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Deutsch
Das Bild habe ich mit der Canon EOS 600d und einem russischen Zenit m42 MC Helios-44M-4 58mm f/2 Objektiv von meinem Bruder aufgenommen.
English
I have shot the photo with the Canon EOS 600d and a Russian Zenit m42 MC Helios-44M-4- 58 mm f/2 lens. The lens I have borrowed from my brother.
Under catenary supports and a signal that saw the first Illinois Central electric MU cars dating to the mid-1920s, the third generation of equipment to serve what is now the Metra Electric District approaches the end of the South Chicago Branch.
CN 527 has five units (CN 2675, CN 5680, BCOL 4654, CN 2255 & CN 7272) as it heads to Taschereau Yard after working Pointe St-Charles Yard.
This pair of Bottlenose passed within inches, directly over my head while looking down at me blasting me with sounds.
Third Street Canyons ~ Saint Joseph, Missouri ~ Copyright ©2013 Bob Travaglione ~ ALL RIGHTS RESERVED ~ www.FoToEdge.com
Big German card by Ross Verlag. Photo: Ufa / Hämmerer. Ingrid Bergman in Die vier Gesellen/The Four Companions (Carl Froelich, 1938).
Ingrid Bergman (1915-1982) was ‘Sweden's illustrious gift to Hollywood’. In the 1940s the fresh and naturally beautiful actress won three times the Oscar, twice the Emmy, and once the Tony Award for Best Actress. Little known is that before she went to Hollywood she already had a European film career.
Ingrid Bergman was born in Stockholm, Sweden in 1915 to a Swedish father and a German mother. At age 17, she had a taste of acting when she played an uncredited role of a girl standing in line in the Swedish film Landskamp (Gunnar Skoglund, 1932). The next year she was accepted to the Royal Dramatic Theatre in Stockholm, but she soon decided that stage acting was not for her. During her first summer break, she was hired at a Swedish film studio to work in film full-time. Her first film part was in Munkbrogreven/The Count of the Old Town (Edvin Adolphson, 1935), where she had a speaking part as Elsa Edlund. In the following years, she made a dozen films in Sweden that established her as a class actress. Among them were Bränningar/The Surf (Ivar Johansson, 1935) and Dollar (Gustaf Mollander, 1938). Another film, En kvinnas ansikte (Gustaf Molander, 1938) would later be remade as A Woman's Face with Joan Crawford. Bergman also made a film in Germany, Die Vier Gesellen/The Four Companions (Carl Froelich, 1938).
Ingrid Bergman's breakthrough film was Intermezzo (Gustaf Molander, 1936), in which she played a pianist who has a love affair with a celebrated and married violinist, played by Gösta Ekman. Hollywood producer David O. Selznick saw it and sent a representative from MGM to gain the rights to the story and have the actress sign a contract. Ingrid went to California and starred in MGM's remake Intermezzo: A Love Story (Gregory Ratoff, 1939), reprising her original role. The film was a hit and so was Ingrid. Her beauty was unlike anything the movie industry had seen before and her acting was superb. She was under contract to go back to Sweden to film Juninatten/A Night in June (Per Lindberg, 1940). Back in the US, she appeared in three films, all well-received. In 1942 she played in only one film, but that film, Casablanca (Michael Curtiz, 1942), would make her a huge star. Bergman chose her roles well after Casablanca. In 1943, she was nominated for an Academy Award for her role in Ernest Hemingway's For Whom the Bell Tolls (Sam Wood, 1943), the only film she made that year. The critics and public didn't forget her when she made Gaslight (George Cukor, 1944) the following year - her role as the persecuted wife of Charles Boyer got her the Oscar for Best Actress. In 1945, Ingrid played in Spellbound (Alfred Hitchcock, 1945) with Gregory Peck, Saratoga Trunk (Sam Wood, 1945), and The Bells of St. Mary's (Leo McCarey, 1945), for which she received her third Oscar nomination for her part as Sister Benedict.
