View allAll Photos Tagged Respect
I had the chance to help Mike Psiaki with the LEGO 10265 Creator Expert Ford Mustang GT, and although he would respect the changes I made to his first prototype while I had it for myself for a few weeks, and later in the process he would listen to my advice 90% of the time, I just couldn’t make him do it in any of the colors I really wanted.
One of the colors was dark red, which I think fits the 1967 Ford “Indian Fire” quite well, then it would have a black hood and white interior, looked ace. The other one l liked a lot, but hardly any brick used in the Mustang exists in that color is olive green, that matches Ford’s “Lime Gold” and looks great with black stripes. The third color in the pool was of course the dark green Mustang, matching Lt. Bullitt’s car. Therefore the first thing I did after I received my copy of the box, I slaughtered it for parts, collected everything I needed in dark green, painted the stuff I didn’t have or that doesn’t exist, and build the car. Except for the color, the grille insert, the ignition wires (I made them with the strings with knob because I wanted eight), and except for some technical changes that I made so I didn’t have to paint too much, my version is built just like the set.
I also changed light gray “chrome” for silver (painted what doesn’t exist), and I probably will get custom chrome from Chrome Block City ( store.bricklink.com/Aurimax#/terms ) just to see how it looks like. Maybe someday in the future when I have nothing to do I will also redo it to Bullitt specs (shifter, no middle consol, woodgrain, proper numberplates, blahblah), for now this does the job, especially because I think that this set feels more like an incredibly good MOC than an official set.
Today will be my weekly semi-formal day so I will do a double upload for my two different takes on this outfit. To reiterate what I have explained before, my goal with these semi-formal outfits is to be dressed nicely in at least a shirt and neckwear all day. If I do not work, I can still be nicely dressed but with more comfortable items of clothing such as jeans and oxfords that would be more appropriate for a day spent doing chores and relaxing, but still dressed in something proper.
Today the weather is bad so the first thing I have done is necktie myself with this cozy and comfortable sweater. Instead of jeans, which is my plan with my semi-formal outfits, I am going to stick with trousers and my usual high heels because shortly I will go to the bakery and purchase some bread and buns. Once I get home I will make myself breakfast and coffee, followed by checking my morning emails and catching up on the news.
After that I will tidy up my breakfast mess and do some general chores around the house, then watch a documentary on tv if I have the time. I have noticed that I tend to slouch sometimes when I eat or watch tv normally, but even having on a semi-formal outfit helps me sit more ladylike and I have come to appreciate that I have that encouragement to better my posture even when I am not wearing fully formal clothing. To me it is just one of those matters of personal pride to act with a higher standard for no other reason than self-respect. If I can achieve that with a comfortable sweater in addition to a nice collar and tie then all the better.
Before work today I will stop for lunch at my parents' house. I will change my outfit slightly for that by exchanging my sweater for my jacket. I like how these semi-formal outfits will be so versatile that I can simply change jeans for a skirt or a sweater for a jacket and I go from simply looking nice and proper to being dressed appropriately for work.
I have discussed expanding my wardrobe to more formal outfits in the future, but I also intend to expand it into this style as well. For now I will dress like this once a week, but I hope to increase that in the future as my schedule permits.
Le non respect de la régle des tiers est évidament volontaire ;))
The non compliance with the régle of thirds(third parties) is évidament volunteer ;))
MALO-LES-BAINS ,
Dès le début du XX è siècle, la « Reine des Plages du Nord », fréquentée et animée connaît son heure de gloire. Le long de la digue, on ne se lasse pas d’admirer les belles façades des villas à l'architecture unique. Malo-les-Bains est le quartier résidentiel de Dunkerque.
MALO-LES-BAINS,
From the beginning of XX è century, " Queen of the Beaches(Ranges) of the North ", frequented and livened up knows its hour of glory. Along the dike, we do not grow tired of admiring the beautiful facades of villas in the unique(only) architecture. Malo-les-Bains is the residential area of the Dunkerque.
