View allAll Photos Tagged Three
This album name "Three" mainly due to several thing happen to me that is relate to Three.
1) This is my 3 times work with Hermione, she still look petty but improve a lot from my 1st shoting with her :D
2) This year also is my 3rd year of my portraiture photography :D
3) I meet a great friend "Dee King", he shot with his 5D MK 2, with 3 Canon L lens, there are EF 16-35 f/2.8 II L, EF 70-200 f/2.8 IS II L and EF 85 f/1.2 II L.
4) My 1st time shot with my 3 L lens as well, there are EF 14 f/2.8 II L, TS-E 24 f/3.5 II L and EF 85 f/1.2 II L.
That is a great Three for me ;p
Special thanks to : Hermione for her kind and arrangement that allow me to meet another great photographer "Ivan Chang".
Another Mum's painting. This summer I was planning to see if her work is still hanging at the permanent exhibition at the municipal gallery as it should, but on the end did not have time to do it. I really love this one it's so alive spontaneous and no detail is to much.
Sorry for the window reflection on the right site.
Amadiz Studio wigs:
Ginger Vintage, Golden Renaissance and Marianne.
Ginger is a mono-colour wig, and the others are multicolour. The main colour of Golden Renaissance is Brandy. Marianne is copper, on a base of caramel, which softens the copper colour.
Three Shires Head, the meeting point of the counties of Derbyshire, Staffordshire and Cheshire.
Olympus OM4 with Zuiko 28mm f3.5 lens on Kodak Ektar100 film.
This is a old image I took on the way back to the car after the Mardi Gras. Have seen this pub many times in my wanderings around Sydney. But either was driving past, or wrong time of day to catch the light.
The site is noteworthy for its association with banking, first as the Bank of Australasia from 1879, and subsequently as the ANZ bank from 1970 until its closure in 1998.
The building was reopened in September 2000 as a pub just in time for the Sydney Olympics.
Maybe this should be the new Logo for our Banks and be displayed above the door of all branches.
We don't want to see our customers.
We don't want to speak with our customers.
We don't want to listen to our customers.
As long as our profits keep souring, we will keep crying poor.
This was all about the 'threes' (no lisped pun intended). Three ages of existence, three elements in scale and three differing textures. These three elements will see many different ages of man. There was a lovely simple harmony within the image and it was nice to find a way to juxtapose each element. © Rich Clark Images 2014 Check me Out on Facebook www.facebook.com/richclarkimages or www.richclarkimages.co.uk
Finishing our road trip through the Navajo Nation. This is day 4 of the 4 day / 3 night trip. On our way home we stopped at Wupatki National Monument.
www.nps.gov/wupa/planyourvisit/wupatki-pueblo.htm
"Nestled between the Painted Desert and ponderosa highlands of northern Arizona Wupatki seems like an unlikely landscape for a thriving community. In the early 1100s during a time period of cooler temperatures and wetter seasons the ancestors of contemporary Pueblo communities created a bustling center of trade and culture. For Hopi people these sites represent the footprints of their ancestors."
en.wikipedia.org/wiki/Wupatki_National_Monument
"The Wupatki National Monument is a United States National Monument located in north-central Arizona, near Flagstaff. Rich in Native American archaeological sites, the monument is administered by the National Park Service in close conjunction with the nearby Sunset Crater Volcano National Monument. Wupatki was established as a national monument in 1924[4] and was listed on the National Register of Historic Places on October 15, 1966. The listing included three contributing buildings and 29 contributing structures on 35,422 acres (14,335 ha).[5][6]
History
"The many settlement sites scattered throughout the monument were built by the Ancient Pueblo People, more specifically the Cohonina, Kayenta Anasazi, and Sinagua. Wupatki was first inhabited around 500 AD. Wupatki, which means "Tall House" in the Hopi language, is a multistory Sinagua pueblo dwelling comprising over 100 rooms and a community room and the northernmost ballcourt ever discovered in North America, creating the largest building site for nearly 50 miles. Nearby secondary structures have also been uncovered, including two kiva-like structures.[7] A major population influx began soon after the eruption of Sunset Crater in the 11th century (between 1040 and 1100), which blanketed the area with volcanic ash, improving agricultural productivity and the soil's ability to retain water. By 1182, approximately 85 to 100 people lived at Wupatki Pueblo, but by 1225, the site was permanently abandoned. Based on a careful survey of archaeological sites conducted in the 1980s, an estimated 2,000 people moved into the area during the century following the eruption. Agriculture was based mainly on maize and squash raised on the arid land without irrigation. In the Wupatki site, the residents harvested rainwater due to the rarity of springs.[citation needed]"
www.archaeologicalconservancy.org/the-mystery-of-hohokam-....
