View allAll Photos Tagged Rome..-
So here we are, on the road again, and I hadn't sorted out the Sony A6000 to Snapseed interfaces.
I shoot RAW and my image transfers from this trip look meh. After 4 weeks it finally occurred to me to look at the file size. Lo and behold, thumbnail jpgs were transferred. Ugh.
This is why my cellphone images look sharp on Flickr and the A6000 images do not.
I tested shooting RAW + JPG and the good, full Rez JPG does transfer. Lesson learned.
Next thing is image processing.
I read about how Norman Seeff used to print high contrast works with a twist. He used a black stocking between the enlarger lens and paper to give a interesting softness to some of his images.
He wasn't by any means the only one to do this.
When I worked at Samy Cameras photo lab on Sunset Blvd in Hollyweird we used to do this at client request. It was really no big deal.
What was a bigger deal was our use of Agfa Portriga Rapid 111 Glossy paper. It gave a gorgeous deep walnut brown tone. We used this for may of the gallery shows we printed for various then famous photographers.
Taking the black stocking idea and borrowing tones from Portriga Rapid, it turns out, expresses pretty well how I feel about Rome.
So, here is a series of images done in an old, outdated, likely not very hip manner.
|Photographer: Wiebke Langebeck|Event: Rome ePrix|Circuit: Circuito Cittadino Dell'EUR|Location: Rome|Series: FIA Formula E|Season: 2021-2022|Country: Italy|Keyword: season 8|Keyword: season eight|Keyword: S8|Keyword: motorsport|Keyword: electric racing|Keyword: single seater|Keyword: open wheel|Keyword: 2022|Keyword: April|Driver: Maximilian Guenther|Team: Nissan e.dams|Number: 22|Car: Nissan IM03|Car: Spark SRT05e|Session: grid|Keyword: pre-race|
La construction du plus grand amphithĂ©Ăątre de Rome dĂ©bute en 72 ap. J.C. sur la demande de l'Empereur Vespasien. Ses deux fils, Titus et Domitien poursuivent sa construction qui s'achĂšve en l'an 82. LâĂ©difice s'appelle alors amphithĂ©Ăątre Flavien, du nom de la dynastie de ces empereurs. Le nom de ColisĂ©e n'apparaĂźt qu'au Moyen Age, en rĂ©fĂ©rence Ă la gigantesque statue de NĂ©ron de 35 mĂštres (appelĂ©e colosse) situĂ© Ă cĂŽtĂ© de l'amphithĂ©Ăątre. Avec ses 187 mĂštres de long, 155 mĂštres de large et 50 mĂštres de hauteur, le ColisĂ©e pouvait probablement accueillir 50 000 spectateurs avides de spectacles tels que les venationes (combats d'animaux sauvages), les munera (combats de gladiateurs) et autres spectacles publics. Pour amĂ©liorer le confort, le ColisĂ©e Ă©tait Ă©quipĂ© de 70 fontaines Ă eau et des marchands de nourriture passaient pendant les spectacles. Il est restĂ© en service pendant prĂšs de 500 ans, les derniers jeux se prolongeant jusqu'au VIe siĂšcle. Pour l'inauguration du ColisĂ©e, Titus donna une naumachie dans le ColisĂ©e transformĂ© en bassin reconstituant la bataille navale de Corinthe contre Corcyre. Le bĂątiment a finalement cessĂ© d'ĂȘtre utilisĂ© au cours du haut Moyen Ăge. Il a plus tard Ă©tĂ© rĂ©utilisĂ© pour des usages variĂ©s tels que des habitations, des ateliers d'artisans, le siĂšge d'un ordre religieux, une forteresse, une carriĂšre et un sanctuaire catholique chrĂ©tien.
En forme dâĆuf, le ColisĂ©e prĂ©sente 4 Ă©tages. Les trois premiers sont portĂ©s par des colonnes des diffĂ©rents ordres : Dorique (Rez-de-chaussĂ©e), Ionique (Premier Ă©tage) et Corinthien (Second Ă©tage). L'utilisation de ces trois styles montrent les Ă©volutions artistiques connues durant l'antiquitĂ©. Cette succession d'arcades n'existent que sur les trois premiers niveaux, le quatriĂšme, postĂ©rieur, est un mur plein (une piĂšce d'architecture que l'on appelle "attique") percĂ© de petites fenĂȘtres rectangulaires au rythme d'une arcade sur deux. L'attique servait Ă exposer de grands boucliers dĂ©coratifs, un peu comme un mur d'exposition. Au sommet, des excroissances encore visibles, permettaient de tendre une toile (le velarium) au-dessus du ColisĂ©e pour protĂ©ger les spectateurs du soleil. Ce voile Ă©tait manĆuvrĂ© par un dĂ©tachement de marins de la flotte impĂ©riale basĂ©s Ă la caserne Castra Misenatium !
Le ColisĂ©e utilise plusieurs matĂ©riaux. Le principal est le travertin (piliers), le marbre pour des dĂ©corations, les murs rayonnants sont en briques ou en tuf, et les voĂ»tes en bĂ©ton romain. On s'est Ă©galement servi de mĂ©tal pour lier les pierres entre elles : pour s'assurer que deux blocs contigĂŒs ne bougent pas on les perçait de deux trous et on y fixait une agrafe. Durant le Moyen-Ăąge ces agrafes furent rĂ©cupĂ©rĂ©es et fondues. On peut observer de nos jours sur la quasi-totalitĂ© des blocs des trous indiquant les emplacements des anciennes agrafes.
L'espace entre l'amphithéùtre et la façade est fait de deux couloirs circulaires mitoyens par étage. Le nombre de couloirs (vomitorium) permettait de faire sortir les spectateurs en 5 minutes. Chaque classe sociale avait sa tribune et ses couloirs avec leurs propres entrées. Les classes sociales pouvaient donc ne jamais se croiser dans le Colisée. Il existe un couloir spécial derriÚre le podium interdit au public, une sorte de galerie de service permettant de positionner des archers en charge de la sécurité des spectateurs.
La Cavea (gradins) est fortement dégradée et seule une toute petite partie des gradins a été reconstruite. Les gradins étaient répartis le long de la courbe de l'amphitéùtre. Les siÚges les plus proches de l'arÚne étaient séparés par un mur de 3 mÚtres de hauteur (le podium), les plus hauts siÚges étaient situés à plus de 40 mÚtres de haut. Les spectateurs étaient assis dans un arrangement hiérarchisé qui reflÚte la nature rigide et stratifiée de la société romaine. L'empereur était bien sûr tout en bas alors que la plÚbe était au sommet. L'arÚne mesure 83m de long sur 48 m de large. Le sol était un plancher, parfois remplacé par de la brique sur certains endroits. L'arÚne couvre une vaste structure souterraine appelée « hypogée » (caves d'un bùtiment antique, partie souterraine) qui a été créé aprÚs l'inauguration, sous l'empereur Domitien et correspond à nos coulisses modernes. L'hypogée était divisés en 15 couloirs réalisés en brique et en blocs de tuf, bùtis parallÚlement à une galerie centrale.
The construction of Rome's largest amphitheater begins in 72 AD. J.C. at the request of Emperor Vespasian. His two sons, Titus and Domitian continue his construction that ends in the year 82. The building is called Flavian Amphitheater, named after the dynasty of these emperors. The name of Colosseum appears only in the Middle Ages, in reference to the gigantic statue of Nero of 35 meters (called colosse) located next to the amphitheater. With its 187 meters long, 155 meters wide and 50 meters high, the Colosseum could probably accommodate 50 000 spectators eager for shows such as venationes (fights of wild animals), munera (gladiator fights) and other shows public. To improve comfort, the Colosseum was equipped with 70 water fountains and food vendors were running during the shows. It remained in service for nearly 500 years, the last games lasting until the sixth century. For the inauguration of the Colosseum, Titus gave a naumachie in the Colosseum transformed into a pool reconstituting the naval battle of Corinth against Corcyra. The building finally ceased to be used during the High Middle Ages. It was later reused for various uses such as dwellings, craftsmen's workshops, the seat of a religious order, a fortress, a quarry and a Christian Catholic sanctuary.
In the shape of an egg, the Coliseum has 4 floors. The first three are carried by columns of different orders: Doric (Ground floor), Ionic (First floor) and Corinthian (Second floor). The use of these three styles show the artistic evolutions known during antiquity. This succession of arcades only exist on the first three levels, the fourth, posterior, is a solid wall (a piece of architecture that we call "Attic") pierced with small rectangular windows to the rhythm of an arcade On two. The attic was used to expose large decorative shields, much like an exhibition wall. At the top, still visible growths, allowed to stretch a canvas (the velarium) above the Colosseum to protect the spectators from the sun. This sail was maneuvered by a detachment of sailors from the imperial fleet based at the Castra Misenatium barracks!
The Colosseum uses several materials. The main one is the travertine (pillars), the marble for decorations, the radiant walls are in brick or tuff, and the vaults in Roman concrete. Metal was also used to bind the stones together: to make sure that two contiguous blocks did not move they were pierced with two holes and a staple attached. During the Middle Ages these staples were recovered and melted. Almost all blocks of holes can be seen today, indicating the locations of the old staples.
The space between the amphitheater and the facade is made of two adjoining circular corridors per floor. The number of corridors (vomitorium) allowed to get the spectators out in 5 minutes. Each social class had its gallery and corridors with their own entrances. Social classes could never cross in the Colosseum. There is a special corridor behind the public banned podium, a kind of service gallery for positioning archers in charge of spectator safety.
The Cavea (bleachers) is heavily degraded and only a very small portion of the bleachers has been rebuilt. The bleachers were distributed along the curve of the amphitheater. The seats closest to the arena were separated by a wall 3 meters high (the podium), the highest seats were located more than 40 meters high. Spectators sat in a hierarchical arrangement that reflected the rigid and stratified nature of Roman society. The emperor was of course at the bottom while the plebs was at the top. The arena is 83m long by 48m wide. The floor was a floor, sometimes replaced by brick on some places. The arena covers a vast underground structure called "hypogeum" (cellars of an ancient building, underground part) that was created after the inauguration, under the emperor Domitian and fits our modern backstage. The hypogeum was divided into 15 corridors made of brick and blocks of tufa, built parallel to a central gallery.
Intense observation. The Rome Braves batting coach Bobby Moore intently watches the game from the dugout.
I'm also using this shot for Week 24 of 52.5 of 2010. The theme is BLACK & WHITE.
So here we are, on the road again, and I hadn't sorted out the Sony A6000 to Snapseed interfaces.
I shoot RAW and my image transfers from this trip look meh. After 4 weeks it finally occurred to me to look at the file size. Lo and behold, thumbnail jpgs were transferred. Ugh.
This is why my cellphone images look sharp on Flickr and the A6000 images do not.
I tested shooting RAW + JPG and the good, full Rez JPG does transfer. Lesson learned.
Next thing is image processing.
I read about how Norman Seeff used to print high contrast works with a twist. He used a black stocking between the enlarger lens and paper to give a interesting softness to some of his images.
He wasn't by any means the only one to do this.
When I worked at Samy Cameras photo lab on Sunset Blvd in Hollyweird we used to do this at client request. It was really no big deal.
What was a bigger deal was our use of Agfa Portriga Rapid 111 Glossy paper. It gave a gorgeous deep walnut brown tone. We used this for may of the gallery shows we printed for various then famous photographers.
Taking the black stocking idea and borrowing tones from Portriga Rapid, it turns out, expresses pretty well how I feel about Rome.
So, here is a series of images done in an old, outdated, likely not very hip manner.
Piazza del Popolo, Rome, Italy, 2014
Only the street shots - thestreetzine.blogspot.com/
So here we are, on the road again, and I hadn't sorted out the Sony A6000 to Snapseed interfaces.
I shoot RAW and my image transfers from this trip look meh. After 4 weeks it finally occurred to me to look at the file size. Lo and behold, thumbnail jpgs were transferred. Ugh.
This is why my cellphone images look sharp on Flickr and the A6000 images do not.
I tested shooting RAW + JPG and the good, full Rez JPG does transfer. Lesson learned.
Next thing is image processing.
I read about how Norman Seeff used to print high contrast works with a twist. He used a black stocking between the enlarger lens and paper to give a interesting softness to some of his images.
He wasn't by any means the only one to do this.
When I worked at Samy Cameras photo lab on Sunset Blvd in Hollyweird we used to do this at client request. It was really no big deal.
What was a bigger deal was our use of Agfa Portriga Rapid 111 Glossy paper. It gave a gorgeous deep walnut brown tone. We used this for may of the gallery shows we printed for various then famous photographers.
Taking the black stocking idea and borrowing tones from Portriga Rapid, it turns out, expresses pretty well how I feel about Rome.
So, here is a series of images done in an old, outdated, likely not very hip manner.
So here we are, on the road again, and I hadn't sorted out the Sony A6000 to Snapseed interfaces.
I shoot RAW and my image transfers from this trip look meh. After 4 weeks it finally occurred to me to look at the file size. Lo and behold, thumbnail jpgs were transferred. Ugh.
This is why my cellphone images look sharp on Flickr and the A6000 images do not.
I tested shooting RAW + JPG and the good, full Rez JPG does transfer. Lesson learned.
Next thing is image processing.
I read about how Norman Seeff used to print high contrast works with a twist. He used a black stocking between the enlarger lens and paper to give a interesting softness to some of his images.
He wasn't by any means the only one to do this.
When I worked at Samy Cameras photo lab on Sunset Blvd in Hollyweird we used to do this at client request. It was really no big deal.
What was a bigger deal was our use of Agfa Portriga Rapid 111 Glossy paper. It gave a gorgeous deep walnut brown tone. We used this for may of the gallery shows we printed for various then famous photographers.
Taking the black stocking idea and borrowing tones from Portriga Rapid, it turns out, expresses pretty well how I feel about Rome.
So, here is a series of images done in an old, outdated, likely not very hip manner.
Rome wasn't built in a day and you'll need much more than a day to take in this timeless city. The city is a real-life collage of piazzas, open-air markets, and astonishing historic sites.
Rome is the capital of Italy and the largest and most populous city in the country. It covers an area of 1,285 square kilometres and has nearly 3 million residents.
Most Visited Tourist Attractions In Rome: The Pantheon, Trevi Fountain, Roman Forum, Spanish steps, Piazza del Campidoglio, Castel SantâAngelo, Vatican, St. Peterâs Basilica, Colosseum, piazza Venezia, piazza Navona, piazza Barberini, piazza della Rotonda, piazza della Minerva ,piazza del Popolo etc.