This majestic peak in the Himalayas is called Machapuchare, also known as “Fish Tail Mountain.” At 22,943 feet it’s considerably less tall than Mt. Everest, but this mountain is definitely in illustrious company–legendary peaks such as Annapurna (which actually has three summits) and Manaslu, both in the “8,000-meter club,” are not far away. If you’ve read National Geographic for a couple of years or even been to an IMAX movie you’ve probably heard a lot about those mountains, along with Everest and the others, being climbed frequently. You probably have never heard of anyone who’s climbed Machapuchare, and that’s for a very good reason: no one ever has…at least we think not.
Fish Tail Mountain is a sacred peak in the Hindu religion, associated with the god Shiva. Lord Shiva is supposed to live on the peak, which evidently gets is name from the shape of the summit seen from a certain angle. As one of the last places on Earth where human beings had never set foot, naturally it was a target for Western mountaineers, particularly the British, who had conquered the big Kahuna of no-humans-allowed places–Mt. Everest–in 1953. In fact, it was a member of that expedition, one Wilfrid Noyce, who came the closest anybody ever has to the summit on a 1957 expedition. The king of Nepal had asked Noyce to respect Hindu religious customs and not set foot on the summit. He and his climbing companion, A.D.M. Cox, turned back 150 feet short of the summit.
June 9, 2018 - Kearney Nebraska US
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Editors Note...
Once a year a pull out a few sets from years past to start of the new year. In 2024 this year I have went back & revamped one of my favorite severe storms photo shoots of 2018
Back then I over colorized & over saturated the images. Pixelated & not my best work... Images were what I wanted but not the final product. If you want to see those to compare to these remastered images... here is your Flickr Link to that set of images...
But these are Gems of Gems.. I've even added about 50+ images in this set that I wasn't able to work on back in 2018. I even made a video with the old images to kick off the 2023 season... You can watch this right here on Flickr... Click Here ** Please remember I used the old images in this video **
Lightning is my forte... It is why I chase storms. To have an photo opportunity come up like this & traveled only 6 blocks from my home to get these pics...Gotta Luv Nebraska!
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About that evening...
An epic night of sunset light and storm light @ twilight. Its almost every storm chasers dreams... or at least, in my own opinion, to get along side of a storm like this, as its firing away some incredible CC & CG every few seconds. What more could you ask for...
I was that Lucky Guy that evening. Just mother nature and I. Close to home after a few long storm chasing jaunts is just fine by me. She was producing and I was capturing every incredible second of this storm.. No Forking Bolt went away that evening without me getting a snap of its presence..
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Dale Kaminski @ NebraskaSC Photography
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Knowing you’ve injured a player after a huge hit can be quite scary. Thankfully the youngster made a full recovery and walked off the field. TREVSTAR, (kneeling left) a rising player in this new aged sport walked off the field and knelt down, and was quickly met by a team mate who comforted him. It was surely a scary moment for him as well. It amazes me his strength and equally his professionalism. After this shot he walked over to the opposing team sidelines and gave the player an equally huge hug. I’m pretty sure we will see this kid in professional sports, he is surely feared in the region.
Random shot from SPARKcon Street Art Fest 2009, Raleigh, NC.
Now this one touched a nerve....being an Army Vet.....I noticed the chain of the dog tags breaking near the top....or being weaved through the flag, either way, this was a touching piece of Art work for me. My thoughts are always with those that gave "all" for their Country....and those currently serving. Thank You!!
© István Pénzes.
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23rd November 2023, @home
Nikon D3x
Nikon Micro Nikkor AF-D 60mm 2,8
Elinchrom 400ELB
2X Quadra HS
Litemotiv 120cm soft box
Elinchrom Deep Octa 70
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Photograph taken at an altitude of One metres in the golden hour around sunrise, (Sunrise was at precisely 05:26am), at 05:22am on Thursday May 3rd 2018 off Botany Road and Foreness Close on the sandy shoreline of Botany Bay, the northern most of seven bays in Broadstairs , Kent, England.