From the Olmec to the Maya to the Aztec, ballgames were one of the defining activities of Mesoamerican cultures. Beginning some time before 1200 B.C., competitors kicked and whacked rubber balls up and down a playing court. These ballgames were rich in symbolism—in some cases the gods were said to have played—and a powerful force that bound communities together. But it’s possible these games weren’t limited to Mesoamerica. Archaeologists have found more than 200 oval-shaped earthen depressions with embankments in central and southern Arizona that resemble the Mesoamerican ballcourts. These features date between roughly A.D. 750 and 1200 and are associated with the Hohokam culture.
www.archaeologysouthwest.org/free-resources/fact-sheets/t...
At its peak, the Hohokam Ballcourt World covered over 58,000 square kilometers (more than 22,000 square miles). The northernmost courts, which are probably some of the latest, are located near Flagstaff, Arizona, whereas the southernmost Hohokam-style ballcourt site is in northern Mexico along the Santa Cruz River, which eventually flows north through the Tucson Basin. The easternmost courts are found in the Safford area, and the westernmost courts are along the lower Gila River, west of Gila Bend. Most of the roughly 250 known ballcourts are found in the major population areas of the time—along the lower Salt and middle Gila Rivers (today, metropolitan Phoenix) and along the Santa Cruz River (metropolitan Tucson).
DSC00690 acd
Kathmandu, Nepal
© Rob Colin Thomas
www.robthomasphotography.wordpress.com
www.flickr.com/photos/twodragons
www.facebook.com/RobThomasPhotography
T: @robthomasphoto
I: @RobThomasPhotography
A departure from the norm here for me, but I really liked the gentle dreamy tones rather than going for full-on intense colour.....
Three beads with complimentary patterns...stripes, extruded cane and of course mokume gane and vintage watch parts!
PENTAX K-5 • 80 ISO • Pentax DA* 55mm F1.4 SDM
Kenko Pz-AF UniPlus Tube 25
Metz Flash 48 AF-1 Digital with Ray-Flash ring adapter
Isn't that what everyone wants to hear? Just those three magic little words. In this case though the three little words you're getting are probably not the ones you're looking for and they are distinctly less magical. It would seem this lady has had just about enough and she ain't gonna take any more.
This little beauty is on a 30cm square deep sided canvas has been constructed using ink, watercolour, paint pen, gold leaf, acrylic and charcoal.
£100 + P&P
Cheers
id-iom
Sandro Botticelli
Punishment of the Rebels (or of the sons of Korah) [1482]
Vatican, Sistine Chapel, South wall
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Description
The painting depicts three episodes and tells of a rebellion by the Israelites against Moses and Aaron.
On the right the rebels attempt to stone Moses after becoming disenchanted by their trials on their emigration from Egypt. Joshua has placed himself between the rebels and Moses, protecting him from the stoning.
The center scene shows the rebellion with Korah and the conspirators being driven out by Moses and Aaron, as high priest wearing the papal tiara.
To the left, the ground opens and the two principal conspirators sink into it. The children of Korah are spared the fate of their father.
The painting is framed by golden faux-architecture with an inscribed titulus above. The texts attached to the paintings of the Sistine Chapel inform the educated congregants in the papal chapel of the subject matter of the paintings; the tituli work to reveal both the identity of the figures, the content of the scenes with the Biblical narratives, and their exegesis.[1]
In the background of the painting is a Roman triumphal arch modelled closely on the Arch of Constantine, from the late antique period, which also included elements of earlier imperial monuments. The real Arch of Constantine's inscription is replaced by a cautionary inscription paraphrased from the Vulgate translation of Hebrews 5:4:[1]
nemo♦sibi♦assum
mat♦honorem♦nisi
vocatus♦adeo
tanquam♦aaron
(And no man taketh this honour [the priesthood] unto himself, but he that is called of God, as was Aaron. – kjv)
The intended message of the painting is clear, no one should doubt the authority of the Pope over the Church. The power of the papacy was constantly being questioned at the time.
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More on Korah and his family and tree: