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© 2014 SCOTT A WOODWARD photography
Continuing on with the agriculture theme, this was one of the last shots I took before the sun set and the light was gone. It's amazing just how dark and quiet everything gets in rural farm country when the sun is gone for the day! At the beginning of the tour I was able the climb up to the top of the silo in this photo and take a few shots from 60' up. This farm has been in the family for several generations and is very precious to them, I hope my photos represent it well...
I used a couple different techniques to achieve the final look. I created additional exposures through the RAW editor in CS5 then used Topaz DeNoise on each exposure followed by adding back some sharpening. The exposures were put in the Photomatix blender and I used the resulting image as my base. Addition single exposures were run through NIK software's HDR Efex 2 then portions were blended/masked into the base image as necessary. Lots of filtering from NIK's Color Efex 3 & 4 were brushed in (especially the polarizer, glamor glow and tonal contrast filters) to add and subtract light and detail where needed. After a couple hours of tinkering I had had enough and this was the result!
Representing Dublin Bus these days are 3 different types of Volvo low floor decker. From the left, E400 bodied B9TL, Wright Gemini 3 bodied B5TL and ALX400 bodied B7TL.
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
Natural light illuminates the church from the stunning 51.8 meter high (170 feet) cupola that represents a lily.
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Basilica of the Annunciation is a church in Nazareth, built on the traditional site of the annunciation by the Angel Gabriel of the birth of Jesus.
The first shrine was probably built sometime in the middle of the 4th century.
This basilica was built during the years 1960-69. It is the largest Christian sanctuary in the Middle East.
The elephant is one of the most common animals in Botswana, it is said because of the wars that neighboring countries have led them to this country politically stable and peaceful for many years. Wild animals have represented a source of food for the guerrillas in countries like Mozambique and Angola. Elephants are often seen along the rivers, as in this case, but also in arid savannas along the path that leads to the pools of water in the dry season. In their move elephants "prune" trees and shrubs radically, with serious consequences on the delicate balance of these environments. So there is a problem, and I imagine it will be resolved by facilitating their migration to less densely populated areas, and in part cutting down a number of them.
L'elefante è uno degli animali più presenti in Botswana, si dice anche per via delle guerre che dai paesi confinanti li hanno spinti verso questo paese stabile politicamente da molti anni. Gli animali selvatici hanno rappresentato fonte di cibo per i guerriglieri, penso a paesi come Mozambico ed Angola. Di elefanti se ne trovano lungo i corsi d'acqua, come in questo caso, ma anche nelle savane aride lungo il cammino che porta alle pozze d'acqua nella stagione secca. Nel loro spostarsi gli elefanti "potano" alberi ed arbusti in modo radicale, con conseguenze pesanti sul delicato equilibrio di questi ambienti. Insomma esiste il problema, ed immagino verrà risolto facilitandone la migrazione verso zone meno densamente popolate, ed in parte con l'abbattimento di alcuni capi.
Represento a minha tristeza, em que me despeço do que já foi este comboio. Hoje, dia 25 de Outubro de 2016, marca o fim definitivo dos comboios de transporte de cimento até à Estação do Pocinho, a última Estação da Linha do Douro.
Nesta foto, a 1962 reboca o último material vazio que estava no entreposto de cimento do Pocinho com destino a Gaia.
Cats represent the Egyptian goddess Bastet. The goddess was thought to offer protection against contagious diseases and evil spirits. She was also thought as supporting family, music, love, joy and dance. Bastet was also the wife of Anubis, the embalming god (the âsecond in chargeâ in the underworld after Osiris).
Nowadays the world is flooded by news of an infection spreading fast throughout. No matter how deadly the real risk of this disease may be, the entire globe gets surrounded and paralyzed with fear, fear of death that is. Will this massive-scale fear suffocate our economy, our democracy, our human rights and, eventually, us all…?! People seem to have already stopped smiling, stopped falling in love, stopped being happy, therefore, stopped maintaining a strong and healthy immune system (depression is known to lower oneâs immune defenses).
This shot attempts to create an abstract impression in order to remind the viewer that there is still Hope (represented by a symbol of protection) for mankind and for our constitutional rights, even in the current turmoil and imbroglio of Fear spinning or propagated around our world. The feral cat was shot on Meteora, Greece; the Meteora rock formations are geologically unique and listed in UNESCO world heritage sites.
May the Light be with us all!
This aspect of Buddha represents the attainment of Nirvana or freedom from the cycle of rebirth. Buddha lies on his right side, his head resting on a cushion or lying on his right elbow, supporting his head with his hand. He has still not been freed of his karmic cycle as he is propped up on his elbow in this representation in the Wat Pho in Bangkok.
The Reclining Buddha is brickwork mortar with plaster from the inside with gold gilded on top. The complex is called Wat Pho and it is a tad crowded with many structures crammed in.
It is difficult to shoot the full body length of the Reclining Buddha as there are pillars very close to the statue all along its length.
The Buddha measures 15 m high and 46 m long and renders all attempts to shoot fraught with karmic challenges.