Thanet offshore windfarm was officially opened on September 23rd 2010 and was for a time, the largest offshore windfarm project in the world. The eight lines of turbines, one hundred of them in total, run north-west to south-east, covering a total area of 35sq km off Foreness Point near Margate. Each turbine is 115 metres high with 44-metre blades, and the project cost between £780-900million
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Nikon D850 Focal length: 35mm Shutter speed: 1/50s (Electronic front curtain) Aperture : f/4.0 iso64 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX) Focus mode: AF-C AF-Area mode: sD-Tracking VR (Vibration reduction) ON Exposure mode: Manual exposure Metering mode: Matrix metering White balance: Auto0, 0, 0 (6400K) Colour space Adobe RGB. Nikon Auto Distortion control: ON Vignette control: Normal Picture control: (A) Auto Base: (A) Auto
Nikkor AF-S 24-120mm f/4G ED VR. Lee SW150 MKII filter holder. Lee SW150 77mm screw in adapter ring. Lee SW150 0.9 (3 stops) Neutral density graduated soft resin filter. Lee SW150 Filters field pouch.Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Manfrotto 055Xprob Carbon Fiber Tripod 3 Sections. Manfrotto 327RC2 Magnesium Ball Head. Manfrotto quick release plate 200PL-14. Jessops Tripod bag.
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LATITUDE: N 51d 23m 18.80s
LONGITUDE: E 1d 26m 15.50s
ALTITUDE: 1.0m
RAW (TIFF) FILE: 130.00MB (NEF 89.1MB)
PROCESSED (JPeg) FILE: 28.260MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
Salam / Hi to all my beloved friends..
My old Picture....
Happy Chinese New Year / Gong Xi Fa Chai
Chinese New Year - often called Chinese Lunar New Year although it actually is lunisolar - is the most important of the traditional Chinese holidays. Despite its winter occurrence, in China it is known as "Spring Festival," the literal translation of the Chinese name 春节 (Pinyin: Chūn Jié), owing to the difference between Western and traditional Chinese methods for computing the seasons. The festival begins on the first day of the first month (Chinese: 正月; pinyin: Zhēng Yuè) in the traditional Chinese calendar and ends with Lantern Festival which is on the 15th day. Chinese New Year's Eve, a day where Chinese families gather for their annual reunion dinner, is known as Chú Xī (除夕) or "Eve of the Passing Year."
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Built in 1847, The Man Mo Temple is a picturesque tribute to the God of Literature (Man) and the God of War (Mo), both of whom were worshipped by ambitious students looking to succeed in the civil examinations of Imperial China. These involved rigorous systems aimed at finding the best administrative officials for the state.
Joss sticks are a type of incense used in many East Asian and Southeast Asian countries, traditionally burned before a Chinese religious image, idol or shrine. They can also be burned in front of a door, or open window as an offering to heaven, or devas.
Joss stick burning is an everyday practice in traditional Chinese religion. There are many different types of joss sticks used for different purposes or on different festive days. Many of them are long and thin and are mostly colored yellow, red, and more rarely, black.
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From 2006 to 2023 the Dennis Head Old Beacon was shrouded in scaffolding as part of its restoration and conservation. You see, it's a scheduled monument and worthy of respect.
That's why just out of shot all that ratty old scaffolding remains in an untidy pile. They even shovelled out centuries of guano and put in mesh to stop the birds from filling it up again.
This whole thing was so mired in bureaucracy that they even needed an application and approval to take down the scaffolding and remove the heritage listing from the keeper's cottage because it was supposed that it was already included in the listing for the tower!
These things are why I wonder if that rusty old chair, these pieces of rotting wood, a lobster pot and that blue plastic sandal inside the ruins of the cottage effectively reflect the true respect held for this treasured monument.
“What a person praises is perhaps a surer standard, even, than what he condemns, of his character, information and abilities.
No wonder, then, that most people are so shy of praising anything.”
(Augustus Hare - English writer, 1792 - 1834)
This lady took a bath at Darabhanga Ghat along the Ganges in Varanasi (Benaras).
Most of the women there show a real shyness and I never take any picture which could provide a kind of embarrassment to them.
I am trying to respect the privacy of those moments that they offer beyond shyness whenever they are simply following traditions.
Even if I realized that what they really present is not their body but their faith, the way they praise God and the elements which is actually the real intimacy of the human soul and finally what I find interesting to capture.
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It's Christmas eve, Friday December 24th 2021 and the weather is a sombre grey with a touch of rain in the air, much the norm for Christmas in the UK for as many years as I can remember.
Photograph taken at an altitude of One hundred and three metres at 12:29pm on Wednesday December 22nd 2021 off Church Lane close to Bay Pond in the heart of Godstone, a village and civil parish in the county of Surrey in England.
Local school children had hand painted Christmas decorations and placed them in the trees and on fence panels and hanging branches in the lane leading beside Bay Pond and onwards to St Nicholas Church and St Mary's Chapel. A lovely festive sight on a cold winter afternoon in Godstone.
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Nikon D850 Focal length 170mm Shutter speed: 1/50s Aperture f/13.0 iso640 Hand held with Tamron VC Vibration control set to ON in position 1 Image area FX (36 x 24) NEF RAW Size L (8256 x 5504) 14 bit uncompressed file AF-C Priority Selection: Release. Nikon Back button focusing enabled. Focus mode: AF-C AF-Area mode: 3D -Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1, 0, 0 (4750K) Colour space: Adobe RGB Picture control: (NL) Neutral (Sharpening +2) Active D-Lighting: Low
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
LATITUDE: N 51d 14m 48.78s
LONGITUDE: E 0d 3m 46.33s
ALTITUDE: 103.0m
RAW (TIFF) FILE: 130.00MB NEF FILE: 94.6MB
PROCESSED (JPeg) FILE: 50.30MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
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I don't even pretend to understand the science behind lighting and so this weeks Low Key photos will follow the same method as those I took in High Key week, that is fingers crossed & hope for the best!
One thing I learned from taking todays photo is that I am really not designed to photograph others. I'm no good at translating to a model what it is I want from them. Apparently "Oh, y'know" is open to interpretation. I just sort of expect them to psychically know, and then, when they don't, they find themselves on the receiving end of an awful lot of tutting, swearing and exasperated sighing. (As poor Lydia will testify after being good enough to spare me an hour of her time)
I have a new found respect for portrait photographers!
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Photograph taken at an altitude of Ten metres at 12:39pm on Thursday 11th November 2021 off the Western Esplanade and West Cliff Road on the shoreline of Louisa Bay in Broadstairs, Kent. The seven bays in Broadstairs consist of: (From south to north) Dumpton Gap, Louisa Bay, Viking Bay, Stone Bay, Joss Bay, Kingsgate Bay and Botany Bay.
Here we see an Adult Eurasian Oystercatcher (Haematopus ostralegus) in winter plumage. They are also known as the common pied oystercatcher, or palaearctic oystercatcher,or just oystercatcher in Europe. They are waders with three races in Western Europe, Central Eurosiberia, Kamchatka, China and Korea. A Canary Islands species is now extinct. They are also the national bird of the Faroe Islands.
We left around 9am for the hour or so 70 mile drive down the A2 to Viking bay, first stop a full English breakfast at the pub there overlooking the beach. Then time for a stroll along the beach on a cloudy day surrounded by Mother Nature, a tonic for the soul.
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Nikon D850 Hand held with Tamron VC Vibration Control set on to normal position 1 Focal length: 600mm Shutter speed: 1/250s Aperture f/10.0 iso250 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX) Focus mode: AF-C focus AF-Area mode: 3D-tracking Exposure mode: Manual exposure Metering mode: Matrix metering White balance: Auto 1, 0, 0 (5760K) Colour space: Adobe RGB Active D-Lighting: Low Picture control: (NL) Neutral +2 sharpening
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Nikon EN-EL15a battery. Black Rapid curve breathe sport shoulder strap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Jessops Tripod bag.
