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I nostri cinque cani, Brico Gioia Kitty Kelly e Joy, ripresi con la mia reflex digitale Canon, e poi gli scatti sono stati elaborati con il programma della Nik Collection, Analog Efex Pro, versione multiobiettivo, che simula la macchinetta giocattolo della lomografia, la Supersampler.
Cinque cani in quattro pezzi!
Our five dogs, Brico Gioia Kitty Kelly and Joy, filmed with my Canon digital SLR, and then the shots were processed with the program of the Nik Collection, Analog Efex Pro, multi-lens version, which simulates the toy machine of the Lomography, the Supersampler.
Five dogs in four pieces!
" A good traveller has no fixed plans and is not intent on arriving "
My other flickr accounts
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Two -
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Three -
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Four -
www.flickr.com/photos/44080325@N03
Five -
www.flickr.com/photos/normand5
Six -
www.flickr.com/photos/normand6
Seven -
Fotografía Nº 173
Como me fui de viaje tengo que subir las 6 fotos de mi proyecto, Estas son las manos de mi abuela en el piano que tiene mi Tia, no toca el piano, simula que lo toca, jajaja!
Photo No. 173
As I traveled I have to upload all 6 photos of my project, These are the hands of my grandmother on the piano that has my aunt, not play the piano, simulates touching it, hahaha!
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Al Bayt Stadium is a soccer stadium located in AL KHOR, Qatar. It simulates a Berber tent, one of the official venues for the 2022 Soccer World Cup. It has a planned capacity of 60,000 seated people. Photograph taken from the car.
El Estadio Al Bayt es un estadio de fútbol ubicado en AL KHOR, Qatar. Simula una carpa bereber, una de las sedes oficiales del Mundial de Fútbol 2022. Tiene una capacidad prevista de 60.000 personas sentadas. Fotografia tomada desde el coche.
Vestíbulo estación de Metro de Chamartin.
Esta gran infraestructura se ha decorado con una ornamentación especial. Así, este intercambiador de Chamartín cuenta con un gran mural que reproduce el efecto de una catarata en el muro curvo que hay sobre las vías de la Línea 1 de Metro.
El panel, de grandes dimensiones (22 metros de alto por 40 metros de largo) está realizado en una lona retroiluminada con luz fluorescente por la parte trasera que simula la caída del agua con los efectos de la luz.
Los autores han sido Vicente Patón y Alberto Tellería, que han dado a su obra el título de “Iguazú”.
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Chamartin Metro station.
This large infrastructure has been decorated with special ornaments. This exchange of Chamartin has played a large mural of a waterfall effect in the curved wall that is on the tracks of Metro Line 1.
The panel, large (22 meters high and 40 meters long) is made into a canvas backlit with fluorescent light from the rear to simulate falling water with the effects of light.
The authors have been Vincent Paton and Alberto Telleria, who have given his work the title of "Iguazu".
© 2010 Jose Miguel
I nostri cinque cani, Brico Gioia Kitty Kelly e Joy, ripresi con la mia reflex digitale Canon, e poi gli scatti sono stati elaborati con il programma della Nik Collection, Analog Efex Pro, versione multiobiettivo, che simula la macchinetta giocattolo della lomografia, la Supersampler.
Cinque cani in quattro pezzi!
Our five dogs, Brico Gioia Kitty Kelly and Joy, filmed with my Canon digital SLR, and then the shots were processed with the program of the Nik Collection, Analog Efex Pro, multi-lens version, which simulates the toy machine of the Lomography, the Supersampler.
Five dogs in four pieces!
Banda Cabaçal Irmãos Aniceto - grupo de manifestação folclórica brasileiro, fundado na cidade de Crato no Ceará. A performance acima simula uma "briga de galo", onde os integrantes armados de facão, duelam no palco.
Brazilian folkloric manifestation group, founded in the city of Crato Ceará. The performance above simulates the struggle of two roosters, armed members of machete duel on stage.
I nostri cinque cani, Brico Gioia Kitty Kelly e Joy, ripresi con la mia reflex digitale Canon, e poi gli scatti sono stati elaborati con il programma della Nik Collection, Analog Efex Pro, versione multiobiettivo, che simula la macchinetta giocattolo della lomografia, la Supersampler.
Cinque cani in quattro pezzi!
Our five dogs, Brico Gioia Kitty Kelly and Joy, filmed with my Canon digital SLR, and then the shots were processed with the program of the Nik Collection, Analog Efex Pro, multi-lens version, which simulates the toy machine of the Lomography, the Supersampler.
Five dogs in four pieces!
Martial Raysse és un pintor, escultor i realitzador francès nascut el 12 de febrer de 1936 a Golfe-Juan (Alps Marítims). Té el seu estudi a Issigeac (Dordonya).
Ha rebut nombrosos encàrrecs públiques. Un parell d'ells provenen de l'alcalde de Nîmes Jean Bousquet, que vol enllaçar el passat amb la modernitat, i realitza en els anys 1980 dues fonts a Nîmes. La primera, de 1987, s'instal·la a prop del mercat i s'inspira en un cocodril de la heràldica de Nîmes. En 1989, la segona, que es troba a la Place d'Assas, i erigeix dues fonts monumentals amb les estàtues de Nemausus i Nemausa, els fundadors de la ciutat de Nîmes.
La Place d'Assas, enigmàtica, ofereix als visitants una veritable experiència filosòfica. L'univers simbòlic i l'esoterisme estan constantment presents i el conjunt escultòric de Raysse, barrejant el sol i l'aigua, el vegetal i el mineral, és una proposta a un camí iniciàtic. A banda i banda de l'espai central rectangular, de llevant a ponent, dues fonts que són dos caps humanes barregen les seves aigües per formar una conca central circular a partir de la qual sorgeixen quatre columnes i dues estàtues hieràtiques. El cap femení cap a llevant representa a Nemausa, la deessa fundadora de Nîmes; l'altra, a ponent, Nemausus, el déu fundador de la ciutat. Al nord i al sud, diferents parapets i baranes estan gravats amb símbols, emblemes i enigmes del món alquímic, la francmaçoneria, el tarot o la bíblia. A la part inferior de la plaça, una piràmide de verdor i roques simula el Jardí de l'Edèn, però també la muntanya de la saviesa, el paradís de Mahoma...
Aquesta foto ha jugat a Quel est ce lieu?.
L'Arc de Santa Maria de Burgos era una de les dotze portes d'accés a la ciutat a l'edat mitjana. El seu aspecte data de segle XVI i la seva remodelació va ser duta a terme per Juan de Vallejo i Francisco de Colonia, l'arc simula un castell, en les fornícules s'hi troben personatges importants de la història de la ciutat i de Castella; com Nuño Rasura i Laín Calvo, els dos Jutges de Castella; els comtes Diego Rodríguez Porcelos, fundador de la ciutat, i Fernán González, el Cid i Carles V, tots ells presidits per Santa Maria la Major. Apareix esmentat en el poema del Mio Cid. En aquests moments és el Centre Cultural Històric-Artístic de Burgos.
CA: Com si es tractés del passat, la 7631 del Museu del Ferrocarril simula encapçalar un tren col·lector a punt de sortir cap a Reus. Aprofitant el moviment del 444.002M, es van exposar també altres trens a l'exterior de les naus, ocasió que es pot aprofitar per fer algunes fotografies interessants.
I've been ill all last week, but finally there is light at the end of a tunnel.
Canon EOS 5D mark II
EF 100mm f/2.8 Marcro USM
1/80 sec @ f/2.8
ISO 200
Sculpture that simulates a sand car with a human figure on top. Marinela beach, Anglet, France.
Escltura que simula un coche de arena con una figura humana encima. Playa de Marinela, Anglet, Francia.
Ang Patrona sa ika-75 taong kaarawan ng kanyang kapistahan.
May 8, 2011
Bo. Maypajo, Caloocan City.
