount of light blocked on the y axis versus wavelength of light on the x axis. The y axes range from 2.00 percent (less light blocked) to 2.35 percent (more light blocked). The x axes range from less than 0.1 microns to 5.5 microns. Data points are plotted as white circles with gray error bars. A curvy blue line represents a best-fit model. The NIRISS data covers a range of about 0.5 to 3.0 microns and highlights the signatures of potassium, water and carbon monoxide in semi-transparent bars of varying colors. Potassium is gray, water is blue, and carbon monoxide is red. The NIRSpec data covers a range of about 2.5 to 5.25 microns. It highlights water and carbon monoxide in addition to sulfur dioxide in green and carbon dioxide in yellow.
(Right side)
The top graph shows data from Webb’s NIRCam instrument, the bottom graph data from NIRSpec. Both graphs show the amount of light blocked on the y axis versus wavelength of light on the x axis. The y axes range from 2.00 percent (less light blocked) to 2.35 percent (more light blocked). The x axes range from less than 0.1 microns to 5.5 microns. Data points are plotted as white circles with gray error bars. A curvy blue line represents a best-fit model. The NIRCam data covers a wavelength range of about 2.5 to 4.0 microns and highlights the signatures of water in a blue semi-transparent bar. The NIRSpec data covers a range of about 0.5 to 5.25 microns and highlights multiple signatures of water, in addition to sodium in a dark blue bar, carbon monoxide in red, carbon dioxide in light green, sulfur dioxide in dark green, and carbon dioxide in yellow.
Beauty is a harmonious relation between something in our nature and the quality of the object which delights us. Blaise Pascal
paint the moon 23/52 = "solitude"
Confucianism divides men into rulers and ruled. From the former it requires a sense of duty and from the latter filial piety. Here we see that the social Law is in no wise detached from the spiritual meaning of the whole tradition; inevitably it has concomitant spiritual elements which concern man as such, that is, man envisaged independently from society.
Indeed every man rules or determines something which is placed in some way in dependence on him, even if it is only his own soul, made up of images and desires; and, again, every man is governed or determined by something which in some way surpasses him, even if it is only his own intellect. Thus each man bears in himself the double obligation of duty in relation to the inferior and of piety in relation to the superior, and this double principle is capable of incalculable applications: it includes even inanimate nature in the sense that each thing can have in relation to us, according to the circumstances, the function of being either a celestial principle or a terrestrial substance.
Chinese wisdom foresees an application that is first social and secondly personal of the universal pair 'Heaven-Earth' ( Tien-Tz) and thus a conformity with the 'Ineffable' ( Wu-Ming) from which this pair proceeds, the Tao.
The point of junction between Confucianism and Taoism is in the virtues. The former envisages their social and human value and the second their intrinsic and spiritual quality. Man is the place where Earth and Heaven meet.
Egoism must be extinguished between devotion and duty.
----
F. Schuon: The Chinese Religions from SPHF
Orangefarbene Beziehung
Bitte nicht nach dem Sinn fragen, hier geht's nur um die Farben! :))
You think, this makes no sense? You're right! It's all about the colours! :))
Tools: Aperture, Color Efex Pro 4.
No relation to the upcoming movie of course. After doing so mostly Homeworld/Peter Elson inspired Microspace. I wanted to do an homage to Studio Nue and Kazutaka Miyatake in particular.
Zeiss Ikon Super Ikonta B 530/16 : 6x6cms : Carl Zeiss Tessar 80mm.
ILford HP5+.
Bellini Hydrofen 12ml plus 3ml Fomadon. 6mins 25c.
Phone App Light Meter.
Epson V500.
Candid, No Relation!
One of two shots taken and very similar to a previous upload except that here the little girl is standing, the shot below she is sitting.
Sat 28.8.21
Kanyaka Homestead. As explained in relation to the Pekina Run this run was established in 1851 by Hugh Proby who disappeared shortly afterwards whilst returning from a visit to Pekina Run. The next leaseholder John Phillips (with Alexander Grant) had the many fine stone buildings erected. It was a large and prosperous run except during drought years. The drought in the 1860s saw the sheep numbers drop from 41,000 to 10,000. When the government resumed large parts of Kanyaka Run for agricultural settlement, especially for towns like Wilson, the run became unviable. Phillips just walked out of the leasehold in 1881 and the buildings were left to crumble. The station cemetery which is not accessible is across Kanyaka Creek. Dozens were employed on the run in its heyday and many died there too. The large woolshed catered for 24 shearers at once. The property buildings included: station homestead; overseers house; men’s kitchen and dining room; carpenter shop; stables; shearers’ quarters; various huts and sheds; blacksmith shop; cellars etc.
All things appear and disappear because of the concurrence of causes and conditions. Nothing ever exists entirely alone; everything is in relation to everything else.
This is an installation shot of the exhibition I have been posting about "Deposition : Drawn".
Here is the text of (long) statement I wrote for the exhibition:
"Deposition : Drawn" **
(An introduction by exhibition curator Tim Lowly)
Dear viewer,
Please note that the works in this exhibition are most likely not (about) what they initially appear to be. To better understand this exhibition please read the following.
As the curator and director of this gallery for over twenty-five years this exhibition is a rarity in that it brings together my role as gallery curator and my work as an artist. In relation to the latter, I am referring specifically to the most frequent subject of my own art: my now 37-year-old daughter Temma. Temma is and has been profoundly disabled since shortly after birth when she stopped breathing, had a cardiac arrest and–once revived–was having constant seizures: all of which ultimately resulted in substantial brain damage. Temma does not seem to be able to learn / remember. As such she exists attentively in a state of utter and profound innocence.
Temma is a member of a sector of society that is rarely seen and even more infrequently represented (pictorially or otherwise). Ethically it is a fraught thing to photograph someone who is unable to consent to being pictured. As such, individuals like Temma are largely invisible to (and unknown by) broader society. I find Temma to be a profoundly meaningful human and as her father I believe she is certainly worthy and deserving of representation. Much of my work as an artist has been Temma-centric. But this exhibition marks a new initiative titled “Deposition” in which Temma is conceptually at the center of the project but does not appear directly.
With this the first iteration of the Deposition project twenty-four artists have generously participated with their understanding that the exhibition would be symbolically, indirectly–yet centrally–related to Temma. I gave each of the participating artists a unique prompt which was informed by their own art practice and in some way–metaphorically, symbolically, poetically–by Temma. To be clear: every one of the images here was in some respect developed as a poetic / symbolic meditation on Temma Lowly (and–by extension–others like her).
For instance, following are examples of the prompts that led to four of the images made for the exhibition:
- Leyli Rashidi Rauf’s prompt was a drawing of a girl’s “pony-tail” of hair – perhaps being cut. The title of Leyli’s drawing “To break with the past” references the cutting of a woman’s hair as a gesture of protest in the current uprising for democracy in Iran. For Temma’s family the drawing also brings to mind the practice we have of cutting Temma’s hair every three years to donate it for wigs for people with medical hair loss.
- Emma Hadzi Antich’s prompt was a drawing of a baby mountain. One of Temma’s nicknames is “Baby Mountain”. This comes from my amusement when (as I was growing up in South Korea) American military would refer to their Korean girlfriends as “baby san”– with an unintended double meaning being that “san” can mean “mountain”. According to the artist her drawing of a mountain range–employing a stylization reminiscent of Orthodox iconography–protectively shelters the “baby mountain”. Emma’s meaning of the image certainly mirrors the way Temma’s care has been a matter of community.
- Greta Bisandola’s prompt was a drawing of utter innocence in a mysterious space. This Italian artist brought to her drawing a disconcerting juxtaposition of the head of a seemingly distressed infant on the torso of a woman’s body (the latter seemingly referencing the Italian Renaissance tradition sculptures of idealized nude figures). For Temma, who is 37 years old the existence in the body of an adult woman seems to be a truly mysterious thing.
- Alex Maczkowski’s prompt a drawing of a tree falling in the forest–perhaps with a bird taking off–whilst wondering if anybody hears taps the singer Bruce Cockburn’s twist on the famous philosophical question: “"If a tree falls in a forest and no one is around to hear it, does it make a sound?". But Maczkowski’s prompt shifts the metaphor from Cockburn’s critique of deforestation of the Amazon (“If a tree falls in the forest does anybody hear?”) to wondering who hears–pays attention to–the profoundly disabled–i.e.the “fallen”.
** Deposition is a curious word that I am using here metaphorically with a nod to these two meanings:
1) Art historically: an image of Jesus being lowered from the cross by a group of people.
2) Legal term: out-of-court testimony made under oath and recorded by an authorized officer for later use in court.
Taken at 1000 steps Kokoda Memorial Park, Ferntree Gulley, It swooped down and caught an insect after perching on the post for a while.
I have mixed emotions in relation to Southern Magnolia trees and their flowers. They do very well here in Canberra and are very common. As an evergreen, they retain their leaves throughout the year. This is in stark contrast with many other magnolias such as the hybrid Magnolia soulangeana. It is very impressive to see these deciduous trees in full bloom - trees 5 to 7 metres in height with no leaves but with masses of white/purple/pink flowers.
Seemingly at odds to the size of the flowers, the Southern Magnolia blooms last only a few days before dying. The pure white tepals take on a rust color before dropping to the ground.
Whilst walking in the gardens around our apartment building, I came across this flower. I peered over the top of the tepals (i.e., undifferentiated petals and sepals) into the centre of the flower. Besides nearly being overcome by the strong sweet fragrance, I was delighted to see that the developing seed pod was on display and would make a strong photographic subject. The curled stems covering the upper half of the structure are the stigmas (female parts of the flower). The black spots on the crimson-colored base of the structure are scars left behind where the stamen (male parts) were attached. There is just one of these left - i.e., the single splayed-out stem on the righthand side.
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Links for background information ...
Basic reference ...
en.wikipedia.org/wiki/Magnolia_grandiflora
www.nationalarboretum.act.gov.au/living-collection/trees/...
en.wikipedia.org/wiki/Magnolia_%C3%97_soulangeana
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[ Location - Barton, Australian Capital Territory, Australia ]
Photography notes ...
The photograph was taken using the following hardware configuration ...
(Year of manufacture indicated in braces where known.)
- Hasselblad 501CM Body (Chrome) - S/N 10SH26953 (2002).
- Hasselblad CFV-50c Digital Back for Hasselblad V mount camera.
- Hasselblad Focusing Screen for the CFV-50c digital back, with focussing prism and crop markings.
- Hasselblad 45 Degree Viewfinder PME-45 42297 (2001).
- Hasselblad Carl Zeiss lens - Planar T* 80mm f2.8 CFE (2000).
- FotodioX B60 Lens Hood for Select Hasselblad Standard Length CF Lenses.
- Hasselblad Extension Tube 56E (56mm) for 200 and 500 Series - MFR # 30 40656.
I acquired the photograph (8272 x 6200 pixels) with an ISO of 400, exposure time of 1/500 seconds, and aperture of f/11.0
Post-processing ...
Finder - Removed the CF card from the camera digital back and placed it in a Lexar 25-in-1 USB card reader. Then used Finder on my MacBook Air to download the raw image file (3FR extension) from the card.
Lightroom - Imported the 3FR image.
Lightroom - Used the Map module to add the location details to the EXIF header.
Lightroom - Made various small lighting and color adjustments to the image.
Lightroom - Saved the Develop module settings as preset 20161211-001.
Lightroom - Output the image as a JPEG image using the "Maximum" quality option (8272 x 6200 pixels).
[At this point, I intended to transfer the image to my iPad Mini and perform some re-touching in Photoshop Fix. However, this iOS app cannot handle images with this many pixels. It down-samples the image before it performs any action, robbing the image of some of its fine detail. Instead, I used apps on my 2014 MacBook Air 11" - i.e., Pixelmator and Photo RAW - which could retain the full complement of pixels.]
Pixelmator - Carried out some re-touching of distracting features on the righthand side of the image.
Pixelmator - Applied a square crop (i.e., aspect ratio of 1:1).
Lightroom - Output the image as a JPEG image using the 100% quality option (6200 x 6200 pixels).
ON1 Photo RAW 2017 - Added some dark vignette to the image. Output the image as a JPEG image using the 100% quality option (6200 x 6200 pixels).
PhotoSync - Copied the JPEG file to my iPad Mini for any final processing, review, enjoyment, and posting to social media.
Exif Editor - Copied the EXIF data from the Lightroom output image to the final image.
@MomentsForZen #MomentsForZen #MFZ #Hasselblad #501CM #CFV50c #Lightroom #Pixelmator #PhotoRAW #ON1 #ON1PhotoRAW #ExifEditor #Macro #Closeup #ExtensionTube #Flower #SouthernMagnolia #Magnolia #MagnoliaGrandiflora #White #Crimson #Spring #Stigma #Stamen #SeedCone #SeedPod
«The real sustains the same relation to the ideal that a stone does to a statue - or that paint does to a painting. Realism degrades and impoverishes» – Robert Green Ingersoll
View of Dora Riparia fountain. Turin, Italy. © Michele Marcolin, 2022. GR3.
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The Fountain of Dora Riparia River, together with that representing the river Po, is located in Piazza CLN, in the center of Turin.
Before 1935 it was known as Piazza delle Due Chiese. The current aspect is due to the restructuring of 1935 foreseen by Marcello Piacentini's project, in the middle of the fascist period. Two statues of the Duce were designed by Vittorio Emanuele III, plus two fountains placed on the back of the two churches. Only these last two sculptures were realized. During the German occupation in the Second World War, the square was sadly known for hosting the command of the German police, located at the National Hotel, currently redeveloped through an ambitious real estate operation. The name of the square was later dedicated to the National Liberation Committee, formed in Italy at the end of fascism.
Both the statues are set against the back of the churches of San Carlo and Santa Cristina, whose facade looks onto Piazza San Carlo. The construction dates back to 1936 and is contemporary with that of the CLN square. The choice was the result of a competition, open to all young artists of the time, which led to the examination of 56 sketches. In the end, the sculptor Umberto Baglioni [Scalea 1893 - Turin 1965] won, who chose to represent the two rivers in the form of human figures: a bearded man and a strikingly shapely woman, both resting on a marble base.
No relation to the upcoming movie of course. After doing so mostly Homeworld/Peter Elson inspired Microspace. I wanted to do an homage to Studio Nue and Kazutaka Miyatake in particular.
Took the shot in 2015's Holi festival at Shakharibazar,old dhaka. They live in shakharibazar . In time of holi the boy insisted to play Holi what was happening in front of the house they live. Mother was tensed about heavy load of people there. So, she was standing behind their building's gate and monitoring his son's movement . She gave his son strict order to remain close to the gate.
Relationship of a mother and a son is the most innocent relation in the universe.And struggle of a mother is lifetime
Holi,2015
ShakhariBazar,Old Dhaka
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