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© 2017 Eric Adeleye Photography. All rights reserved.
Behind the scenes at Neon Fox Studio.
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This was made of shells and little wooden figures that I make. It was inspired by an 18th century piece in Williamsburg. I call it “Look for me at the Coral Bridge”.
Petersen's Description:
Scene X (pp. 55-56)
In umgekehrter Richtung stehen hier Germanen links, Römer rechts von einem zwischen felsigen Ufern strömenden Fluss, etwas unterhalb der Vereinigungzweier Arme, eher als oberhalb der Teilung, da die Wirbel Strömung von oben nach unten anzeigen. In der Gabelung eine Buche, diesseits grösser eine Eiche, wal dige Gegend bedeutend, darin vier trotzig blickende Germanen, trotz der Ahnlichkeit mit dem Quadenkönig auf einer Münze des Antoninus Pius bei Cohen méd. imp. Il', S. 339, 687, geringe Leute, die im Bausche ihrer langen befranzten Mäntel Steinetragen, und mit Schleudern den römischen Kaiser bedrohen, der am andern Ufer zu ihnen redend steht. Er hat im Rücken ein Kastell mit römischer Besatzung, welche, ausgenommen die drei vorderen, mit Aufmerksamkeit auf den Kaiser und die Schleuderer blicken. Aus dem Kastell scheint auch Mare Aurel mit Garden und Legionaren und einem Begleiter gekommen, der hier gewappnet auftritt, während der Kaiser selbst, mit der Lanze in der Linken, unbedecktes Hauptes und ohne Panzer dasteht, aber von Garden mit ihren Schilden beschirmt wird.
Here, in reversed position, with the Germanics to the left, the Romans to the right of a river flowing between rocky banks, more likely below where two branches merge than above its fork, since the eddies indicate a current flowing from top to bottom. Where the river forks stands a beech tree, larger than an oak on this side, suggesting a forested area. In it stand four defiant looking Germanics, low-born men, despite their resemblance to the king of the Quadi on a coin of Antoninus Pius by Cohen méd. imp. II2, p. 339, 687. They carry rocks in their gathered up, long, fringed tunics and with their slingshots are menacing the Emperor who is standing on the other bank who is speaking to them. At his back, stands a castellum manned by Romans, who, except for the three in front, are closely watching the Emperor and the slingers. It looks like Marcus Aurelius has also emerged from the fort with Guards and legionaries and a single attendant, who appears armed here, while the Emperor himself, javelin in the left hand, stands there bareheaded and without armor, but protected by the Guards with their shields.
Scene XI (pp. 56-57)
Um mit demselben Kastell noch diese zweite Scene in Beziehung zu setzen, scheint in der vorigen Scene die Richtung umgekehrt zu sein. Denn hier, an der anderen Seite des Kastells, wo zwischen Halbsäulen dessen geschlossenes Thor sich zeigt, ist ein aus Balken aufgebautes Gerüst, in freilich sehr ungeschickter Weise, aber unverkennbar, als zusammenbrechend über niedergestürzten und stürzenden Barbaren dargestellt. Alle drei sind geringe Leute, 1 todt auf dem Rücken liegend mit nacktem Oberkörper, 2 mit über dem Kopf gehaltenem Schilde vornüberstürzend, desgleichen 3 mit einem Mantel soeben niedersinkend, den Buckelschild am linken Arm, die Rechte gesenkt, als halte sie eine Waffe. Die Ursache ihres Sturzes und des zusammen brechenden Belagerungsturmes zeigt sich oben, wo das Holzwerk in nach oben schlagenden Flammen steht, von fliessendem Wasser, wofür man sie angesehen hatte, bestimmt unterschieden, und in dieser Flamme ein grosser Blitz liegt, wie von rechts aus der Höhe hineingefahren. Kenntlich ist die mittlere Einschnürung zur Handhabung des himmlischen Wurfgeschosses, und besser als der untere erhalten der obere gedrehte Keil, von welchem, wie aus den Bruchstellen zu erkennen, die üblichen Zacken spitzen ausliefen. Zum Überfluss zeigt eine Flamme an dem Gestürzten 2 , dass auch er und seine Genossen vom Blitz getroffen wurden. Gleich neben diesen aber sehen wir Marc Aurel unbewaffnet, von einigen Garden und Legionssoldaten umgeben, von denen namentlich nach links ein Gebückter unten 9 und ein mehr Aufrechter nach rechts oben 5 mit Messtangen beschäftigt scheinen. An der Stange von 5 ist nicht allein das charakteristische dicke Ende sichtbar, sondern sogar die kleinen Löcher zur Bezeichnung der Massabteilungen: die metatores (Vegetius 2, 7) scheinen ganz dem Geschäft des Lagerahsteckens hingegeben, Marc Aurel selbst aber auf die nieder stürzenden Barbaren hinzuweisen, fulmen de caelo precibus suis contra hostium machinamentum extorsit, wie es in der Vita Marci 2 heisst.