June na... kaybilis lumipas ng Mayo, buwan ng mga kapistahan, ng pamamanata, ng kasiyahan...
nais ko pong pasalamatan kayong mga nagpagod at nakiisa,
...kayong walang sawa at kapagurang nagabala sa paghahanda para sa nasabing pista,
...kayong aking siyam na kaibigang naging aking "prayer warriors" sa nakalipas na apat na buwan, na walang sawang nanalangin tuwing miyerkoles at sabado para sa aking kalusugan,
maraming salamat po.
at hayaan po ninyong gamitin ko ang mga winika ng aking kaibigan mula sa kanyang talumpating pasasalamat...
"Sa ngalan ng Hermanos Mayores 2011
Nais po naming ipabatid ang aming pasasalamat sa inyong lahat:
sa ating pinakamamahal na Kura Paroko,
sa ating mga altar servers, lectors and commentators na nakiisa sa atin mula pa man sa simula ng novenario para sa ating Inang Virgen,
sa ating choir na sinamahan tayo sa ating pang-lingong misa sa loob ng 10 bwan,
sa mga nagtiwalang magpahiram ng kanilang imahen at mga pinakaiingatang kasangkapan,
sa mga nagbahagi ng inyong mga biyayang natanggap at lalo sa inyong panahong inilaan para sa ating Iniibig na Patrona,
sa mga taong nakiisa sa mga gawain at mgaliturhiya,
sa inyong mga taga rito sa ating munting pamayanan,
sa mga dumayo pa mula sa iba't- ibang lalawigan,
at sa inyong nagmula pa sa ibayong dagat...
Ating pasalamatan ang Mahal na Senyora na gumabay sa atin di lamang sa ating paglalakbay sa buhay bagkusbagkus sa mga gawain para sa kaniyang dakilang kaarawan- ang ika 75 pagdiriwang ng kanyang kapistahan,
at higit sa sino't ano pa mang bagay, ang Ating Panginoong Jesus na nagkaloob ng lahat ng ito.
Maraming maraming salamat po!"
Viva La Virgen!!!
Fotografiada en multitud de ocasiones, simula un velero a través de la dirección de los caños de agua. Preciosa fuente.
KDD Cabanyal 15-11-2008
totoo nga ang himala ang Manaog, antipolo at iba pang Birhen..at ngayon ang La Naval de Manila
....... isang napakalakas na ulan ang tumigil nang ang Birhen ay malapit ng lumabas, hanggang ng sya ay maka balik na muli ay di na bumuhos ang ulan muli. at nang ang lahat ay natapos na doon lang muli nag simula ang ulan... Viva la Virgen
Text, in english, from Wikipedia, the free encyclopedia:
Sistine Chapel (Italian: Cappella Sistina) is the best-known chapel in the Apostolic Palace, the official residence of the Pope in Vatican City. Its fame rests on its architecture, evocative of Solomon's Temple of the Old Testament and on its decoration which has been frescoed throughout by the greatest Renaissance artists including Michelangelo, Raphael, Bernini, and Sandro Botticelli. Under the patronage of Pope Julius II, Michelangelo painted12,000 square feet (1,100 m2) of the chapel ceiling between 1508 and 1512. He resented the commission, and believed his work only served the Pope's need for grandeur. However, today the ceiling, and especially The Last Judgement, are widely believed to be Michelangelo's crowning achievements in painting.
The Sistine Chapel takes its name from a pope, Pope Sixtus IV, who restored the old Cappella Magna between 1477 and 1480. During this period a team of painters that included Pietro Perugino, Sandro Botticelli and Domenico Ghirlandaio created a series of frescoed panels depicting the life of Moses and the life of Christ, offset by papal portraits above and trompe l’oeil drapery below. These paintings were completed in 1482, and on August 15, 1483, Sixtus IV consecrated the first mass in honor of Our Lady of the Assumption.
Since the time of Sixtus IV, the chapel has served as a place of both religious and functionary papal activity. Today it is the site of the Papal conclave, the ceremony by which a new Pope is selected.
The Sistine Chapel is best known for being the location of Papal conclaves. More commonly, it is the physical chapel of the Papal Chapel. At the time of Pope Sixtus IV in the late 15th century, this corporate body comprised about 200 people, including clerics, officials of the Vatican and distinguished laity. There were 50 occasions during the year on which it was prescribed by the Papal Calendar that the whole Papal Chapel should meet. Of these 50 occasions, 35 were masses, of which 8 were held in Basilicas, generally St. Peters, and were attended by large congregations. These included the Christmas Day and Easter masses, at which the Pope himself was the celebrant. The other 27 masses could be held in a smaller, less public space, for which the Cappella Maggiore was used before it was rebuilt on the same site as the Sistine Chapel.
The Cappella Maggiore derived its name, the Greater Chapel, from the fact that there was another chapel also in use by the Pope and his retinue for daily worship. At the time of Pope Sixtus IV this was the Chapel of Pope Nicholas V, which had been decorated by Fra Angelico. The Cappella Maggiore is recorded as existing in 1368. According to a communication from Andreas of Trebizond to Pope Sixtus IV, by the time of its demolition to make way for the present chapel the Cappella Maggiore was in a ruinous state with its walls leaning.
The present chapel, on the site of the Cappella Maggiore, was designed by Baccio Pontelli for Pope Sixtus IV, for whom it is named, and built under the supervision of Giovannino de Dolci between 1473 and 1481. The proportions of the present chapel appear to closely follow those of the original. After its completion, the chapel was decorated with frescoes by a number of the most famous artists of the High Renaissance, including Botticelli, Ghirlandaio, Perugino and Michelangelo.
The first mass in the Sistine Chapel was celebrated on August 9, 1483, the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary.
The Sistine Chapel has maintained its function to the present day, and continues to host the important services of the Papal Calendar, unless the Pope is travelling. There is a permanent choir for whom much original music has been written, the most famous piece being Allegri's Miserere.
One of the primary functions of the Sistine Chapel is as a venue for the election of each successive pope in a conclave of the College of Cardinals. On the occasion of a conclave, a chimney is installed in the roof of the chapel, from which smoke arises as a signal. If white smoke appears, created by burning the ballots of the election and some chemical additives, a new Pope has been elected. If a candidate receives less than a two-thirds majority, the cardinals send up black smoke—created by burning the ballots along with wet straw or chemical additives—it means that no successful election has yet occurred.
The conclave also provides for the cardinals a space in which they can hear mass, and in which they can eat, sleep, and pass time abetted by servants. From 1455, conclaves have been held in the Vatican; until the Great Schism, they were held in the Dominican convent of Santa Maria sopra Minerva.
Canopies for each cardinal-elector were once used during conclaves—a sign of equal dignity. After the new Pope accepts his election, he would give his new name; at this time, the other Cardinals would tug on a rope attached to their seats to lower their canopies. Until reforms instituted by Saint Pius X, the canopies were of different colours to designate which Cardinals had been appointed by which Pope. Paul VI abolished the canopies altogether, since under his papacy, the population of the College of Cardinals had increased so much to the point that they would need to be seated in rows of two against the walls, making the canopies obstruct the view of the cardinals in the back row.
The Chapel is a high rectangular brick building, its exterior unadorned by architectural or decorative details, as common in many Medieval and Renaissance churches in Italy. It has no exterior facade or exterior processional doorways as the ingress has always been from internal rooms within the Papal Palace, and the exterior can only be seen from nearby windows and light-wells in the palace. The internal spaces are divided into three stories of which the lowest is huge with a robustly vaulted basement with several utilitarian windows and a doorway giving onto the exterior court.
Above is the main space, the Chapel, the internal measurements of which are 40.9 meters (134 ft) long by 13.4 meters (44 ft) wide—the dimensions of the Temple of Solomon, as given in the Old Testament. The vaulted ceiling rises to 20.7 meters (68 ft). The building had six tall arched windows down each side and two at either end. Several of these have been blocked, but the chapel is still accessible. Above the vault rises a third story with wardrooms for guards. At this level an open projecting gangway was constructed, which encircled the building supported on an arcade springing from the walls. The gangway has been roofed as it was a continual source of water leaking in to the vault of the Chapel.
Subsidence and cracking of masonry such as must also have affected the Cappella Maggiore has necessitated the building of very large buttresses to brace the exterior walls. The accretion of other buildings has further altered the exterior appearance of the Chapel.
As with most buildings measured internally, absolute measurement is hard to ascertain. However, the general proportions of the chapel are clear to within a few centimetres. The length is the measurement and has been divided by three to get the width and by two to get the height. Maintaining the ratio, there were six windows down each side and two at either end. The screen which divides the chapel was originally placed half way from the altar wall, but this has changed. Clearly defined proportions were a feature of Renaissance architecture and reflected the growing interest in the Classical heritage of Rome.
The ceiling of the chapel is a flattened barrel vault springing from a course that encircles the walls at the level of the springing of the window arches. This barrel vault is cut transversely by smaller vaults over each window, which divide the barrel vault at its lowest level into a series of large pendentives rising from shallow pilasters between each window. The barrel vault was originally painted brilliant blue and dotted with gold stars, to the design of Piermatteo Lauro de' Manfredi da Amelia. The pavement is in opus alexandrinum, a decorative style using marble and coloured stone in a pattern that reflects the earlier proportion in the division of the interior and also marks the processional way form the main door, used by the Pope on important occasions such as Palm Sunday.
The screen or transenna in marble by Mino da Fiesole, Andrea Bregno and Giovanni Dalmata divides the chapel into two parts. Originally these made equal space for the members of the Papal Chapel within the sanctuary near the altar and the pilgrims and townsfolk without. However, with growth in the number of those attending the Pope, the screen was moved giving a reduced area for the faithful laity. The transenna is surmounted by a row of ornate candlesticks, once gilt, and has a wooden door, where once there was an ornate door of gilded wrought iron. The sculptors of the transenna also provided the cantoria or projecting choir gallery.
During occasional ceremonies of particular importance, the side walls are covered with a series of tapestries originally designed for the chapel from Raphael, but looted a few years later in the 1527 Sack of Rome and either burnt for their precious metal content or scattered around Europe. The tapestries depict events from the Life of St. Peter and the Life of St. Paul as described in the Gospels and the Acts of the Apostles. In the late 20th century a set was reassembled (several further sets had been made) and displayed again in the Sistine Chapel in 1983. The full-size preparatory cartoons for seven of the ten tapestries are known as the Raphael Cartoons and are in London.
Michelangelo Buonarroti was commissioned by Pope Julius II in 1508 to repaint the ceiling, originally representing golden stars on a blue sky; the work was completed between 1508 and 1 November 1512. He painted the Last Judgment over the altar, between 1535 and 1541, on commission from Pope Paul III Farnese.
Michelangelo was intimidated by the scale of the commission, and made it known from the outset of Julius II's approach that he would prefer to decline. He felt he was more of a sculptor than a painter, and was suspicious that such a large scale project was being offered to him by enemies as a set-up for an inevitable fall. For Michelangelo, the project was a distraction from the major marble sculpture that had preoccupied him for the previous few years.
The sources of Michelangelo's inspiration are not easily determined; both Joachite and Augustinian theologians were within the sphere of Julius influence. Nor is known the extent to which his own hand physically contributed to the actual physical painting of any of particular images attributed to him.
n 1508, Michelangelo was commissioned by Pope Julius II to paint the vault, or ceiling of the chapel. It took him until 1512 to complete. To be able to reach the ceiling, Michelangelo needed a support; the first idea was by Julius' favoured architect Donato Bramante, who wanted to build for him a scaffold to be suspended in the air with ropes. However, Bramante did not successfully complete the task, and the structure he built was flawed. He had perforated the vault in order to lower strings to secure the scaffold. Michelangelo laughed when he saw the structure, and believed it would leave holes in the ceiling once the work was ended. He asked Bramante what was to happen when the painter reached the perforations, but the architect had no answer.
The matter was taken before the Pope, who ordered Michelangelo to build a scaffold of his own. Michelangelo created a flat wooden platform on brackets built out from holes in the wall, high up near the top of the windows. He stood on this scaffolding while he painted.
Michelangelo used bright colours, easily visible from the floor. On the lowest part of the ceiling he painted the ancestors of Christ. Above this he alternated male and female prophets, with Jonah over the altar. On the highest section Michelangelo painted nine stories from the Book of Genesis. He was originally commissioned to paint only 12 figures, the Apostles. He turned down the commission because he saw himself as a sculptor, not a painter. The Pope offered to allow Michelangelo to paint biblical scenes of his own choice as a compromise. When the work was finished there were more than 300. His figures showed the creation, Adam and Eve in the Garden of Eden and the Great Flood.
The Sistine Chapel's ceiling restoration began on November 7th, 1984. The restoration complete, the chapel was re-opened to the public on April 8th, 1994. The part of the restoration in the Sistine Chapel that has caused the most concern is the ceiling, painted by Michelangelo. The emergence of the brightly-coloured Ancestors of Christ from the gloom sparked a reaction of fear that the processes being employed in the cleaning were too severe.
The problem lies in the analysis and understanding of the techniques utilised by Michelangelo, and the technical response of the restorers to that understanding. A close examination of the frescoes of the lunettes convinced the restorers that Michelangelo worked exclusively in "buon fresco"; that is, the artist worked only on freshly laid plaster and each section of work was completed while the plaster was still in its fresh state. In other words, Michelangelo did not work "a secco"; he did not come back later and add details onto the dry plaster.
The restorers, by assuming that the artist took a universal approach to the painting, took a universal approach to the restoration. A decision was made that all of the shadowy layer of animal glue and "lamp black", all of the wax, and all of the overpainted areas were contamination of one sort or another:- smoke deposits, earlier restoration attempts and painted definition by later restorers in an attempt to enliven the appearance of the work. Based on this decision, according to Arguimbau's critical reading of the restoration data that has been provided, the chemists of the restoration team decided upon a solvent that would effectively strip the ceiling down to its paint-impregnated plaster. After treatment, only that which was painted "buon fresco" would remain.
Teto da Capela Sistina
Um texto, em português, da Wikipédia, a Enciclopédia livre:
Teto da Capela Sistina
O Teto da Capela Sistina é um monumental afresco de Michelangelo realizado entre os anos de 1508 e 1512 na Capela Sistina, no Vaticano, como o nome indica.
Na realização desta grandiloqüente obra concorreram amor e ódio... Michelangelo teria feito contrariado este trabalho convencido que era mais um escultor, que um pintor. Encarregado pelo Papa Júlio II, sobrinho do Papa Sisto IV, de pintar o teto da capela, julgou ser um conluio de seus rivais para desviá-lo da obra para a qual havia sido chamado à Roma: o mausoléu do Papa. Mas, dedicou-se a tarefa e fez com tanta mestria que praticamente ofuscou as obras primas de seus antecessores na empresa. Os afrescos no teto da Capela Sistina são, de fato, um dos maiores tesouros artísticos da humanidade.
É difícil acreditar que tenha sido obra de um só homem, e que o mesmo ainda encontraria forças para retornar ao local, duas décadas depois, e pintar na parede do altar, sacrificando, inclusive, alguns afrescos de Perugino, o “extraordinário espetáculo” do Juízo Final, entre 1535 e 1541, já sob o pontificado de Paulo III.
A superfície da abóbada foi dividida em áreas concebendo-se arquitetonicamente o trabalho de maneira que resultasse numa articulação do espaço dividido por pilares. Nas áreas triangulares alocou as figuras de profetas e sibilas; nas retangulares, os episódios do Gênese. Para entender estas últimas deve-se atentar para as que tocam a parede do fundo:
* Deus separando a Luz das Trevas;
* Deus criando o Sol e a Lua;
* Deus separa a terra das águas;
* A Criação de Adão;
* A Criação de Eva;
* o Pecado Original e a expulsão do Paraíso;
* o Sacrifício de Noé;
* o Dilúvio Universal;
* e o Noé Embriagado.