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LATITUDE: N 51d 21m 16.76s
LONGITUDE: E 1d 26m 38.71s
ALTITUDE: 10.0m
RAW (TIFF) FILE: 130.00MB NEF FILE SIZE: 91.20MB
PROCESSED (JPeg) FILE: 36.10MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
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I have so much respect for this guy, getting out there and earning the pennies to keep the wolf from the door.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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It is really important to pay respect to the speed limits and warning signs in Canada as you never know what will be around the corner. This photograph was taken coming towards dusk and this mother and cub (with another waiting out of shot) were smack bang in the middle of the road. In fact, the little one in a few seconds, laid down in the middle of the road. Be careful, wildlife crossing.
Hell-Bourg is a small village in the Salazie commune (administrative division) of the French overseas department of Réunion. It is the main community in the island's Cirque de Salazie, and is named for the respected former admiral and island governor Anne Chrétien Louis de Hell. Previously the village had been named Bémaho. It is located 1344 m (4412 ft) above sea level.
Originally Bémaho/Hell-Bourg was founded as a small but prosperous spa town, and prospered as such for most of a century after the 1830 European discovery of a hot spring near the future village. Contrary to many accounts of the time, this spring had obviously been known to both slaves and other locals for some time, and one colonial administrator remarked that it would be difficult to transform the area into an official bona-fide spa if slaves afflicted with leprosy and ulcers were using it. However, the eventual transformation was not to be stopped, especially after construction of a hotel was ordered by colonial authorities in 1839, and a military hospital associated with the spring finished in 1857. A carriage road finally reached the village in 1890.
The spring had been discovered in the bed of the brook Bras Sec ('Dry arm'), a tributary of the Rivière du Mat. It had a flow of around 800-1,300 litres per hour, and a water temperature of 32°C, and its waters were iron-bearing, only mildly chlorinated and calcic and contained no sulphates. They were soon being recommended for children, weak and anaemic adults, as well as people suffering from gastritis. In 1852, the Société Anonyme de l'Etablissement Thermal de Salazie was founded, which built the spa, a casino and a director's house. Many creole-style villas of rich individuals followed.
The thermal baths were soon famous even beyond Réunion - together with other spas at Cilaos, in the island's south, and Antsirabe at Madagascar, they became a goal of travellers from as far as South Africa, Kenya or Mozambique, as well as a vacation spot for rich vanilla plantation owners from the island's east. The popularity was partly due to spas being marketed widely as a cure to many of the health problems and diseases that afflicted Europeans in the colonial tropics.
Later, the springs were purchased by the municipality of Salazie, which in turn ceded them to the Colonial administration. However, in 1920 the water temperature dropped and boiling was required to heat it to the accustomated state which in turn destroyed some of the chemical elements. The spa started to lose its attraction. An attempt to clear the springs with dynamite failed disastrously and caused a partial collapse of the spa and the destruction of the casino.
In late September 1942, the Vichy authorities on Réunion relocated from Saint-Denis to Hell-Bourg, fearing a potential Allied invasion. The spring was finally fully blocked by a cyclone-related landslide in 1948 (as were, temporarily, the roads leading to Hell-Bourg) and the village quickly lost the importance which had originally caused it to flourish in the difficult mountainous region.
After some decades of being mostly forgotten and occupied mainly by poorer farmers, tourism has since given the village a modest income. With a partial contribution to the costs from the European Union, some 26 of the traditional Creole villas were restored. Since 1999 it has been the only village on the island to be a member of Les Plus Beaux Villages de France ('The most beautiful villages in France'), an award given to about 150 of the most striking small communities in France. In connection with the requirements for the award, there are few to no visible modern elements like telephone or power poles in the village.
The village, with its several small and midsized hotels, which include a small youth hostel, is a base for hiking within the Cirque, especially to the small peak in the caldera center, the Piton d'Anchaing (4–6 hours return) or up to the island's central peak, the Piton des Neiges (2 days return). It is also home to a small museum, several nineteenth century Creole buildings, and a famously colorful local cemetery. The area is also known for growing chou chou.