Ingrid Bergman also worked with Alfred Hitchcock on another classic, Notorious (1946) with Cary Grant, and the less successful Under Capricorn (1949) with Joseph Cotten. Bergman went to Alaska during World War II in order to entertain troops. Soon after the war ended, she also went to Europe for the same purpose, where she was able to see the devastation caused by the war. It was during this time that she began a relationship with the famous photographer Robert Capa. She made no films in 1947 but bounced back with a fourth nomination for Joan of Arc (Victor Fleming, 1948). She played the part of Jeanne d'Arc three times in her career: on stage in 1946 in Maxwell Anderson's Joan of Lorraine for which she won the Tony Award, in the film version in 1948, and in 1954 in the Italian film Giovanna d'Arco al rogo/Joan of Arc at the Stake (Roberto Rossellini, 1954), based on a 1935 dramatic oratorio by Arthur Honegger. But in 1949 Saint Ingrid first would suffer a sudden and disastrous fall from grace. In 1949 Ingrid Bergman went to Italy to film Stromboli (1950), directed by Roberto Rossellini. She fell in love with him and got pregnant. The pregnancy caused a huge scandal in the United States. It even led to Bergman being denounced on the floor of the US Senate by Edwin C. Johnson, a Democratic senator, who referred to her as "a horrible example of womanhood and a powerful influence for evil." In addition, there was a floor vote, which resulted in her being made 'persona non grata'. The scandal forced Bergman to exile herself to Italy, leaving her husband, Dr. Petter Lindström, and daughter, Pia Lindström in the United States. Dr. Lindström eventually sued for desertion and waged a custody battle for their daughter.
In 1950, Ingrid Bergman married Rossellini and the same year their son, Renato Roberto, was born. In 1952 Ingrid had twins, Isotta and Isabella Rossellini. Isabella would later become an outstanding actress in her own right, as did her half-sister Pia.
From 1950 to 1955 Bergman and Rossellini made six films together: Stromboli (1950), Europa '51/No Greater Love (1952), a segment of Siamo donne/We, the Women (1953), Viaggio in Italia/Voyage in Italy (1954), La paura/Fear (1954) and Giovanna d'Arco al rogo/Joan of Arc at the Stake (1954). These films were ahead of their time but were generally not received well, especially in the US, where many conservative political and religious leaders still raised a hue and cry about her past. Bergman also starred in Jean Renoir's Elena et les Hommes/Elena and Her Men (1956), a romantic comedy where she played a Polish princess caught in political intrigue. Although the film wasn't a success, it has since come to be regarded as one of her best performances. Finally, after being exiled from Hollywood for seven years, Bergman returned opposite Yul Brynner in the title role in Anastasia (Anatole Litvak, 1956), which was filmed in England. For this, she won her second Academy Award. She had scarcely missed a beat. The award was accepted for her by her friend Cary Grant. Bergman would not make her first post-scandal public appearance in Hollywood until the 1958 Academy Awards when she was the presenter of the Academy Award for Best Picture. Furthermore, after being introduced by Cary Grant and walking out on stage to present, she was given a standing ovation. In 1957 she divorced Rosselini and in 1958 she married Lars Schmidt, a theatrical entrepreneur from a wealthy Swedish shipping family. After all the years she spent away from Hollywood, she still managed to maintain her status as a major star, as the success of films like Indiscreet (Stanley Donen, 1958) opposite Cary Grant and The Inn of the Sixth Happiness (Mark Robson, 1958) with Curd Jürgens showed.
In the 1960s, Ingrid Bergman concentrated on stage work and television appearances, and collaborated with her husband, theatrical producer Lars Schmidt, in such TV plays as The Turn of The Screw (John Frankenheimer, 1960) for which she won an Emmy Award and Twenty-Four Hours in a Woman's Life (Silvio Narrizano, 1961). She didn't appear in as many films as she had before, but she continued to bounce between Europe and the US making films. After a long hiatus, Bergman appeared in Cactus Flower (Gene Saks, 1968), with Walter Matthau and Goldie Hawn. In 1972, Senator Charles H. Percy entered an apology into the Congressional Record for the attack made on Bergman 22 years earlier by Edwin C. Johnson. Bergman won her third Academy Award for her role as Greta Ohlsson in Murder on the Orient Express (Sidney Lumet, 1974). Her performance is contained in a single scene: her interrogation by Poirot, captured in a single continuous take, nearly five minutes long. By 1975 Ingrid Bergman had divorced again. In her final big-screen performance in Höstsonaten/Autumn Sonata (Ingmar Bergman, 1978) she had her seventh Academy Award nomination. Bergman plays in this film a celebrity pianist who returns to Sweden to visit her neglected daughter, played by Liv Ullmann. Though she didn't win the Oscar, many felt it was the best performance of her career. In the late 1970s, Ingrid Bergman first discovered the symptoms of cancer and underwent a mastectomy. Her last role was in the television film A Woman Called Golda (Alan Gibson, 1982), about the late Israeli Prime Minister Golda Meir. Ingrid Bergman died in 1982, in London, the day after having a small party with a few friends for her 67th birthday. At her burial a single violin played the song As Time Goes By, the theme from Casablanca, recalling her most famous role, that of Ilsa Lund. That year her daughter, Pia Lindström accepted the Emmy Award for Best Actress that Ingrid won posthumously for A Woman Called Golda. Seventeen years later, in 1999, she was ranked #4 in the American Film Institute's list of greatest female screen legends. Later she was ranked #5 in Premiere's list of 'The 50 Greatest Movie Stars of All Time'. Ingrid Bergman continues to be a cultural icon - for her films and for her innocent, natural beauty.