A Capela Sistina é uma capela situada no Palácio Apostólico, residência oficial do Papa na Cidade do Vaticano, erigida entre os anos 1475 e 1483, durante o pontificado do Papa Sisto IV. A Celebração Eucarística de inauguração ocorreu em 15 de Agosto de 1483.
Era um projeto relativamente simples e despretensioso, no início, destinado ao culto particular dos papas e da alta hierarquia eclesiástica, contudo, fruto de uma época de expansão política e territorial da Santa Sé, viria a tornar-se num dos símbolos desta, tamanha magnificência adquiriu.
A celebridade da capela deve-se, também, ao fato de nela se realizarem os conclaves para a eleição do Sumo Pontífice da Igreja Católica Romana.
A virada do Quattrocento para o Cinquecento foi um dos momentos mais marcantes para a História da arte ocidental, quiçá mundial. A Itália, com epicentro em Florença, deu ao mundo uma tal gama de geniais artistas que parece milagrosa. "Não há como explicar a existência do gênio. É preferível apreciá-lo", diz Gombrich, tentando entender por que tantos grandes mestres nasceram no mesmo período.
A Capela Sistina é um dos locais mais propícios para aquilatar a dimensão desta explosão criativa. Para a sua feitura concorreram os maiores nomes de que dispunha a Itália no momento.
Sisto IV, como parte da política que empreendia para o restabelecimento do prestígio e fortalecimento do papado, convocou a Roma os maiores artistas da Itália. Florença era o centro de excelência até então. De lá e da Úmbria vieram os maiores nomes, fato que deslocaria para Roma a capitalidade cultural, que atingiria o zênite algumas décadas depois, com a eleição de Júlio II para ocupar a Cátedra de São Pedro. Para a história da cultura o significado do projeto e construção da Sistina é imenso, juntamente com as demais obras encomendadas por Sisto IV. Não somente porque marca o deslocamento da capitalidade cultural para Roma, mas por se tratar do ciclo pictórico de maior relevo da Itália no final do século XV, "constituindo além disso um documento inapreciável para observar as virtudes e os limites da pintura do Quattrocento'".
Com exceção de Ghirlandaio, os pintores que nela assinalaram seus talentos avançam com a sua obra o século seguinte e os gênios que mudaram os rumos da pintura no período estão todos estreitamente relacionados com eles: Ghirlandaio fora mestre de Michelangelo; Rafael aprendiz de Perugino; e no atelier de Verrocchio passaram: Leonardo, Perugino e Botticelli.
Mais que um liame entre o Quattrocento e o Cinquecento, esta geração de artistas "representa um ponto final, a constatação de uma crise. Algo que ficará manifesto pelo fato de que tanto Leonardo como Michelangelo construírem em boa medida suas respectivas linguagens sobre a negação da deles".
foi o autor do projeto arquitetônico para a construção da capela. Este florentino era um dos responsáveis pela reformulação e revitalização urbanística que Sisto IV efetuava em Roma, tendo realizado dezenas de obras públicas.
No projeto, construído com a supervisão de Giovannino de Dolci entre 1473 e 1484, emprestaram seus dons: Perugino, Botticelli, Ghirlandaio, Rosselli, Signorelli, Pinturicchio, Piero di Cosimo, Bartolomeo della Gatta, Rafael e outros. Coroando este festival, alguns anos depois, um dos maiores gênios artísticos de todos os tempos: Michelangelo Buonarroti.
As dimensões do projeto de Baccio Pontelli tiveram como inspiração as descrições contidas no Antigo Testamento relativas ao Templo de Salomão. A sua forma é retangular medindo 40,93 m de longitude, 13,41 m e largura e 20,70 m de altura. Os numerosos artistas vestiram o seu interior, esculpindo e pintando as suas paredes, transformando-a em um estupendo e célebre lugar conhecido em todo o mundo pelas maravilhosas obras de arte que encerra.
Uma finíssima transenna de mármore, em que trabalharam Mino de Fiesole, Giovanni Dálmata e Andréa Bregno, divide a capela em duas partes desiguais. Os mesmos artistas levaram a cabo a construção do coro.
Internamente, as paredes, divididas por cornijas horizontais, apresentam 3 níveis:
* o primeiro nível, junto ao chão em mármore - que, em alguns setores, apresenta o característico marchetado cosmatesco - simula refinadas tapeçarias. No lado direito, próximo à transenna está o coro;
* o intermediário é onde figuram os afrescos narrando os episódios da vida de Cristo e de Moisés. A cronologia inicia-se a partir da parede do altar, onde se encontravam, antes da feitura do Juízo Final de Michelangelo, as primeiras cenas e um retábulo de Perugino representando a Virgem da Assunção, a quem foi dedicada a capela.
* o nível mais alto, onde estão as pilastras que sustentam os pendentes do teto. Acima da cornija estão situadas as lunettes, entre as quais foram alocadas as imagens dos primeiros papas.
No último quartel do século XX, obras empreendidas no teto da Capela Sistina no intuito de recuperar o brilho original do tempo de Michelangelo foram motivo de inúmeras controvérsias.
Restaurações vinham sendo feitas ao longo dos anos, e desde a década de 1960 já se trabalhava nos afrescos mais antigos. O projeto mais audacioso, a cargo do restaurador Gianluigi Colalucci, iniciou-se em 1979 com a limpeza da parede do altar: o Juízo Final, de Michelangelo.
Durante este período a capela esteve fechada ao público que visita o Museu do Vaticano - cerca de 3.000.000 pessoas por ano - só voltando a ser reaberta em 8 de Abril de 1994.
L'ala simula una testa con un occhio per spaventare i predatori / The wing simulates a head with an eye to scare predators
Sampaloc Lake , San Pablo City , Philippines , fishing in black and white
Sampaloc Lake is an inactive vulcanic lake on Luzon in the Philippines and it's the largest of the seven lakes in San Pablo.
Considered one of the prime tourist spots in the city, Sampaloc Lake is dotted with floating restaurants along its shoreline that serve delectable Filipino and Chinese cuisines. It abounds with tilapia, bangus, carp and several species of shrimps. It is presently lined with fish pens and small cottages built on bamboo stilts.
The legend about Sampaloc Lake tells us that it's name comes of a giant tamarind (sampalok) tree in the garden of a selfish stingy old woman who drove away a fairy disguised as an old man asking for some fruit as a cure for his ailing grandson. Instead of yielding to his appeal for help, the stingy old woman had him driven away by her ferocious dogs. The old man was badly hurt.
Hardly an hour after the old man left, there was a thundering noise followed by the cracking of the earth. The next instant the entire orchard sank into a colossal pit which was eventually filled with water. Henceforth, the villagers called it Lake Sampaloc.
Sampaloc Lake, San Pablo City, Pilipinas
Sampaloc Lake ay isang di-aktibong vulkanik lake sa Luzon sa Pilipinas at ito ay ang pinakamalaking ng pitong lawa sa San Pablo.
Itinuturing na isa sa mga kalikasan spot turista sa lungsod, Sampalok Lake ay may tuldok na may lumulutang restaurant sa kahabaan ng baybayin nito na maghatid ng napakasarap na pagkaing Filipino at mga lutuin ng Intsik. Ito tigib sa tilapia, bangus, pamumula at ilang mga species ng hipon. Ito ay kasalukuyang may linya sa panulat isda at maliit na cottages binuo sa stilts kawayan.
Ang alamat tungkol sa Sampaloc Lake ay nagsasabi sa amin na ito ay pangalan ng dumating ng isang higanteng sampalok (Sampalok) puno sa hardin ng isang makasarili maramot na matandang babae na kawan ang layo ng isang engkanto disguised bilang isang matandang lalaki na humihingi para sa ilang mga prutas bilang isang lunas para sa kanyang sakit na apong lalaki. Sa halip na pagbibigay-daan sa kanyang apila para sa tulong, ang maramot matandang babae, siya ay hinahamon ang layo sa pamamagitan ng kanyang galit na galit na mga aso. Ang matandang tao ay masama nasaktan.
Bahagya isang oras pagkatapos ay iniwan ang matandang tao, may isang ingay dumadagundong na sinusundan ng mga lindol sa lupa. Ang susunod na pangyayari ang buong halamanan lumubog sa isang napakalaki na hukay kung saan ay sa wakas napuno ng tubig. Simula ngayon, tinatawag na, ng mga tagabaryo na ito ay Lake Sampaloc.
BELLE SHAFIR. 2002 "COPYRIGHT ARTE SELLA"
In questa porzione di bosco, osservando bene, si può notare l'opera di Belle Shafir che simula gli alberi creando un effetto "arte natura" molto realistico.
Ho avuto ufficialmente il permesso dalla Direzione di Arte Sella di pubblicare le immagini di queste Opere in quanto è proibito divulgarle su internet senza il loro benestare.
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BELLE SHAFIR. 2002 "COPYRIGHT ARTE SELLA"
In this portion of the woods, looking closely, you can see the work of Belle Shafir that simulates the trees creating a very realistic "art nature" effect.
I have officially received permission from the Management of Arte Sella to publish the images of these Works as it is forbidden to disclose them on the internet without their approval.
CANON EOS 600D con ob. SIGMA 10-20 f./4-5,6 EX DC HSM
Dryadella sp. (simula ?) flowering in situ, observed during an orchid tour with Ecotone tours in Cauca, Colombia
(drawn in computer)
IPAGBUNYI ANG ARAW NG KALAYAAN
Ang makasaysayang pagpapahayag ng Araw ng Kalayaan ng Pilipinas ay nabigyang kaganapan noong Hunyo 12, 1898 kung saan idineklara ni Heneral Emilio Aguinaldo ang pagsasarili ng Pilipinas hinggil sa pananakop ng Espanya matapos itong magapi sa naganap na Sagupaan sa Manila Bay noong panahon ng digmaan sa pagitan ng Espanya at Amerika.
Samantalang ipinagdiriwang ng Pilipinas ang Araw ng Kalayaan tuwing ikalabindalawa ng Hunyo, ang sinasabing tunay nitong kalayaan ay kinilala lamang ng bansang Amerika noong ikaapat ng Hulyo, 1946. Magmula noon, ang Araw ng Kalayaan ay ipinagdiriwang tuwing Hulyo 4, alang-alang sa nasyonalismo o pagkamakabansa at ayon na rin sa sangguni ng mga mananalaysay. Ang Republic Act.No. 4166 ay nilagdaan upang maging batas ni Pangulong Diosdado Macapagal noong 1964. Isinasaad sa batas na ito na ang petsang Hunyo 12,mula pa sa panahong kinikilala ito bilang Araw ng Watawat ay siya ring Araw ng Kalayaan.
ACCLAIMED THE DAY OF FREEDOM
The historic Declaration of the Independence Day of the Philippines were given event on June 12, 1898 where General Emilio Aguinaldo declared the independence of the Philippines regarding the occupation of Spain after it overcome the conflict took place in Manila Bay during the war between Spain and America.
The Philippines celebrated as Independence Day every twelfth of June, this claim is true freedom is identified only country in America Fourth of July, 1946. Since then, Independence Day is celebrated every July 4, for the sake of nationalism or nationalism and as well as the historical reference. The Republic Act.No. To 4166 was signed into law by President Diosdado Macapagal in 1964. Representations to it that the law dated June 12, since nowadays recognized as Flag Day is also Independence Day.
El castillo del Bil-Bil, en la costa de Benalmádena, un centro cultural que simula un pequeño castillo andalusí.
... y el lugar donde me casé.
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The Bil-Bil castle on the coast of Benalmadena, a cultural center that looks like a small castle Andalusí.
... and the place where I got married.
Panalangin kay Maria, Birhen Dolorosa
Kabanal-banalang Birhen, Ina ng aming Panginoong Jesucristo: sa iyong matinding paghihirap at pagdadalamhati, nang iyong masaksihan ang pagdurusa, pagkapako at kamatayan sa Krus ng iyong dakilang Anak, ipahintulot mong mapasaakin ang iyong tiyaga at lakas ng loob; ang pagtanggap sa kalooban ng Ama ng may buong pagtitiwala at pag-asa.
Pukawin mo ang aking puso na maramdaman ko ang pakikiisa sa iyong tiniis na pasakit bilang isang ina at sa pagpapahirap na dinanas ng iyong Anak sa Kanyang pagiging isang martir para sa aking kaligtasan. Masabi ko man lamang sa aking sarili, na ako ay sumunod sa inyong dalawa sa matinik na kalbaryo ng aking buhay.
Itulot mong magkaroon ako ng tunay na pagkamuhi at pagtalikod sa kasalanan, nang sa ganon, hangarin ko ang walang hanggang kaligayahan sa Langit. Ipinanalangin ko, na simula ngayon, ang lahat ng aking isip at gawa, ay matuon sa pagiging tapat sa iyong Dakilang Anak.
Ipamagitan mo ako sa ating Ama, na makamtan ko ang katuparan ng aking hinihiling, kung ito ay makapagbibigay ng higit na papuri at luwalhati sa Diyos at makakabuti sa aking kaluluwa. Siya Nawa.
Papuri, luwalhati at pag-ibig para sa ating Banal na Panginoong Jesucristo, at sa dakila at kalinis-linisang Ina ng Diyos!
Birhen Dolorosa, ipanalangin mo ako.
L'església de Santa Maria Magdalena, popularment coneguda com la "església de la marina", es troba entre els dos eixamples de barri dels Pescadors d'Hondarribia.
Va ser construïda en 1921 per José Ángel Fernández de Casadevante en substitució de l'antiga església de la Magdalena, destruïda segles enrere en un dels nombrosos assalts que va patir la ciutat.
Aquest temple ha sofert diverses reformes. Els seus laterals tenen finestres d'arc de mig punt,. L'absis pintat amb motiu de passatge de la Bíblia, la Pesca Miraculosa, i juntament amb l'altar, que simula motius de vaixells, donen una imatge peculiar a el conjunt.
Des d'aquesta església s'inicia el recuperat passeig fluvial anomenat "Karmengo Amarbirgiña", que té lloc cada 22 de juliol, festivitat de barri de la Marina, des del Passeig de Butrón fins Arrantzaleen Kofradia.
Bakit hindi ako makagalaw
Bakit ako hindi makakilos
Isa lang naman ang gusto ko
Ang maging maayos ang lahat
Pero sa pagdaan ng oras
Parang walang ngyayari
Parang …..
Hindi ko alam kung nakapag simula naba ako
Hindi ko alam kung asan na ako
Nandito parin ba ako sa posisyon bago magsimula ang lahat?
Hindi ko alam
Wala akong alam
Tanga ng kung tanga
Pero kahit anu pa man,
Mag aantay ako
Pero sana po, ako ay Iyong tulungan.
Nagmamakaawa po ako.
Ako ay Iyong gabayan
Sige na Po
Diko na kaya pero di po ako susuko
Mag aantay ako sa Inyong mapagpalang kamay.
---harlene
Un roser silvestre vol jugar a ser foc.
Enarbola les seves branques com flames i simula les espurnes amb els seus fruits vermells plens de borró.
Però per més que ho intenta, no té res a dintre que pugui donar llum i escalfor.
La hoguera negra
Un rosal silvestre quiere jugar a ser fuego.
Enarbola sus tallos espinosos como si fuesen llamas y simula las pavesas con sus frutos rojos llenos de pelusilla.