(Wikipedia)
Hell-Bourg est un village de la commune de Salazie situé dans les Hauts de l'île de La Réunion au pied du Piton d'Anchaing. Baptisé ainsi en 1841 en l'hommage de celui qui fut gouverneur de Bourbon au milieu du XIXe siècle, Anne Chrétien Louis de Hell, le village possède de nombreuses maisons de la seconde moitié du XIXe siècle, construites par de riches planteurs et des commerçants de la côte à proximité des Thermes disparus au début du XXe siècle. Le label Plus beau village de France lui a été attribué, ses rues et son cimetière très fleuri entouré de bambous étant particulièrement pittoresques.
En 1832, c'est en chassant le cabri sauvage qu'Adrien Pignolet de Fresnes et Adam de Villiers découvrirent entre le plateau d'Hell-Bourg et l'Îlet à Vidot plus exactement au lieu-dit « Bémaho », des sources dont la valeur thérapeutique et médicale fut reconnue rapidement. Les premiers curistes furent installés dans des paillotes.
Progressivement, un village se crée autour des sources thermales en 1842. Il deviendra district spécial de Salazie, dix ans après l’érection du « village » en commune (1899). Malgré la volonté des habitants de voir Hell-Bourg devenir une commune à part entière, cette organisation administrative restera identique jusqu'à nos jours.
L'établissement thermal créé le 13 juillet 1852 connut une période d'apogée en 1875, malgré un débit horaire relativement limité (environ 1,1 litre par seconde) et une minéralisation faible. Les classes aisées du littoral de l'île, attirées par les thermes d'Hell-Bourg, venaient également profiter de la fraîcheur du cirque de Salazie dans un mouvement appelé changement d'air. Peu à peu, une vie mondaine s'organise : on assiste successivement à la construction et la location de villas (résidences secondaires), et à l’ouverture d'un casino. Ce qui fait d'Hell-Bourg une station d'altitude à la mode qui prend une allure urbaine avec 150 cases créoles d'un style architectural raffiné.
Du fait de l’activité thermale qui se développe à Hell-Bourg, la route fut prolongée jusqu’aux sources. Pendant longtemps, le trajet des bourgeois jusqu’aux thermes se faisait par chaises à porteurs. Mais le relief moins tourmenté que celui de Cilaos permit d’abandonner assez rapidement ce moyen de transport, par le biais de la route qui traverse la Mare à Poule d'eau pour arriver à Hell-Bourg.
À une période florissante succéda un état de léthargie dû à la désaffection des grandes familles réunionnaises, au partage des propriétés. On construisit des cases plus petites et abandonna des plus grandes d'entre elles.
À partir de 1948, la fréquentation d'Hell-Bourg s'atténue fortement. Plusieurs raisons à cela : les sources thermales perdent de leur intérêt du fait de la baisse de débit, de température et de minéralisation des sources. Par ailleurs, la station thermale de Cilaos, en plein essor, crée une sérieuse concurrence. Enfin, le cyclone tropical de 1948 provoque un éboulement sur les thermes. Les travaux de remise en état qui nécessitent l'usage d'explosifs pour dégager les sources, les obturent définitivement et mettent un terme au développement de ce lieu de villégiature.
La perte de l’intérêt principal du village explique la remarquable conservation des maisons créoles bourgeoises du début du siècle.
Outre les cases stylées, le cimetière de Salazie constitué de tombes en pleine terre et donc fleuries naturellement à l'ancienne est un des éléments qui ont permis au village d'obtenir le label Plus beau village de France.
Un poète écossais appelé William Falconer y repose. Auguste Lacaussade (qui lui a dédié un poème) est venu le rejoindre le 8 février 2006. Ses cendres ont été transférés depuis le cimetière du Montparnasse vers son île natale conformément à un souhait qu'il aurait exprimé dans le poème La Mer :
« Je ne veux point dormir sur la terre étrangère,
Sur la terre du nord je ne veux point mourir !
J'aurais froid sous un sol sans flamme et sans lumière,
Mes yeux veulent se clore où Dieu les fit s'ouvrir ! »
Par ailleurs, on y trouve une sculpture en bronze du Français Carlo Sarrabezolles intitulée L'Âme de la France et faisant office de monuments aux morts. D'abord installée dans le petit centre-ville de Salazie au début des années 1930, elle a été déboulonnée à deux reprises, une première fois à la dynamite par le curé outré de la nudité du personnage féminin représenté, une seconde fois par le cyclone de 1948, qui laissa la guerrière face contre terre pendant vingt ans. Retrouvée par hasard lors de travaux en 1968, elle est classée monument historique depuis mai 2004.
(Wikipedia)
Hell-Bourg ist ein kleines Dorf in der Gemeinde von Salazie im französischen Übersee-Département Réunion. Der Ort befindet sich etwa 930 Meter über dem Meeresspiegel in der Caldera des Cirque de Salazie. Er wurde nach dem ehemaligen Admiral und Inselgouverneur Anne Chrétien Louis de Hell benannt und hieß vorher Bémaho.
Hell-Bourg ist seit 1999 als eines der Plus beaux villages de France (Schönste Dörfer Frankreichs) klassifiziert.
Nachdem Europäer in den 1830er Jahren Thermalquellen in der Nähe des späteren Dorfes entdeckten, wurde Bémaho/Hell-Bourg als kleiner, aber wohlhabender Kurort gegründet und gedieh als solcher mehr als einhundert Jahre lang. Entgegen vielen Berichten dieser Zeit waren die Quellen sowohl Sklaven als auch Einheimischen schon seit längerem bekannt gewesen. Urkundlichen Aufzeichnungen zufolge sollen diese bereits von leprakranken Sklaven zur Heilung benutzt worden sein. 1839 begannen die kolonialen Behörden mit dem Bau eines Hotels für Kurgäste. Ein an die Quellen angeschlossenes Lazarett konnte 1857 fertiggestellt werden. 1890 schließlich erhielt das Dorf Anschluss an eine befahrbare Straße. Bei der Gründung der Gemeinde Salazie im Jahr 1899 wurde Hell-Bourg dieser zugeordnet.
Die Thermalquellen wurden im Flussbett des Bras sec („Trockener Arm“) entdeckt, der ein Nebenfluss des Rivière du Mat ist. Er hatte einen Durchfluss von rund 800 bis 1.300 Liter pro Stunde und eine Wassertemperatur von 32 °C. Das Wasser war eisenhaltig, nur leicht chlorid- und kalziumhaltig und enthielt keinerlei Sulfate. Es wurde schon bald Kindern sowie schwachen und anämischen Erwachsenen empfohlen, dazu Personen, die an Gastritis litten. 1852 wurde die Société Anonyme de l’Etablissement Thermal de Salazie gegründet, die das Mineralbad, ein Kasino und ein Direktorenhaus errichtete. Es folgten mehrere Villen im Kreolen-Stil für reiche Einzelpersonen.
Die Thermalbäder wurden bald auch außerhalb der Réunion berühmt. Zusammen mit anderen Thermen in Cilaos im Süden der Insel und Antsirabe in Madagaskar wurden sie ein beliebtes Ausflugsziel für Reisende aus Südafrika, Kenia und Mosambik, außerdem zum Urlaubsort für reiche Vanille-Plantagen-Besitzer vom Osten der Insel. Die Popularität ging teilweise darauf zurück, dass Thermalbäder als Allheilmittel für viele gesundheitliche Probleme und Krankheiten gepriesen wurden, die viele Europäer in den kolonialen Tropen heimsuchten.
Die Quellen wurden später von der Gemeinde Salazie gekauft, die diese an die Kolonialverwaltung abtrat. Allerdings ging 1920 die Wassertemperatur zurück, so dass das Wasser künstlich durch Öfen erhitzt werden musste, was wiederum zum Zerfall einiger chemischer Verbindungen führte. Der Kurort begann seinen Reiz zu verlieren.