Sources: Denny Jackson, Naim81 and Ezio Flavio de Freitas (IMDb), Wikipedia, Hitchcock.tv, and IMDb.
And, please check out our blog European Film Star Postcards.
Airbus A330-243MRTT, MRTT056, msn 1919, ex F-WWCS, tempo spanish reg EC-331, marked M3 returning to Getafe factory (LEGT) from the first flight test after conversion to MRTT. She will become T-056, the third (Dutch) Multinational MRTT Fleet.
Construction on this Minneapolis bridge has been underway for quite a while. With the weather turning a bit nicer, it was great to grab a camera and just walk around the city. Hope everyone enjoyed their weekend!
The inspired hill of Vézelay
The Burgundy hill of Vézelay, which French writer Paul Claudel named “eternal”, has been drawing hundreds of thousands of pilgrims (nowadays more likely tourists) since time immemorial. It has also drawn strife, battles and pillage: the big monastery was no less than six times destroyed by fire, and always rebuilt. Here, the Second Crusade was preached on Easter Day of 1146 by Bernard, abbot of Clairvaux, whom King Louis VII of France had summoned to be lectured on the sort of penance his royal person should submit to to atone for his many sins: Bernard chose the Crusade. Crusaders congregated here as well for the Third one, in 1190.
The history of Vézelay began around 850, when Count Girard de Roussillon founded a nunnery at the foot of the hill, in the locale now occupied by the village of Saint-Père-sous-Vézelay. Fifteen years later, the nuns had been replaced by monks for reasons that never reached us. What we know is that further to a Viking raid on Burgundy in 887, the monks took refuge at the top of the hill, in the remnants of a Roman oppidum, and never went down again.
Originally dedicated to the Virgin Mary, the monastery they built on the hilltop was placed in 1050 under the patronage of Mary Magdalene, further to the claimed transport of her bones from the Holy Land by a monk named Badillon. This so-called “transposition” was validated by the Pope, but the people of Provence rebelled fiercely against that ruling: it had indeed always been well known that the saint, who had been the very first, even before the apostles, to see Christ resuscitated, had left the Holy Land and come to France where she finished her life in the mountains of the Sainte- Baume, which were named after her. Her bones had been kept in the basilica of Saint-Maximin, the largest church in the whole of Provence.
Thus sanctioned by the Pope, and confirmed yet again by Pascal II in 1103, the claim of the Vézelay monks drew immense crowds (and brought enormous riches). The fact that they also claimed to have the bones of Martha and Lazarus were not for nothing in the considerable attraction the abbey had on a pilgrimage-hungry Christendom. However, the Provençal people were victorious in the end, when they revealed that the bones of the Magdalene, which had been hidden during the 900s as the Saracens drew nearer, were opportunely re-discovered in 1279. This time, Pope Boniface VIII found in their favor and that ruling was never overturned: the pilgrimage to Vézelay was dead, even though the big church kept its dedication.
The rest of the history of Vézelay is a long downhill walk. In 1537, the Benedictine monks are replaced by canons. In 1568, the Protestants seize the church and burn it again. Finally, in 1819, lightning strikes and sets the church aflame for the last time. When architect Viollet-le-Duc, mandated by Minister Prosper Mérimée, arrives on-site in 1840, the abbey church of Vézelay is but a gutted carcass, ready to collapse. That same year, the church was put on the first list of French Historic Landmarks (“Monuments historiques”) and restoration works were undertaken urgently; they were to last until 1861, and many other such works have been undertaken since.
The church was granted basilica status in 1920, and in 1979 it was listed as a UNESCO World Heritage site, as it is the starting point of one of the major Paths to Compostela, the Via Lemovicensis, so-named because it runs through the large city of Limoges.
On that day of June 2024 I went to Vézelay as a side trip during a photographic expedition for the Fondation pour la Sauvegarde de l’Art Français, one of the non-profit heritage organizations I work for as a pro bono photographer, it was raining. Therefore, I took no photo of the outside, but instead concentrated on the inside. Furthermore, a lot of what can be seen on the outside, including the façade and the tympanum, are re-creations of the 19th century by Viollet-le-Duc, and thus much less interesting for our purpose.
A telephoto detail of a side wall in the nave, allowing you to better appreciate the festooned ribbon running along the discharging arches and the sculpted capitals above the engaged columns that support the bichromatic transverse arches.
While I was walking and admiring the wonderful shapes and colors of the sunset along with the sailing boats at the marina but also the trading ships far away , there was an absolute peaceful scenery and i was wondering why i was not making my move to shot this ... but then suddenly inspiration came .....yes, that was what it was missing .....this is what intrigue me to pick up my camera and shot ..... it was this theTHIRD ELEMENT... this small boat coming slowly out of the port , and with its presence breaking up the tranquility and making scenery more vivid
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T h a n k s f o r v i e w i n g
alternative title - honest doc
as in honestly doc, I wasn't snorkelling.. I'd left the camera/underwater housing, mask and fins at home so I wouldn't be tempted but it was very hot and so I went for a paddle.
I saw quite a number of species including a big eel and these tiny blue fish.
gimp - curves, sharpening in L channel and a bit of cloning and blur to get rid of grains of sand on the surface of the water
Copyright © 2009 Tatiana Cardeal. All rights reserved.
Reprodução proibida. © Todos os direitos reservados.
In the next 20 years, the amount of water available for each person
in the world will be reduced by one third.
Today we have 6.5 billion people in the world, and of these,
2 billion have no access to drinking water.
In Brazil, 22 million people lack access to drinking water.
Rio Negro, Amazonas - Brasil.
Black River, Amazonas -Brasil.
This was a fun project that I completed on the side. I made up three different necklaces with silver cylinders and magnets all containing several strands of sellar tape. In between the tape that had been folded over on itself I had put in some 'faux diamonds'* (my university budget didn't allow me to use real ones though the project asked for it)
Playing on what we assume valuable and what we assume not to be; and then joining them.
Math creates rules and rules become predictable. I think it is the implication and honoring of the rule that makes it sacred. This has no greater application than French city planning where symmetry and axis reign supreme. Once you combine this with architectural photography the math gets worse, now thirds. This photo is an attempt both acknowledging the great axis and complimenting the rule of thirds.
thanks for reading.........jhe
Piotr et Oleg ont terminé leur 3e sortie extravéhiculaire ! Hier ils ont à nouveau passé un peu plus de 7h30 à l’extérieur de la Station, toujours pour la mise en service du module scientifique russe MLM. Les câbles télé et internet sont maintenant branchés, on a tout le confort moderne ! 😉 Bien entendu, par télévision on entend le canal utilisé par les chercheurs pour nous aider lors des expériences, et par le centre de contrôle pour suivre notre travail et nous accompagner… les caméras sont à bord mais les écrans sont sur terre ! 😁 Ils ont également installé un dispositif de rendez-vous et d’amarrage, et même une expérience de biologie à l’extérieur du module MRM2. Encore une journée bien fatigante pour nos amis, nous étions heureux et soulagés de les voir rentrer : c’est toujours une bonne occasion pour célébrer On est en plein dans la saison 2 des sorties extravéhiculaires puisqu’Aki et moi nous préparons à sortir dimanche (encore du travail sur les panneaux solaires).
Spacewalk 3️⃣ for Oleg and Pyotr complete! They spent another 7 and a half hours outside yesterday for more work on the new Russian science module MLM. Television and internet is now connected, what more could you need? ;). (the television is for researchers to follow our progress working on experiments and the control centre to help us throughout the day, not for us to watch of course!) Well, they also installed a rendezvous and docking system, handrails, and even a biology experiment on the MRM2 or Poisk module that is on the other side of MLM! Another busy and tiring day, and we were happy to see them back. Being safely back inside is always a good reason to celebrate! We are really into spacewalk season two now, Aki and myself are preparing to go outside this Sunday to work on the P-4 truss and prepare it for more roll-out solar arrays.
Credits: ESA/NASA–T. Pesquet
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