Pero por más que lo intenta, no tiene nada dentro que pueda dar luz y calor.
The black bonfire
A wild rosehip pretends to be a bonfire.
It raises its spiky stems like flames and fakes the sparks with its red, fuzzy seeds.
But try as it might, nothing inside it could ever provide any heat or light.
Após ter sua aeronave abatida, militar encontra-se em território hostil e precisa evadir-se das ameaças e chegar até o ponto de resgate.
Cover of the Souvenir Program
Coronacion Canonica de La Virgen de la Soledad de Porta Vaga
Noviembre 17, 1978
INA, REYNA at PATRONA ng buong LALAWIGAN NG KABITE
Simula pa man ng magpakita noong 1667, tinaguriang LA EXCELSA PATRONA de la PROVINCIA DE CAVITE y La Celestial Guardiana y Protectora de la Provincia de Cavite y su Puerto mula pa man noon hanggang ngayon, hindi mabilang na mga himala ang ipinamalas ng Mahal na Ina, dahilan upang lumaganap at lumakas ang pagdedebosyon sa Kanya hindi lamang sa buong lalawigan ng Kabite kundi sa iba't ibang panig ng bansang Pilipinas.
Naging tanggulan at kanlungan ng sambayanang Kabitenyo sa panahon ng himagsikan at pagbabago, kung kaya't tinaguriang ILAW NG PILIPINAS. Nang taong 1883, buong ringal na ipinagdiwang ang kapistahan sa pangunguna ng Gobernador ng Lalawigan na si Don Juan Salcedo y Mantilla de los Rios bilang pasasalamat sa pagliligtas sa Kabite mula sa isang matinding epidemia. Noon pa man, hanggang ngayon, ang SOLEDAD ang kanlungan ng Lalawigan at ng lahat ng mga taong sa kanya'y napaampon.
REINA DE CAVITE,
LUZ DE FILIPINAS,
Tunay kang tanglaw namin!
La gente de 4608 ya tiene listo su primer Magazine y han preparado este trailer antes del lanzamiento. Como curiosidad, la revista tendrá un formato que simula un archivo policial Sueco.
" Wednesday next week we will release the first issue of the 4608 magazine. As the concept is to make a magazine as a replica of a swedish police report we have interrogated two Stockholm based vandals heavy on their train game and one well travelled vandal from Spain who talks about being perhaps the first ever to do the Beijing subway. " @4608vandalism
Ayon sa mga kuwento, kapag hindi na iilawan ang imahen ng Patrong San Jose, ay may mga yabag ng paa na naglalakad ang maririnig sa loob ng simbahan.
Simula pa nuong araw, ang maliit na imahe ng San Jose na nakaluklok sa harapan ng simbahan ng Carmona ay hindi pinapabayaang mawalan ng ilaw pati na rin ang imaheng ito na nasa gilid ng Altar Mayor. Ang tradisyon ng pagiilaw ay nagsimula sa isang matandang lalaki na tagaCarmona, na tuwing sasapit ang gabi'y pumupunta sa simbahan upang ilawan lang ang lanterna ni San Jose upang ito'y matanglawan sa gitna ng dilim ng gabi.
Sa nalalapit na Kapistahan.......
at ang Araw ng Translacion.......
"Espiritu ng Ama at ng Poong Nazareno, Sambayanang Pilipino, Ibangon mo."
KAPISTAHAN NG MAHAL NA POONG JESUS NAZARENO
(The Celebration of TRASLACION 2012)
Enero 08 - 09, 2012
Tema: "Espiritu ng Ama at ng Poong Nazareno, Sambayanang Pilipino, Ibangon Mo"
Disyembre 31, 2011 - Enero 08, 2012 (Simbahan ng Quiapo)
5:00 ng hapon - Misa Nobenaryo
Enero 01, 2012 - DAKILANG KAPISTAHAN NI MARIA, INA NG DIYOS
(Linggo-Simbahan ng Quiapo)
5:00 ng umaga - Misa ng Pasasalamat at PRUSISYON
5:00 ng hapon - Misa Concelebrada para sa Dakilang Kapistahan ni Maria, Ina ng Diyos
6:00 ng gabi - Prusisyon ng Imahe ni Maria, Ina ng Diyos
Enero 06, 2012 - Unang Biyernes ng Taon (Simbahan ng Quiapo)
Oras ng mga Misa:
Umaga:
4:00 ng umaga hanggang 12:15 ng tanghali
3:00 ng hapon - Banal na Oras
Hapon:
4:00 ng hapon hanggang 8:00 ng gabi
Enero 07, 2012 - Sabado (Simbahan ng Quiapo)
2:00 ng hapon - Prusisyon ng mga Replika ng Poong Nazareno
Enero 08, 2012 - Linggo (Kapistahan ng Pagpapakita ng Panginoon o Epiphany at Bisperas ng Kapistahan)
Luneta (Quirino Grandstand):
1:00 ng hapon - Simula ng Pahalik sa Mahal na Poong Nazareno
3:30 ng hapon - Band Parade (City Hall Band and Nazarene Catholic School)
5:00 ng hapon - Mass and Healing Service
Celebrant: Rev. Fr. Benny de Guzman
7:00 ng gabi - Simula ng Vigil
1st talk - Rev. Fr. Jacinto Rey Padua
2nd talk - Bishop Broderick Pabillo, D.D.
Enero 09, 2012 - KAPISTAHAN NG MAHAL NA POONG JESUS NAZARENO (Lunes)
Luneta (Quirino Grandstand):
12:00 ng hatinggabi - Pagpapatuloy ng Vigil
3rd Talk - Rev. Fr. Benny de Guzman
4th Talk - Bishop Teodoro Bacani, D.D.
4:30 ng umaga - Wrap Up the Vigil Activities/Short Cathechesis/Closing Prayer/Invitation for the Holy Mass
Celebrant: Rev. Fr. Anton Pascual
6:00 ng umaga - BANAL NA MISA
Punong Tagapagdiwang: His Excellency Luis Antonio G. Tagle, Archbishop of Manila
8:00 ng umaga - TRASLACION o Prusisyon ng Imahe ng Mahal na Poong Jesus Nazareno
(Mula Luneta hanggang Simbahan ng Quiapo)
Mga Aktibidades sa Simbahan ng Quiapo sa Araw ng Kapistahan:
7:00 ng umaga - Band Parade
Oras ng mga Misa:
Umaga:
3:00 ng umaga hanggang 12:00 ng tanghali
Hapon:
3:00 ng hapon hanggang 9:00 ng gabi
PAALALA:
Pinapayuhan ang mga deboto na maging disiplinado sa pagsama sa Prusisyon, Huwag po tayong sumalang ng nakainom, magkalat sa paligid lalo na sa daraanan ng prusisyon at higit sa lahat, huwag nating akyatin ang carroza ng Poon. Tandaan na kung my matinding pananampalataya ka sa Diyos kahit sumama ka lang ng matiwasay ay didinggin Niya ang iyong mga panalangin at kahilingan. Huwag din tayong magbalyahan at mag-agawan sa lubid. Magbigayan po tayo at maging mapagpasensya sa pagpasan at ito'y upang maiwasan din ang ilang aksidente tuwing iidinaraos ang Prusisyon. Bigyang galang nating ang Poon sa pagsama sa Prusisyon sa pamamagitan ng pagiging DISIPLINADO.
Inaasahan din na tatagal ang Prusisyon at makakabalik ang Poong Nazareno sa Simbahan ng Quiapo makalipas ang humigit kumulang 15 oras.
Desde un balcón natural en el parque nacional los Alerces, Chubut argentina, observando este maravilloso fondo que simula un cielo incendiado por esos colores.
From a natural balcony in Los Alerces National Park, Chubut Argentina, observing this wonderful background that simulates a sky set on fire by those colors.
18th century print of the Virgen de la Soledad which used to be in the Jesuit College of Cavite. This was given as a gift of the Jesuits to then Bishop of Imus, Bishop Felix Perez on the occasion of the inauguration of the Tahanan ng Mabuting Pastol seminary. He declared this icon as the official Patroness of this Diocesan Seminary in 1975.
INA, REYNA at PATRONA ng buong LALAWIGAN NG KABITE
Simula pa man ng magpakita noong 1667, tinaguriang LA EXCELSA PATRONA de la PROVINCIA DE CAVITE y La Celestial Guardiana y Protectora de la Provincia de Cavite y su Puerto mula pa man noon hanggang ngayon, hindi mabilang na mga himala ang ipinamalas ng Mahal na Ina, dahilan upang lumaganap at lumakas ang pagdedebosyon sa Kanya hindi lamang sa buong lalawigan ng Kabite kundi sa iba't ibang panig ng bansang Pilipinas.
Naging tanggulan at kanlungan ng sambayanang Kabitenyo sa panahon ng himagsikan at pagbabago, kung kaya't tinaguriang ILAW NG PILIPINAS. Nang taong 1883, buong ringal na ipinagdiwang ang kapistahan sa pangunguna ng Gobernador ng Lalawigan na si Don Juan Salcedo y Mantilla de los Rios bilang pasasalamat sa pagliligtas sa Kabite mula sa isang matinding epidemia. Noon pa man, hanggang ngayon, ang SOLEDAD ang kanlungan ng Lalawigan at ng lahat ng mga taong sa kanya'y napaampon.
REINA DE CAVITE,
LUZ DE FILIPINAS,
Tunay kang tanglaw namin!
Mabuti at may kuha akong Aero Adamant ni Dalin noon bago maglaho. Isa ito sa mga na-recover shot ko—simula noong mawala 'yung mga raw file nito. Hindi ko aakalain na makikita ko pa itong shot na ito.
Company/Owner: HDG Dalin Liner, Inc.
Fleet/Bus Number: 2629555
Classification: Air-conditioned Provincial Bus
Coachbuilder: Del Monte Motor Works, Inc.
Body Model: Nissan Diesel/Del Monte Aero Adamant
Engine Model: Nissan Diesel PE6-T
Chassis Model: Nissan Diesel RB46S
Transmission: 6-speed Manual Transmission
Suspension: Leaf Spring Suspension
Seating Configuration: 2×2
Seating Capacity: 49
Franchise route: unknown
Route: Sampaloc, Manila City–Tuguegarao City, Cagayan via N1 (Maharlika Highway)
Municipalities/cities passing: Santa Rita (Guiguinto)/Plaridel/Pulilan/Baliuag/San Rafael/San Ildefonso/San Miguel/Gapan City/San Leonardo/Santa Rosa/Cabanatuan City/Talavera/Santo Domingo/Science City of Muñoz/San Jose City/Carranglan/Santa Fe/Aritao/Gabut (Dupax Del Sur)/Ineangan (Dupax Del Norte)/Bambang/Bayombong/Solano/Bagabag/Diadi/Cordon/Santiago City/San Isidro/Echague/Alicia/Cauayan City/Reina Mercedes/Naguilian/Gamu/Ilagan City/Tumauini/Cabagan/San Pablo/Peñablanca
Type of Operation: Provincial Operation Public Utility Bus (Regular Class)
Area of Operation: Cagayan Valley (Region II)
Shot Location: Pulilan–Plaridel Regional Road/Bypass Road, Cut-cot, Pulilan, Bulacan
Date Taken: January 26, 2016
Notices:
* Please DON'T GRAB A PHOTO WITHOUT A PERMISSION. If you're going to GRAB IT, please give A CREDIT TO THE OWNER. Also, don't PRINT SCREEN my photos.
** If I have mistakes on the specifications, please comment in a good manner so that I can edit it immediately.
*** The specifications and routes (for provincial, inter-provincial, and city operation) mentioned above are subjected for verification and may be changed without prior notice.
**** The vehicle's registration plate(s), conduction sticker(s), and/or persons (if applicable) were pixelated/blurred to prevent any conflict with the photographer, the bus company and/or to the car owner for their security and/or privacy purposes. So, don't use their plate number, conduction sticker, and vehicle tag as an evidence for any incident. And, I have taken this photo for bus fanatics, bus enthusiasts, and bus lovers purposes.
First braces that I have fabricated. Once I have removed one from a patient but this was first time I put the parts together... (:
Yay, this is my 9. photo to appear on Explore. (:
Pan de muerto tradicional, Ciudad de México..
El tradicional pan de muerto del centro de México. La decoración simula huesos. Se coloca en las ofrendas del Día de Muertos. Los muertos se regresan hoy y se dice que la prueba que degustaron los alimentos de las ofrendas es que pierden su sabor después de que se regresan (no me consta). Aunque hay variantes del pan, este del Estado de México lleva canela. Para mi que no pierde sabor y es un deleite en su versión tradicional!
The traditional Day of the Dead bread from Central Mexico. The decoration simulates bones. It is placed in the Day of the Dead offerings. The dead are leaving today and it is said that the proof that they tasted the food in the ofrendas is that they lose their flavor after they go (I don't know for sure). Although there are variations of the bread, this one from the State of Mexico has cinnamon and butter . So I'm sure it doesn't lose its flavor and is a delight in its traditional version! Traditional Pan de muerto, Mexico City.
INTRAMUROS GRAND MARIAN PROCESSION 2007. Soledad de Porta Vaga at Soledad de Nueva Ecija. Tanda ng malawakan at matatag na debosyon sa Mahal na Birhen ng Soledad ay ang paglaganap nito sa iba't ibang panig ng bansa. Isa sa mga lugar na nabiyayaan nito ay ang San Isidro, Nueva Ecija. Sa natatanging paraan, taon-taon ay nagkikita ang mga taga Nueva Ecija at Cavite upang pagsaluhan ang natatanging debosyon sa Mahal na Birheng Maria.
INA, REYNA at PATRONA ng buong LALAWIGAN NG KABITE
Simula pa man ng magpakita noong 1667, tinaguriang LA EXCELSA PATRONA de la PROVINCIA DE CAVITE y La Celestial Guardiana y Protectora de la Provincia de Cavite y su Puerto mula pa man noon hanggang ngayon, hindi mabilang na mga himala ang ipinamalas ng Mahal na Ina, dahilan upang lumaganap at lumakas ang pagdedebosyon sa Kanya hindi lamang sa buong lalawigan ng Kabite kundi sa iba't ibang panig ng bansang Pilipinas.
Naging tanggulan at kanlungan ng sambayanang Kabitenyo sa panahon ng himagsikan at pagbabago, kung kaya't tinaguriang ILAW NG PILIPINAS. Nang taong 1883, buong ringal na ipinagdiwang ang kapistahan sa pangunguna ng Gobernador ng Lalawigan na si Don Juan Salcedo y Mantilla de los Rios bilang pasasalamat sa pagliligtas sa Kabite mula sa isang matinding epidemia. Noon pa man, hanggang ngayon, ang SOLEDAD ang kanlungan ng Lalawigan at ng lahat ng mga taong sa kanya'y napaampon.
REINA DE CAVITE,
LUZ DE FILIPINAS,
Tunay kang tanglaw namin!
Photo Courtesy of ERSON QUE
I spent some time here and learned great history. This guy made this by hand... all done the old way...thanks Erik for showing me this...Don't miss stopping here! So much history. www.nps.gov/grpo Follow this link to Erik's blog of his most recent adventure. arrowheadjourney.wordpress.com/
Foto 3.
Un C-130 Hercules cisterna, del Ala 31, simula amamantar a dos F-18's del Ala 15, sobre la base aérea de ZAZ.
Photo 3.
A C-130 Hercules tanker, from wing 31, pretends to nurse two F-18's 15th. Wing over the ZAZ Airbase.