Abgewandt von dieser Gruppe steht aber noch ein Römer 10, der, nach rechts gewandt, sich an einem seltsamen Gebilde zu thun macht : trotz des abgesplitterten Reliefs erkennt man vor allem oben einen Helm in Kopfhöhe des dahinter Stehenden, aber nicht auf menschlichem Körper, sondern einem nach rechts vorgekrümmten Stamme aufgesetzt, gegen den ein Schaft, natürlich eine Lanze, gelehnt war, und vor dem oben ein scutum, tiefer ein ebenfalls schildähnlicher Körper befestigt war. Eher als ein tropäum, das ja in damaliger Zeit, wie die Säule, Taf. 64 f., selbst lehrt, andere Dimensionen und andere Formen hatte, und zu dessen Errichtung kein Anlass vorlag, scheint eine fingierte Schildwache gemeint zu sein, woneben dann auch das Vermessen nur Schein sein möchte, bestimmt die Barbaren, welche, wie dort die Schleuderer, so hier in langer Doppelreihe hinter ihren Schilden lauernd, am Flusse Wache halten, irrezuführen oder vielmehr an diesem festzuhalten, um unterdes an anderem unbewachtem Orte den Fluss zu passieren. Ob dieser Fluss, derselbe wie der vorige, nur an andrer Stelle, oder ein ganz anderer, ist natürlich nicht zu sehen. Jedenfalls ist auch dieser von felsigen Ufern eingefasst und scheint diesseits von einem hügeligen Strich (vgl. Taf. 20 die Zone am Gebirg) begleitet. Jenseits sieht man Schild an Schild, darüber die spähenden Köpfe, nur im Umriss noch kennbar, darüber eine zweite Reihe von Köpfen bis 19, über dem vielmehr ein Herbeieilender erscheint, der mit ausgestrecktem Arme offenbar aufregende Kunde bringt, etwa, dass der Feind that sächlich anderswo eingedrungen sei: darum denn auch über 23 einer schon den Posten zu verlassen eilt.
In order to relate this second scene to the same castellum, the direction appears to be reversed in the prior scene. For here, on the fort’s other side, where its closed gate shows between two half columns, is a scaffold constructed of beams but obviously built in a very clumsy manner that is depicted unmistakably as collapsing on top of fallen and falling barbarians. All three are commoners: 1 with nude torso lying dead on his back; 2 with shield held overhead and falling forward; similarly, 3, in a tunic, also sinking down, a buckler on his left arm, the right lowered as if holding a weapon. What caused their fall and that of the collapsing siege tower is shown at the top, where the wooden structure is engulfed in upward shooting flames, clearly not the flowing water that they had previously been mistaken for, and, within these flames, appears a large lightning bolt as if it had struck from the upper right. The necking for handling it can be seen in the middle of the divine missile and, better preserved than the lower branch, is its twisted upper branch from which shoot the usual spikes. On top of that, a flame on the corpse 2 shows that he and his comrades, too, were hit by the lightning. But right next to them, we see an unarmed Marcus Aurelius, surrounded by a few Guards and legionaries, of whom one 9 is bent toward the left below and another, more erect 5, toward the upper right; both seem to be busy with measuring rods: these metatores (quartermasters) (Vegetius 2, 7) seem to be totally absorbed in the business of laying out a camp, while Marcus Aurelius himself seems to be pointing at the falling barbarians, fulmen de caelo precibus suis contra hostium machinamentum extorsit (his prayers have caused a thunderbolt to be hurled against the enemy’s machine), as it states in the Vita Marci 24.
Facing away from this group, however, stands another Roman 10 who, turned toward the right, occupies himself with a strange object: Despite the spalled relief, it is possible to discern, especially up top, a helmet at head height of the one standing behind it, but it rests not on a human body, being placed instead on a tree trunk that is bent forward to the right, against which leans a shaft, obviously a javelin, and in front of which on top are fastened a scutum (rectangular, semi- cylindrical legionary’s shield) and, farther down, another, also shield-like, object. Rather than representing a tropaeum (victory monument), that, as the column itself instructs us in Plate 64f, had different dimensions and other shapes at that time, and there was no reason to erect one yet in any case , this seems to have been a fake sentry to fool the barbarians that, like the slingers over there, here also lurked in a long double row behind their shields, keeping watch on the river, intended to keep them there while crossing the river elsewhere in the meantime at an unguarded place. If this river is the same as the previous one
only a different section or it is a completely different one, cannot be said. In any event, this one, too, is contained between rocky banks and on the nearest side seems to be paralleled by a hilly stretch (cf. Plate 20, the zone by the mountains). On the other side, we see shield next to shield, the heads peering out over them, only discernable in outline now, above it, a second row of heads until 19, above which someone comes running up with arms raised, who apparently is bringing stirring news, perhaps, that the enemy has, in fact, penetrated elsewhere, so that one. abover 23, of them is already hurriedly abandonding his position.
===================================
Author: Petersen, Eugen (Eugen Adolf Hermann), 1836-1919.
Title: Die Marcus-säule auf Piazza Colonna in Rom, herausgegeben von Eugen Petersen, Alfred von Domaszewski, Guglielmo Calderini; mit CXXVIII Tafeln folio.
Format: Book
Published: München, F. Bruckmann a.g., 1896.
Description: 125 p. illus. (incl. ports., map) 39 cm. and atlas of 128 mounted pl. 50 cm.
Other contributors: Domaszewski, Alfred von, 1856-1927. Calderini, Guglielmo, 1837-1916. Mommsen, Theodor, 1817-1903.
Contents: Einleitung, von E. Petersen.--Der Marcomanen-krieg unter Kaiser Marcus, von T. Mommsen.--L'architettura della colonna, da G. Calderini.--Beschreibung der Bildwerke, von E. Petersen.--Erläuterung der Bildwerke, von A. von Domaszewski.
Subject headings: Column of Marcus Aurelius (Rome, Italy)
Lake Scene.
Back to more mundane landscapes. Funny how you always want, what you don't have, I really have a hard time missing the mountains. Well. No mountains here. But that lakes and still a lot of fall color when I was there the other week. Played around with filters for motivation, thus the screwed color, also some editing. Not meant as an attemp to do something naturalistically. -- More to come, have to work unfortunately ...
Hamhŭng is North Korea's second largest city, and the capital of South Hamgyŏng Province.
It was known as Kankō during Japanese rule of Korea between 1910 and 1945. It was liberated by the Red Army on 22 August 1945.
The city was heavily destroyed (80–90%) during the Korean War and was occupied by ROK troops between 17 October 1950 and 17 December 1950. From 1955 to 1962, Hamhŭng was the object of a large-scale program of reconstruction and development by East Germany including the build-up of construction-related industries and intense training measures for Korean construction workers, engineers, city planners and architects. The project ended two years earlier than scheduled and with a low profile because of the Sino-Soviet conflict and the opposing positions that North Korea and East Germany took on that issue.
In late 2005, nearby Hŭngnam was made a ward (kuyŏk) within Hamhŭng-si. It has a population of 768,551 as of 2008.
DPRK, Oct. 2015
i>Street Scene, Manhattan. New York City. December 28, 2015. © Copyright 2015 G Dan Mitchell - all rights reserved.
Looking up a narrow street in the West Village
I like old photographs of cities, and especially of big cities like New York. For obvious reasons they tend to be in black and white. Once I started photographing these same subjects and making some of the photographs black and white, I began to notice that things in such places often look far more like they had in the past and that the supposed modern nature of such scenes is not at all obvious when abstracted by the camera.
I made this photograph from an elevated position along the High Line Park path that runs along a portion of the western side of Manhattan. In order to spot much here that is unique to the current time, I have to look closely — the overall impression is almost timeless. Yes, the vehicles are modern (at least for now), there are some traffic barriers in the distance that are a fairly new presence, and a very close look reveals somewhat modern attire on a few of the pedestrians.
G Dan Mitchell is a California photographer and visual opportunist. His book, "California's Fall Color: A Photographer's Guide to Autumn in the Sierra" is available from Heyday Books and Amazon.Blog | About | Flickr | Twitter | Facebook | Google+ | LinkedIn | Email
All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.
আপনাকে আবারো দোলের অসংখ্য শুভেচ্ছা। আর আপনাদের সবাইকেও।
[ বহু যুগ ধরে তোমার সাথে দেখা হওয়ার কথা ছিলে।
আজ রঙ্গ হয়ে থাকবে স্বাক্ষি,
আমাদের স্বাক্ষাতের মূহুর্তে,
তুমি রয়ে যাবে চীর স্মৃতি,
অখন্ড শিলালিপির মধ্যে রয়ে যাবে এই আমার উক্তি ]
©Zee Photography
I recently posted a new tutorial video to my web site that may be of interest to those of you who shoot film. It covers the practice of making two scans from one negative so that both bright highlight detail and dark shadow detail in a contrasty negative can be recorded and brought into the master image. This is a technique that I use on some of my more challenging negs. The image in the demo is a pinhole photograph that I posted recently. Enjoy!
The girls said they were from Ringgold, Georgia (pop. 2,500 or so: 53% females, 47% males). They came out to see the guy's band, who i've never heard of but is supposedly "huge in Canada". He was pretty nice, but all I know is that his band sounded like 5,000 other bands that are "punk-pop".
I really like the way the picture turned out, though.
Ornament Nativity Scene in teardrop shape made of plastic. Approximately 4 inches tall.
Dated circa 1963.
JANRAM greeting new friend in restroom scene
JANRAM the movie is now long gone, and DVD version was cut to little pieces in oversea market. Also banned in Singapore & Malaysia for lesbian contents. (schoolgirl tongue kissing and stuff)
Soundtrack in original film is horrible, don't know how bad it is in oversea version, probably as bad.. However, it was beautifully photographed. Too bad that NIEPCE House doesn't hold rights to re-cut the film, otherwise this could have been a really good one.
NATNALIN publishing may have a plan to print JANRAM in fictional version with series of new photographs. But still no confirmation at this time. Fictional version is somewhat different from the film, focusing on different characters, and Janram is not really a person - rather reflection or imagination..But fictional version is even bloodier than the film. Anyway, NN publishing still keeps quiet about the project although there're some cover design and sample photos sent by e-mail among their circles.