1948 schließlich löste ein Zyklon einen Erdrutsch aus, der die Thermalquellen blockierte (ebenso die Straßen, die nach Hell-Bourg führten). Ein Versuch, die Quellen mit Sprengstoff zu räumen, scheiterte katastrophal und führte zu einem teilweisen Zusammenbruch des Kurbades und zur Zerstörung des Kasinos. Der Ort verlor schnell an Bedeutung, die zuvor für seine rasche Entwicklung in der unwirtlichen Gebirgsregion verantwortlich gewesen war.
Nach einigen Jahrzehnten, in denen das Dorf vergessen und von ärmeren Bauern besiedelt wurde, erhielt Hell-Bourg durch den Tourismus wieder eine Einnahmequelle. Mit einer teilweisen Kostenbeteiligung der Europäischen Union wurden etwa 26 der traditionellen kreolischen Villen restauriert. Als einziges Dorf auf der Insel ist es seit 1999 ein Mitglied der Les Plus Beaux Villages de France („Die schönsten Dörfer Frankreichs“), eine Auszeichnung, die etwa 150 der sehenswertesten Gemeinden in Frankreich erhalten haben. Im Zusammenhang mit den Anforderungen für die Vergabe des Preises gibt es im Dorf wenige bis gar keine sichtbaren modernen Elemente wie Telefon- oder Strommasten.
Das Dorf mit seinen verschiedenen kleinen und mittelgroßen Hotels, zu denen auch eine kleine Jugendherberge gehört, dient als Ausgangspunkt für Wanderungen zum Cirque, insbesondere zum kleinen Gipfel im Zentrum der Caldera, dem Piton d’Anchaing (4 bis 6 Wegstunden) oder hoch zum zentralen Gipfel der Insel, dem Piton des Neiges (2-Tages-Ausflug). Es beheimatet darüber hinaus ein kleines Museum, mehrere Kreolen-Gebäude aus dem 19. Jahrhundert und einen berühmten bunten Friedhof. Die Gegend ist auch für den Anbau von Chayoten bekannt.
(Wikipedia)
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Photograph taken at an altitude of Twenty four metres at 10:30am on Wednesday 9th February 2022 off the West Cliff Promenade standing beside the Clock tower looking out on the shoreline of Louisa Bay in Broadstairs, Kent. The seven bays in Broadstairs consist of: (From south to north) Dumpton Gap, Louisa Bay, Viking Bay, Stone Bay, Joss Bay, Kingsgate Bay and Botany Bay.
We left around 9am for the hour or so 70 mile drive down the A2 to Viking bay, first stop a full English breakfast at the Royal Albion pub there overlooking the beach. Then time for a stroll along the beach on a cloudy day surrounded by Mother Nature, a tonic for the soul.
Nikon D850 Hand held with Nikkor Vibration Control enabled on Normal setting 1 Focal length: 40mm Shutter speed: 1/125s Aperture f/14.0 iso64 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX Focus mode: AF-C focus AF-Area mode: 3D-tracking Exposure mode: Manual exposure Metering mode: Matrix metering White balance: Auto 1, 0, 0 (4930K) Colour space: Adobe RGB Active D-Lighting: Low Picture control: (NL) Neutral +2 sharpening
Nikkor AF-S 24-120mm f/4G ED VR. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 77mm screw in adapter ring. Lee SW150 0.3 (1 Stop) Neutral density graduated soft resin filter.Lee SW150 Filters field pouch. Nikon EN-EL15a battery. Black Rapid curve breathe sport shoulder strap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Jessops Tripod bag.
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LATITUDE: N 51d 21m 22.95s
LONGITUDE: E 1d 26m 35.89s
ALTITUDE: 24.0m
RAW (TIFF) FILE: 130.00MB NEF FILE SIZE: 91.20MB
PROCESSED (JPeg) FILE: 44.10MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.