REPRODUÇÃO E QUALQUER TIPO DE USO PROIBIDOS
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Árvore de Natal na Lagoa Rodrigo de Freitas - Rio de Janeiro - RJ - Brasil
Árvore de 85 metros é iluminada por mais de três milhões de lâmpadas.
Público assistiu aos shows de Simone, Emílio Santiago e Mágico de Oz..
Árvore da Lagoa foi inaugurada com show de luzes e fogos ....
A árvore de Natal mais famosa do Brasil foi acesa, na noite deste sábado (1º), sobre as águas da Lagoa Rodrigo de Freitas, na Zona Sul do Rio de Janeiro. Por volta das 21h, as mais de três milhões de lâmpadas coloriram o tradicional símbolo natalino. Com 85 metros de altura, o equivalente a um edifício de 28 andares, a árvore recebeu, neste ano, uma iluminação temática inspirada nas quatro estações.
O espetáculo começou com o outono: uma base de lâmpadas em tons de verde, com detalhes de galhos de árvores, simula a queda das folhas. Na sequência seguinte, a árvore ganha uma tonalidade totalmente branca, representando o inverno, inclusive, com efeitos simulando a neve caindo.
A estação da primavera é representada por luzes amarelas, ganhando flores coloridas, em efeito 3D, como se fosse mesmo um jardim brotando. Finalmente no verão, época em que os brasileiros comemoram a data, a árvore ganha tons de amarelo com brilho solar. Bolas coloridas de diversos tamanhos darão um toque especial.
A exemplo de anos anteriores, a inauguração da árvore de Natal da Lagoa foi precedida por um show de uma hora de duração, cujo tema foi "Os natais do mundo". O espetáculo começou com uma livre adaptação da peça "O Mágico de Oz", com a intepretação da atriz e cantora Malu Rodrigues e do ator Luiz Carlos Miele.
O público assistiu ainda a um pequeno concerto natalino interpretado pelo Coral da Fundação Bradesco e pela Orquestra Sinfônica de Barra Mansa. O concerto teve também a participção dos Emílio Santiago e Simone, que interpretou duas famosas canções: "Então, é Natal" e "Jesus Cristo", de Roberto Carlos.
Para completar o espetáculo, a apresentação do balé “Quebra Nozes”, com bailarinos da Escola de Ballet Dalal Achar, encantou a plateia.
Além do palco principal, as pessoas puderam acompanhar o espetáculo de inauguração da árvore de Natal nos três telões montados no entorno da Lagoa Rodrigo de Freitas. Esta é a 17ª edição da árvore, que tem uma estrutura de 542 toneladas foi montada sobre uma base de 810 metros quadrados, composta por 11 flutuadores, que pesam entre 12 e 16 toneladas, interligados por vigas.
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Christmas Tree at Lagoa Rodrigo de Freitas - Rio de Janeiro - RJ - Brazil
Tree 85 meters is illuminated by more than three million lamps.
Public attended the concerts Simone, Emilio Santiago and Wizard of Oz ..
Tree Lagoon opened with fireworks and light show ....
The most famous Christmas tree was lit in Brazil, on Saturday night (1), over the waters of the Lagoa Rodrigo de Freitas in the South Zone of Rio de Janeiro. Around 21h, the more than three million colored bulbs traditional Christmas symbol. With 85 meters high, equivalent to a 28 storey building, the tree received this year themed lighting in four seasons.
The show began with the fall: a base bulbs in shades of green, with details of tree branches, simulates the falling leaves. In the next sequence, the tree gets a totally white hue, representing the winter, even with effects simulating falling snow.
The spring season is represented by yellow lights, gaining colorful flowers in 3D effect, as if it were even a garden sprouting. Finally in the summer time when Brazilians celebrate the date, the tree wins shades of yellow with sunshine. Colored balls of various sizes will give a special touch.
As in previous years, the opening of Christmas Tree Lagoon was preceded by a show of one-hour, whose theme was "The Christmases of the world." The show started with a free adaptation of the play "The Wizard of Oz" with the Interpretation of actress and singer Malu Rodrigues and Luiz Carlos Miele actor.
The public also attended a small Christmas concert played by Bradesco Foundation Choir and the Symphonic Orchestra of Barra Mansa. The concert also had participção of Emilio Santiago and Simone, who played two famous songs: "So, it's Christmas" and "Jesus Christ" by Roberto Carlos.
To complete the show, the presentation of the ballet "The Nutcracker" with dancers from the School of Ballet Dalal Finding, charmed the audience.
Besides the main stage, people were able to follow the spectacle of opening Christmas tree in the three screens mounted around the Lagoa Rodrigo de Freitas. This is the 17th edition of the tree, which has a structure of 542 tonnes was mounted on a basis of 810 square meters, consisting of floats 11, which weigh between 12 and 16 tonnes, interconnected by beams.
invited kayong lahat......simula na ng count down to fiesta.
kindly view it in its large or original size so as to see the details.
En realización cinematográfica se llama noche americana a la técnica fotográfica de simular noche.
Consiste en filmar escenas durante el día utilizando un filtro en cámara, de color azul si se filma en color, o bien de color rojo si se utiliza película en blanco y negro, y subexponiendo la imagen, a modo de conseguir una imagen oscurecida y azulina, en su caso. De esta forma, se simula la noche y la luz de la luna. Mientras se filma con esta técnica, se evita filmar el cielo y se tiene especial cuidado en las sombras para no perder realismo.
Esta técnica, desarrollada inicialmente en los Estados Unidos con el nombre originiario de "Day for night", fue muy usual durante largas décadas del cine. Más recientemente se ha ido abandonando, debido a que se dispone de material fotográfico mucho más sensible, que permite filmar en condiciones de poca luz. Con ello se consigue un efecto más real, ya que en la noche americana el espectador se da cuenta fácilmente de la técnica utilizada, debido a que los objetos proyectan fuertes sombras, lo cual ocurre de noche en muy poco o ningún grado.
In filmmaking called American night photographic technique to simulate night.
It consists of shooting scenes during the day using an in camera blue if shooting in color, or red if you use black and white film, and underexposing the image, so to get a picture darkened and bluish , as appropriate. Thus, simulating night and the moonlight. While shooting with this technique avoids filming the sky and takes special care to keep the shadows realism.
This technique, originally developed in the United States under the name originiario "Day for night" was very common during the long decades of cinema. More recently it has been abandoned, because it has much more sensitive photographic material, which allows shooting in low light. This achieves a more realistic effect, since in the American night the viewer can easily realize the technique used, because the strong shadows cast objects, which occurs at night in little or no degree.
LA VIRGEN DE LA SOLEDAD DE PORTA VAGA at the Sta. Maria, Bulacan Lenten Exhibit 2009
INA, REYNA at PATRONA ng buong LALAWIGAN NG KABITE
Simula pa man ng magpakita noong 1667, tinaguriang LA EXCELSA PATRONA de la PROVINCIA DE CAVITE y La Celestial Guardiana y Protectora de la Provincia de Cavite y su Puerto mula pa man noon hanggang ngayon, hindi mabilang na mga himala ang ipinamalas ng Mahal na Ina, dahilan upang lumaganap at lumakas ang pagdedebosyon sa Kanya hindi lamang sa buong lalawigan ng Kabite kundi sa iba't ibang panig ng bansang Pilipinas.
Naging tanggulan at kanlungan ng sambayanang Kabitenyo sa panahon ng himagsikan at pagbabago, kung kaya't tinaguriang ILAW NG PILIPINAS. Nang taong 1883, buong ringal na ipinagdiwang ang kapistahan sa pangunguna ng Gobernador ng Lalawigan na si Don Juan Salcedo y Mantilla de los Rios bilang pasasalamat sa pagliligtas sa Kabite mula sa isang matinding epidemia. Noon pa man, hanggang ngayon, ang SOLEDAD ang kanlungan ng Lalawigan at ng lahat ng mga taong sa kanya'y napaampon.
REINA DE CAVITE,
LUZ DE FILIPINAS,
Tunay kang tanglaw namin!