If you are wondering why they make the reclining Buddha so large, the story is that there was a giant called Asurindarahu who wanted to see the Buddha, but was reluctant to bow before him. The Buddha, while lying down, presented himself as much larger than the giant. He then showed him the realm of heaven with heavenly figures all larger than the giant. After all this, Asurindarahu, the giant, was humbled, and made his obeisance to the Buddha before leaving.
The reclining Buddha statues are not supposed to induce sadness but instead it should be taken as as a token of encouragement that all beings have the potential to be awakened or enlightened and release themselves from the suffering which is characterized by the cycle of rebirth.
The serene and smiling or the "beatfic" expression of the Buddha in reclining Buddha statue portrays the compassion and calmness that comes with the enlightenment.
Other than the Wat Pho in Bangkok, there are many other iconic reclining statues all over the Buddhist nations e.g. the Chaukhtatgyi Paya in Burma, the Dambulla in Sri Lanka and the Monolithic Buddha in Cambodia and many more.
_DSC4264 jpeg sharp
The Ruginoasa Hole represents a particular erosion phenomenon. It is a huge ravine dug up into the crest of the summit that closes to the South the Seaca valley, encompassing over 100 m in depth and 600 m in diameter. All over its surface, a very active erosion process brought to daylight the quartz strata, whose redish-violet colour gives the area a special appearance, like an open wound in the mountain, seen from great distances.
Sharp edges, like razors, converge to its centre where a small valley forms. This is the origin of the Seaca valley, which transforms into a canyon almost impossible to surpass due to its waterfalls.
I never got a chance to photograph any of the BN trains on the Cuba Sub. before the merger took place so this was a nice sight for 2015. Glad it still had the BN herald on the nose.
BNSF 3135 leads the 816 local west on the BNSF Cuba Sub. as it over powers the nine cars in tow. Currently approaching the crossing near Mp. 32 just east of Pacific, Mo., for the past few months this shot was rough or impossible due to a wrecked coal hopper which blocked most of this scene. Thankfully it was cut up about 3 weeks ago, now to just get rid of that pile of ballast and the left over coal from that hopper......
Units in consist: BNSF 3135, 2837, & 2019.
Antonio Canova's statue Psyche Revived by Cupid's Kiss, first commissioned in 1787, exemplifies the Neoclassical devotion to love and emotion. It represents the god Cupid in the height of love and tenderness, immediately after awakening the lifeless Psyche with a kiss.
Once upon a time there was a king with three daughters. They were all beautiful, but the most beautiful was the youngest, Psyche. So beautiful, in fact, that people began to worship her instead of Venus, the goddess of love and beauty. This made Venus very jealous, so she asked her son, Cupid, to make Psyche fall in love with a horrible monster. However, when Cupid saw how beautiful she was, he dropped the arrow meant for Psyche and pricked himself with it, falling in love with her.
Despite Psyche's beauty, her parents feared no one wanted to marry her. They were told by an oracle that she was destined to marry a monster, and they were to take her to the top of a mountain and leave her there. Instead, the wind kicked up and swept her away to a magnificent palace where she was taken care of by invisible servants. Every night, a visitor (her new husband) came to her. He told her he would only visit her at night and she must never try to see him.
While her invisible husband was very good to her and the invisible servants saw to her every desire, Psyche was homesick. She gained permission from her new husband to allow her sisters to visit. When they did, they became very jealous of her lavish lifestyle. The sisters coaxed Psyche into peeking at her husband by saying he was a monster who was fattening her up to be eaten and that she must kill him if she wanted to survive.
That night, armed with a lamp and a knife, Psyche visited her husband while he slept. She was so surprised to learn that he was Cupid that she dripped hot wax from the lamp onto his shoulder, waking him. When Cupid made sense of the situation, he immediately left Psyche, hurt by her quickness to think so badly of him.
Still angry, Venus set about in getting revenge by forcing Psyche to complete some extremely difficult tasks. Cupid, now recovered from his physical and emotional wounds, began to miss his beloved Psyche. He soon learned of his mother's shenanigans and convinced Jupiter to order Venus to stop her persecution of Psyche. That day, Psyche was delivered to Jupiter where he gave her a cup of ambrosia to drink, making her immortal. He then ordered the nuptials between the two lovers to be perpetual.
Objectively, the true function of sacred images is to represent symbolically and sacramentally a transcendent Reality, and subjectively, to permit the fixing of the mind upon this symbol in view of obtaining habitual concentration upon the Reality contemplated, something which can be conceived in devotional as well as in intellectual mode, or in both manners at once.
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Frithjof Schuon - Quoted in : Art from the Sacred to the Profane, East and West
de / From:
cuscoperu.origenandino.com/chinchero-peru.html
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Chinchero conocida como la ciudad del Arco Iris está ubicada a 28 km. al noroeste de la ciudad del Cusco, sobre los 3160 msnm., flanqueada por los nevados de Salkantay, Verónica y Soray. La vista desde aquí es impresionante. Chinchero pertenece a la provincia de Urubamba, departamento de Cusco
Chinchero, la población más típica del Valle Sagrado de los Incas, es una ciudad netamente incaica que los conquistadores quisieron "civilizar" para implantar su cultura, pero nunca lo lograron totalmente. Sus pobladores habitan las construcciones incaicas casi intactas, en el mismo lugar donde sus lejanos antepasados vivieron y formaron la civilización más grande y próspera de América.
En el Conjunto Arqueológico de Chinchero llama la atención inicialmente sus andenes, lo que permite entender que fue un centro de producción agrícola en la época inca, también se construyo un almacén y se doto a todo el complejo de un sistema de regadío muy eficiente. La historia cuenta que con la llegada de los españoles, Chinchero fue incendiada en 1536 por Manco Inca, en su huida hacia Vilcabamba, con el objetivo de no dejarles nada a los españoles.
Sobre el Palacio de Tupac Yupanqui los españoles levantaron la Iglesia de Nuestra Señora de Monserrat en 1607, con la finalidad de representar su sometimiento de forma simbólica. Su Altar mayor tallado en pan de oro y estilo barroco está dedicado a la Virgen de la Natividad. Sus paredes están decoradas con obras de Diego Quispe Tito el máximo representante de la escuela cusqueña. También hay trabajos de Francisco Chihuantito.
En Chinchero el pasado persiste obstinadamente, como si el espíritu de una cultura milenaria se aferrara en este lugar, negándose a desaparecer. Los pobladores nativos, ataviados con coloridos trajes típicos, bajan de sus comunidades los domingos y se aglomeran en la plaza principal para intercambiar sus productos. Ver a todo este grupo de gente de raíces culturales profundas, ajenos a todo signo de modernidad, resulta todo un espectáculo.
En la concurrida y colorida feria dominical de chinchero se puede encontrar objetos de uso domestico, algunos verdaderamente antiguos como los famosos textiles de chinchero. En este pueblo, con comunidades unidas se ha podido conservar un patrimonio vivo, inmaterial, de extraordinario valor, que se expresa tanto en la textilería como en las prácticas agrícolas y en una red de relaciones familiares y comunitarias. En los talleres de las asociaciones de artesanas se exponen diariamente todo el proceso del tejido, desde el lavado de la lana, hasta el producto final, se aprende de las técnicas de hilado, teñido y tejido.
Desde Chinchero se puede acceder a la bella Laguna de Huaypo y al pueblo de Piuray. Chinchero es reconocido también por ser un pueblo de talentosos artesanos textiles.
"Ces peintures représentant une vision naïve et décalée de la vie parisienne tel que se l'imagine le touriste lambda" a expliqué le jeune réunionnais Jace .....Pour ma part, je ne suis pas fan.
J'aurais aimé que les panneaux deviennent un lieu d'exposition libre. Cette exposition éphémère sera remplacée cet automne par "des panneaux vitrés", a précisé Bruno Julliard, premier adjoint au maire de Paris.
Et pour celles et ceux qui voudraient avoir une meilleur vision sur le compte PRO de Flickr :
www.macg.co/logiciels/2015/07/yahoo-relance-flickr-pro-av...
flickriver.com/photos/javier1949/popular-interesting/
Plaza Mayor de la Universidad Autónoma de Madrid
Edificio de Servicios “Plaza Mayor”. C/ Einstein s/n Campus de Cantoblanco. Universidad Autónoma de Madrid.
MTM Arquitectos “Madrid Territorio Mutante” Javier Fresneda & Javier Sanjuán.
Coordinador del Proyecto: Miguel García-Redondo Villar. Arquitectos MTM: Carmen Antón, Laura Casas, Ana Arriero, Jesús Barranco, Álvaro Maestro. Concurso, Proyectos Básico y de Ejecución 2007. Obras 2009-2012
MTM Arquitectos describe el proyecto desde la Memoria del mismo:
Objetivo de la obra: Plaza Mayor. La ciudad donde construimos esta Plaza Mayor tiene un apellido específico, es una Ciudad Universitaria. La Universidad Autónoma de Madrid ha crecido alrededor de un espacio central de encuentro y circulación, un bulevar verde convertido en su espina dorsal. En uno de sus extremos la estación de cercanías que comunica con la madrileña Puerta del Sol; en el otro, la “Plaza Mayor”.
La “Plaza Mayor” es el nuevo centro de servicios de la Universidad por lo que debe manifestar su carácter simbólico y representativo, sirviendo de referencia dentro de la estructura del Campus. La Plaza se soluciona en continuidad con el lugar, proponiendo un nuevo paisaje, soporte de las actividades existentes e incitador de nuevas situaciones. Apoyándonos en el desnivel existente en la parcela y la potencia del bulevar verde que conforma el acceso a las facultades históricas, se construye una plataforma plegada. El bulevar se prolonga así a través de una calle jardín equipada, girando alrededor de una plaza.
Sobre el nivel del terreno natural, por debajo de la rasante, se implanta el aparcamiento, reduciendo al máximo el volumen de excavación, facilitando su ventilación natural a través de los taludes vegetados perimetrales existentes. Respetando estos “amortiguadores naturales” y sobre el nivel inferior, se construyen dos plataformas intermedias donde se produce la agrupación de programas y la variedad de accesos peatonales a nivel de las calles. Las torres de comunicación se elevan funcionando como hitos urbanos dentro del conjunto, creando un punto de inflexión perimetral que anuncian los 7 puentes. Torres y puentes son entradas, conexiones y acontecimientos que incitan a descubrir el vacío interior: la “Plaza Mayor”. Dentro, a su alrededor, los grandes vuelos construyen calles cubiertas que incrementan la versatilidad del espacio protegiendo de sol y la lluvia.
Hay cinco elementos materiales que refuerzan la continuidad bulevar, calle y plaza: El pavimento público: hormigón desactivado in situ y prefabricado, plantación vegetal, césped artificial y pavimentos de caucho. El final del bulevar existente es el comienzo del proyecto y desde ahí una lengua continua de hormigón recorre todo el sistema, rampas, plataformas y escaleras. Sobre esta se recorta la huella de otras actividades y otros materiales.
El cerramiento al exterior de la plaza: policarbonato gris atérmico cargado de resinas metalizadas, piel homogénea y cambiante, desde sus tratamientos específicos y los matices introducidos por las condiciones atmosféricas. El cerramiento al interior: Vidrios en cámara incoloros que abren la actividad al interior como un mercado contemporáneo de servicios. Las compartimentaciones interiores: vidrios laminados, ligeros, y casi imperceptibles, que intentan desaparecer, reforzando la percepción unitaria de cada isla sobre las plataformas; compartimentaciones que no llegan físicamente a tocar la piel exterior de vidrio y policarbonato. Los puntos de color que forman los vidrios templados, en azules, verdes y oros, agrupados formando gemas, puntúan los volúmenes uniformes alrededor de la paleta de grises y tostados utilizados en toda la obra.
Las plataformas, son la infraestructura a la espera de incorporar un programa. La solución estructural facilita la coexistencia de una geometría irregular y quebrada, diferente en cada nivel, los distintos usos programáticos inicialmente requeridos y la continuidad de movimientos entre ellos. Ante un problema complejo la solución estructural es sencilla: un básico sistema de retícula de pilares portantes y losas postesadas de hormigón. La retícula de 5x5 m se mostró la más eficiente y la que mejor se adaptaba a las singularidades de las diferentes plataformas, desde el nivel inferior con la distribución funcional de los aparcamientos, hasta las superiores, más liberadas, permiten reducir la presencia de pilares y adoptar luces de hasta 12,00 m o voladizos de 5,00 m, al compensar los esfuerzos y variar sus diámetros.
La prolongación del paisaje natural que identifica al Campus Universitario se consigue a través de la última plataforma-cubierta. La cubierta ya no lo es, adopta un nuevo carácter más urbano, artificial y equipado. Las situaciones y relaciones que se dan en el bulevar del Campus se reinterpretan y transforman, proponiendo ahora nuevas áreas de oportunidad e intercambio para estudiantes, profesores y visitantes, dotándolo de nuevos soportes e instalaciones para que el espacio sea vivido, valorado y usado de forma continua. Los materiales sobre la nueva calle se adaptarán a las nuevas topografías configurando dunas, pliegues, playas o recortes; con texturas diversas, blandas, rugosas, peludas y colores acentuados, verdes, naranjas, negros, o arena, con líneas de iluminación, báculos elevados conectados al reloj solar, terrazas y kioscos. Y como con la soltura del primer croquis, se dibuja una línea naranja que con su geometría no lineal desmaterializa el borde convirtiéndolo en una línea de conexión con el paisaje del campus y con la lejana presencia de la sierra madrileña.
La ONCE y el Colegio Oficial de Arquitectos de Madrid (COAM) han otorgado a esta Plaza Mayor el primer premio del “Concurso para la selección de actuaciones de Arquitectura e Ingeniería con una Accesibilidad ejemplar” por ser un ejemplo de máxima calidad en el campo de la arquitectura y la ingeniería a nivel nacional, dando prioridad al acceso de personas con discapacidad.
Además de su fácil accesibilidad, otro de los criterios fundamentales de la construcción del edificio es la máxima funcionalidad, eficiencia energética y singularidad de sus dependencias. 26 paneles térmicos y 92 paneles fotovoltaicos permiten el ahorro energético y la optimización de los recursos medioambientales del edificio y se destinan al abastecimiento parcial de las instalaciones.
Las características arquitectónicas del edificio contemplan un diseño que alberga 4.000 m2 distribuidos en cuatro plantas, de las cuales la mitad están cubiertas por soportales y en cuyo sótano se ubican cerca de 200 plazas de aparcamiento. Los servicios disponibles en las instalaciones son la Oficina de Orientación y Atención al Estudiante, la Sección de Acceso, Admisión y Traslados, la Sección de Becas y Ayudas al Estudio, la Oficina de Relaciones Internacionales y Movilidad, la Oficina de Acogidas Internacionales, la Oficina de Acción Solidaria y Cooperación, la Oficina de Prácticas Externas y Orientación para el Empleo, el Centro de Atención a Usuarios y la Oficina de Ecocampus. Además se encuentran operativos un auditorio y una sala de exposiciones, Cafeterías/Restaurantes, Farmacia/Óptica, Librería/Papelería, Agencia de Viajes, entidad bancaria y Centro de Servicios Documentales.
En palabras de Alberto Campo Baeza, miembro del jurado del concurso "Los arquitectos en un tour de force nada fácil, han planteado y han resuelto con rigor y con brillantez un problema crucial en la arquitectura contemporánea, en la siempre debatida relación entre arquitectura y naturaleza. Les pedían unos edificios para alojar diferentes servicios de la Universidad y ellos les han dado una Plaza Mayor. ...han inclinado y plegado y girado y torcido, siempre con criterio, y han construido, insisto, un trozo de Naturaleza en continuidad con lo existente. Han construido su propio paisaje..."
mtmarquitectos-blog-curriculum.blogspot.com.es/
www.metalocus.es/content/es/blog/edificio-de-servicios-pl...
212.145.146.10/ejercicio/concursos/concursos_ocam/120517_...
Representing mini mozzarelas. Buttery idiazabal cheese gnocci in salted iberian pork bouillon. Contrasting vegetables.
The 12 metres (39 ft) main figure on the front of the memorial represents the archangel Michael, considered the "War god of Germans".
Monument to the Battle of the Nations - the structure has two floors, where on the first one is a crypt that is adorned by eight large statues of fallen warriors, each one next to smaller statues called the Guardians of the Dead, while on the second floor is the Hall of Fame that features four statues representing the four legendary historic qualities ascribed to the German people, those being bravery, faith, sacrifice, and fertility.
Visitors were walking on the level where allow them to view the outside scenery.
church floor covered with straw to represent manger - Serbian Christmas tradition
Храм Рождества Христовог у Пироту, Србија
Nativity Orthodox church, Pirot, Serbia
All images and photography © Tanjica Perovic
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Killing two birds with one stone, here, as this shot is primarily for the Macro Mondays challenge on the subject of 'Stripes', but also manages to (sort of) fulfil the 101 Pictures subject 71. Represent a TV programme
This is a LONG one, so don't feel any obligation to read below. It's no big deal, just our friendship hangs in the balance.
It started off innocuously enough. A trip to the coast hosted by the Turners had been a much anticipated gem on the calendar for several weeks, and the promise of relatively dry conditions put a little extra spring in my accelerator foot crossing the coastal mountain range. It turned out our buddy Andrew was going to be at the coast as well, so a little coordination was sure to yield some good times. Don't all stories of death and terror start out just so?
We settled into our shooting positions around these rocks, and took stock of the ripening conditions, senses tingling with anticipation. If you think this sunset was pretty good, you should have seen it off to the right! Unfortunately, my standard comp scramble to find something in that direction yielded the usual, trash-able results.
As I hadn't shot in about a month, I attributed my sunset-panic-flounder to lack of practice. Warmups out of the way, my confidence was swelling the next morning as we tumbled down 101 in the dark to meet Andrew at Yachats, where he had some channels to show us. The slowly brightening world quickly squashed any hopes of a colorful sunrise, but a scramble down the 30 foot, steep, boulder wall was definitely in order. If nothing else, this would be a fantastic opportunity to scout some future locations. After playing "wave dodge" with varying degrees of success, I was taken with the water plumes ripping off the tops of the waves in the strong offshore winds. The better vantage point was definitely above.
As I grappled up the rocks, I marveled at the feat of engineering and erosion control that these rather massive boulders represent. I don't know how successful they will be at holding back the unrelenting sea, but it looked like a heck of a try.
Finally an opportunity to mount the 70-200! Such a trusty lens.... sharp as a tack, epic build quality. Using it makes me feel manly. Feeling my fingers go numb in the frigid windchill instantly clubs that manly feeling over the head, and after mounting camera, lens, and tripod I went back into my camera bag for my polarizer.
Out of the corner of my eye, I detected motion. Instinct and cat-like reflexes took over. Well, at my weight, it's more of a cow-like reflex, but it WAS instantaneous. Unfortunately, that instinct was to flinch, duck, and cover my head, much as I've done in the cockpit when a bird or some poor kid's balloon goes whizzing by the cockpit window at 300 mph. I uncovered my eyes just enough to watch the graceful arc of my camera lifting off like the Space Shuttle and heading out over the cliff in a silent, perfectly parabolic arc.
I've seen this before, having watched Kevin McNeal's camera sail off Rowena and smash into a million pieces on the rocks below.
A gruesome fact: by far the most common last word recorded on airplane cockpit voice recorders that crash is "SH&T". That cold January morning, I learned what I will say if ever faced with a major crisis. I said three "SH&T"'s, one for each boulder I watched my camera gear bounce off of before coming to rest 25 feet below on the rocks. Andrew heard it bounce.
Frantically scrambling down the cliff, I let out a constant gale of expletives at the murderous winds that had taken the life of my Canon 5D II, Canon 70-200L, Gitzo 1325 Tripod, and BRAND NEW RRS BH-55 Ballhead. I don't even want to think about doing the math to calculate how much money we are talking about here.
Are you ready for this? It lives. I don't know how, and I don't know why, but my camera gear is in one piece. There are a few scratches and dings, and one scrape on the element of my lens, but somehow the L-Bracket on my camera and my tripod took the brunt of the shock force trauma. If you had witnessed the massacre, you would have bet me $1 Million that it would be in pieces on the rocks below. I'm telling you, it was a religious experience. Talk about a tough camera!! Way to go Canon!!
The cynic in me says that the inner workings of my camera are hanging on JUST long enough to get me out to some remote corner of Death Valley before they give me a cackle, a thump, and then die.
I guess I'm not supposed to put my website address here, so it's in My Profile if anyone cares.
An abstract photo, without representing anything identifiable, can communicate a feeling to the viewer. If I am being honest, I don't know if my abstract photos achieve that goal. Typically, my intent in making the photo is to memorialize and share something cool I found out in nature. Maybe it's a weakness in my work, that I don't start out intending to convey a larger message. Maybe it doesn't matter. Maybe in the digital age, communicating excitement about the natural world is the message itself. It's a big topic and I will leave it for another day.
Rather, today I want to talk about another aspect of abstract nature photography: the detective game. When I see an abstract photo, one of the first things that comes to mind is "what is it?" Is the subject really big, like braided rivers photographed from a plane? Or really tiny, like a marco image of lichen on a rock? Could it be upside down? I think we all do this. It's one of the fun parts of looking at an abstract photo and it can be really satisfying when you solve the puzzle.
It's like breaking a code. The difficulty for the photographer is making a puzzle that is solvable, but not so obvious that it isn't challenging. I remember listening to a podcast where a photographer described all images as falling on a spectrum between obvious and cryptic. After that, I looked at my own photos and placed them on that spectrum. I determined that I like photos that are cryptic, but ultimately decipherable with some effort. I'm not sure there's a golden rule of how long it should take, but if it takes you 5 or 10 seconds to figure it out, I think that's pretty good.
I made this photo here the day I hiked Black Mountain and Blueberry Mountain. I did them as two separate hikes, but the trailheads are so close together they pair very nicely. I call the combo a "Black and Blue". Maybe someone already came up with that. Everyone has walked past a scene like this. It's a photo of direct sunlight dancing on the surface of a little stream. It's a 1/30 second exposure, which allows the twinkling light on the surface enough time to travel and leave a trail. I dropped the black point and darkened the shadow to eliminate any distraction below the surface water. Not sure if it conveys a larger feeling, but I liked it and felt compelled to make an image.
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I was definitely inspired by the work of T.J. Thorne and James Rodewald when I made this image; I wouldn't have even looked for a photo like this had I not seen their work. Also, the podcast I reference is an episode of the F-Stop Collaborate and Listen podcast with guest Michael Rubin.
That statue represents our musician Dorival Caymmi that was always honoring the sea with his songs... In the distance has Sugar loaf. :-)
Copacabana, Rio de Janeiro, Brazil.
Have a great Sunday. :-]
Listen him with 82 years old singing "É Doce Morrer no Mar" ("It's Sweet To Die In The Sea")...
www.youtube.com/watch?v=2xmgulZlJ_Y
Para me contactar diretamente: lmsmartinsx@yahoo.com.br
Chapelle Saint-Nicolas, située dans le collatéral sud de la basilique Saint-Nicolas à Saint-Nicolas-de-Port. Le vitrail de la fenêtre à l'extrême gauche représente Jean, sire de Joinville, sénéchal de Louis IX. Au dessus, une représentation du bras reliquaire contenant la phalange de Saint-Nicolas.
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Runa Photography, Daniel © 2015
© All rights reserved, don´t use this image without my permission.
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Para los incas, el lago Titicaca -cuya superficie de 900 km2 es compartida por Perú y Bolivia- representaba la cuna de la civilización humana. Incluso otros pueblos altiplánicos anteriores al Imperio Inca creían que el Sol y su divinidad suprema, Viracocha, habían nacido de las entrañas del mismísimo lago. Además, en torno al Titicaca, existe una leyenda que habla de una fabulosa ciudad atrapada en sus aguas: Wanakú.
La expedición, llamada Tiwanaku 2004, llevada a cabo por la organización científica Akakor, logró fotografiar con la ayuda de un sofisticado equipo robótico un ídolo de oro (que pasa más de 30 kilos) y varias vasijas a 70 metros de profundidad. Los objetos fueron encontrados bajo el agua, a la altura de la Isla el Sol que se ubica en el lago. Esta última, junto con la Isla de la Luna, son lugares sagrados para los pueblos andinos.
Aunque no se ha determinado la verdadera antigüedad de los vestigios encontrados, los expertos creen que existe una relación con la cultura Tiwanaku que habitó en la zona entre el 1500 a.C. y 1172 d.C. Esta civilización es considerada la precursora del Imperio Inca.
Los científicos anunciaron, además, el descubrimiento de una isla sumergida llamada Wilakota (Lago de Sangre). Se presume que en el lugar se realizaban sacrificios humanos y que la isla quedó sumergida al aumentar el nivel del lago más de 100 metros durante el último siglo.
Fuente: Javier Sierra, blog
El capitel que representa la Matanza de los Santos Inocentes, situado en el lado norte del arco triunfal de ingreso al presbiterio es, sin lugar a dudas, el elemento más emblemático de este templo y uno de los más interesantes del románico palentino. Aparecen en una escena corrida a lo largo de sus tres caras visibles cinco soldados ataviados con cota de malla ejecutando otros tantos infantes ante la presencia impotente de sus madres, las cuales manifiestan su gesto de desconsuelo llevando las manos a sus rostros. En uno de los ángulos se reconoce la efigie de Herodes, coronado, vestido con túnica, realizando con un dedo de su mano izquierda un autoritario ademán que lo identifica como instigador de la escena y con la mano derecha clavando su espada en el costado de uno de los inocentes.
La ermita de Santa Cecilia de Aguilar de Campoo (Palencia) está situada en la ladera sureste del cerro del Castillo. El templo actual, de estilo románico, se construyó entre los siglos XII a XIII, pero entre los siglos XVI y XVIII se acometieron reformas en las que se sustituyó el ábside original, y en la década de 1960 fue restaurado cuando estaba en estado de ruina. Presenta planta cuadrada irregular, con tres naves separadas por arquerías apuntadas y la nave central se cierra con bóveda de crucería. Entre la nave principal y la cabecera se halla la esbelta y elegante torre que consta de tres pisos, en los que se abren los dos superiores amplios ventanales. La portada se sitúa en el muro sur, cubierta por un tejadillo, y dispone de cuatro arquivoltas de medio punto constituidas por medias cañas y baquetones. En el interior sobresalen sus capiteles historiados, entre los que destaca el dedicado a la Matanza de los Inocentes.
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NEPAL, Royal Chitwan-Nationalpark.
Der Chitwan-Nationalpark ist ein Nationalpark in Nepal, der 1973 als erster Nationalpark des Landes unter dem Namen Royal Chitwan National Park gegründet wurde.
Er nimmt eine Fläche von 932 km² ein und liegt im Terai, den südlichen Vorbergen des Himalaya. Die südliche Grenze des Nationalparks ist zugleich die Landesgrenze zu Indien. Im Osten schließt sich das Parsa Wildlife Reserve an. Im Norden bildet der Fluss Rapti und im Westen der Fluss Narayani eine natürliche Begrenzung zu besiedelten Gebieten. Zusammen mit dem Parsa Wildlife Reserve und dem in Indien gelegenen Valmiki National Park bildet das Gebiet die über 2000 km² große Tiger Conservation Unit (TCU) Chitwan.
Chitwan National Park The first national park in Nepal. It was established in 1973 and granted the status of a World Heritage Site in 1984. It covers an area of 932 km2 (360 sq mi) and is located in the subtropical Inner Terai lowlands of south-central Nepal in the districts of Nawalparasi, Parsa, Chitwan and Makwanpur. In altitude it ranges from about 100 m (330 ft) in the river valleys to 815 m (2,674 ft) in the Churia Hills.[1]
In the north and west of the protected area the Narayani-Rapti river system forms a natural boundary to human settlements. Adjacent to the east of Chitwan National Park is Parsa Wildlife Reserve, contiguous in the south is the Indian Tiger Reserve Valmiki National Park. The coherent protected area of 2,075 km2 (801 sq mi) represents the Tiger Conservation Unit (TCU) Chitwan-Parsa-Valmiki, which covers a 3,549 km2 (1,370 sq mi) huge block of alluvial grasslands and subtropical moist deciduous forests.
The represents the kind of views many of my vintage National Geographic magazines from the 1915 to 1920 era would proudly portray as the modern and efficient "Future Of Industry". By the mid 1970s, they looked awfully tired and dated.
I remember reading a book about Jersey City written in the 1930s describing it as a industrial city "without trees". Of course... who needed trees and the niceties of life when you've got countless brick warehouses, hundreds of factories and endless railroads which sliced through every neighborhood? It was all about business, pure business.
The same place today:
www.google.com/maps/@40.7220077,-74.0380614,3a,75y,194.68...
This is a still from a work scan of a Super 8 movie some friends and I shot. When the high-def DVD version returns back from the professional movie scanner, I'll post more images from this film.
Representantes de colegios de Loja fueron capacitados en expresión y derecho internacional para exposición de ideas en una sesión formal de la ONU.
the picture represents the very high and large statue in the main entrance hall of the hotel;
the frame is given by the entrance itself
Photoshop edited but everything is placed where they really are.
PLEASE, SEE ON BLACK
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I have my home in Venice near this wonderful Hotel, one of the most famous hotels in Italy,
a very elegant building in ARABIC STYLE which was opened on 21st of July 1908,
and it would be the magic scenery for a
1001 Nights tale.
I can see it and enter inside every time I wish, every day.
For example, this hotel was the set of the famous movie "C'era una volta in America" ("Once upon Time in America") by Sergio Leone, with music by Ennio Morricone.
Hotel Excelsior (Lido of Venice, Italy) - for the place, follow these links: wikimapia.org/#lat=45.4037138&lon=12.367073&z=18&...
excelsior.hotelinvenice.com/
www.google.it/search?q=hotel+excelsior+venezia&hl=it&....
www.hotelexcelsiorvenezia.com/it/home.html
excelsior.hotelinvenice.com/foto-gallery.html
This photo represents me moving on and starting new.
I wanted to create this new account because I really need a fresh start. I created my old Flickr account back in 2009 and, frankly, I loathe my old Flickr URL. It's so bad.
But, please check out some of my old work! There are some hidden gems in there:)
I plan on uploading more. There have been a lot of broken sets that I've never finished and I really want to restart them or just trash them. So yes, I will get back to my Deadly Seven;)
xoxoxox!!
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"the artists of the "Casa del Musical" group (House of Musical)".
“gli artisti del gruppo "Casa del Musical".
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".
This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.
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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.
Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).
Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.
Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.
…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.
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Represents an aeroplane operated by the Air Fighting Development Unit, based at Duxford in 1942, although an original photograph in the Imperial War Museum archives shows AA937 to have had ‘clipped’ wingtips when operating with the AFDU.
Duxford Airfield, Cambridgeshire, UK
17th October 2020
In the end room, which symbolically represents the recesses of Hades, an enormous three-headed serpent reaching up to the ceiling is depicted on a white background. The heads have combs and beards and the body is rolled up in one single big loop. The huge three-headed monster is, as usual for hell beasts, a clear allusion to the chthonic sphere, and is a recurrent symbolic presence in vase and wall paintings from the 2nd half of the 4th cent. BC. And once again the closest resemblance with the monster of Sarteano is found in the area of Orvieto, although it is clearly much smaller in size than the monster of Sarteano: a two-headed snake struggling with small Heracles on side A of a stamnos by the Settecamini Painter, active in Orvieto between 360 and 330 BC. There are therefore many similarities between the figurative decoration of the tomb in Sarteano and Orvieto, and especially the tombs of Settecamini. However, similar animals are quite frequently depicted on pottery of the last decades of the 4th cent. BC with scenes of the journey towards the underworld and on sarcophagi while images of snakes with combs and beards are also common in both the Greek and Italiot world.
Source: Museum
Stoneborough, set in the Eagle's Eye pass in the Dragonscale mountains of Central Lenfald, is a naturally a well defensible city. It is protected by steep rock cliffs which form natural walls. The surrounding landscape is broken and rocky, crossed by swift mountain streams and ravines, and covered in dense pine forest.
However, the man-made walls which protect the city had fallen into disrepair over the years, particularly during the period of the Queen's rule.
When the the ambitious new Duke, Eberhard Strong, rose to power after the queen's overthrow, he began a massive project to rebuild and strengthen the walls. Funded by investments in the new colonies and money from the high Lord, the skilled Stoneborough masons have replaced damaged portions of the wall, and added new towers, as well as several feet to the entire height of the wall.
This scene shows a typical section of the wall on the southwest of the city. It shows the addition to the wall, the new battlements and one of the towers. It also shows one of the several mountain streams which run through the city, providing fresh water.
Duke Eberhard Strong is riding out to hunt along a wooden causeway which leads down from one of the city gates, smoothly crossing ravines and streams.
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This is only my third attempt at proper medieval fortifications, and I'm quite happy with how it turned out.
The basic inspiration came from this large and impressive build. I liked but he did with the rock cliffs around the city, but I didn't want to simply copy what had already been done, and I had my own ideas about how the wall should look. Therefore, in keeping with the theme of the LC, I had the idea of showing later additions to the wall. The lower mostly light gray section is meant to represent the original wall, and the dark bluish gray the additions.
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A build for Lands of Rowia, a LEGO castle group in which members create a character and then use Lego builds to tell their in a shared LEGO castle world. LoR also features motivational contests and challenges. We are currently looking for new members, so come on over, pick a faction and join the fun!
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Comments and critique welcome.
This photo represents the first change to waste services for a Sydney council since amalgamations some months ago. Actually there aren’t really any changes, it’s still the same company servicing the same area, just with new trucks and the previous council name is no longer featured. A little while ago I heard that Cleanaway won back the Ashfield contract, but that didn’t make any sense when other councils were extending contracts, due to uncertainty about amalgamations and the need to streamline services once councils did merge. It is on the verge of being 7 years since the current Ashfield/Cleanaway contract started in Nov 2009, but I expected the partnership would extend for a few more years. However, a top bloke I know visited an Iveco dealership and spotted a few new Cleanaway trucks with Inner West Council printed on the side, confirming indeed a new contract had been signed with Cleanaway. These side loaders will likely start work in a couple of weeks, but this time joined by some rear loaders, to service the former Ashfield area under an altered collection regime. I’ve come to the conclusion that the newly formed council decided it wasn’t crucial to standardise waste services and the collection workforce across the former Ashfield, Leichhardt and Marrickville areas yet, so they’ve decided to essentially continue with business as usual for now. I also see the fact that Leichhardt and Marrickville have very young collection vehicles as another influence to put off any changes at this point in time. I’m sure in around 7 years the three separate council waste management systems will have transitioned into one big organisation - it will be a staged work in progress.