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I realize I haven't posted much lately and I realize this looks remarkably similar to my last image. Basically I'm stuck here in the apartment with no prop outfits that fit me anymore. I don't have enough room to use my 50mm beyond head shots. My creativity has been completely stunted because of this.
But I was hell bent on making a picture today so I went digging through the apartment and found some baby powder. Decided to throw it at myself and see what happened. And after about 30 minutes of baby powder filling the bathroom and 4 hours of playing around in photoshop, this is what I created.
I like it...I do. But I'm hesitant to really say I'm PROUD of it. Because I didn't really push myself in this image and, as I said before, it's remarkably similar to things I have done over and over. However, I DID create something with the limited space and supplies I have. And because of this I have decided to use a small part of my next paycheck and find the perfect prop dress (that fits me!) at a thrift store. And then I want to dedicate at least one or two Fridays a month to visiting locations and shooting images. (Why Friday? It's the only time my husband and I have off)
So I want to change my stuckness. I want to become an amazing photographer and I want to inspire people and teach people and provide blooming and established artists with means of connecting. I want to do so much in this field...it's just taking me forever to achieve it. Because I keep. getting. stuck.
I got the honour to photograph the A/W 11 collection for the wonderful swedish label Up The Wooden Hills. This is the Emilia Dress.
You should definetely check out the beautiful clothes here and here.
About Up The Wooden Hills:
"Up The Wooden Hills is a pretty, simple, dapper and playful label for the modern girl living in the 21st century.
All garments are designed and carefully made by hand in Gothenburg, Sweden using high quality cotton fabrics from Liberty of London."
Model: Hanna Lindblad
Styling: Lisa Marie Andersson
St Edmund, Southwold, Suffolk
I kept meaning to come back to Southwold - the church, I mean, for I found myself in the little town from time to time. I finally kept my promise to myself in the summer of 2017, tipping up on a beautiful sunny day only to find the church closed for extensive repairs. The days got shorter, and by the time the church reopened it was too late in the year for me to try again. In fact, it was not until late October 2018 that I made it back there, on another beautiful day.
Southwold is well-known to people who have never even been there I suppose, signifying one side of Suffolk to which Ipswich is perhaps the counter in the popular imagination. Some thirty years ago, the comedian Michael Palin made a film for television called East of Ipswich. It was a memoir of his childhood in the 1950s, and the basic comic premise behind the film was that in those days families would go on holiday to seaside resorts on the East Anglian coast. In the child Palin's case, it was Southwold.
The amusement came from the idea that people in those days would sit in deckchairs beside the grey north sea, or shelter from the drizzle in genteel teashops or the amusement arcade on the pier. In the Costa Brava package tour days of the 1980s, the quaintness of this image made it seem like something from a different world.
I remember Southwold in the 1980s. It was one of those agreeable little towns distant enough from anywhere bigger to maintain a life of its own. It still had its genteel tea shops, its dusty grocers, its quaint hotels and pubs all owned by Adnams, the old-fashioned and unfashionable local brewery. In the white heat of the Thatcherite cultural revolution, it seemed a place that would soon die on its feet quietly and peaceably.
And then, in the 1990s, the colour supplements discovered the East Anglian coast, and fell in love with it. The new fashions for antique-collecting, cooking with local produce and general country living, coupled with a snobbishness about how vulgar foreign package trips had become, conspired to make places like Southwold very sought after. Before Nigel Lawson's boom became a bust, the inflated house prices of London and the home counties gave people money to burn. And in their hoards, they came out of the big city to buy holiday homes in East Anglia.
Although they are often lumped together, the coasts of Norfolk and Suffolk are very different to each other (Cambridgeshire and North Essex are also culturally part of East Anglia, but the North Essex coast is too close to London to have ever stopped being cheap and cheerful, and Cambridgeshire has no coastline). Norfolk's beaches are wide and sandy, with dunes and cliffs and rock pools to explore. Towns like Cromer and Hunstanton seem to have stepped out of the pages of the Ladybird Book of the Seaside. Tiny villages along the Norfolk coast have secret little beaches of their own.
Suffolk's coast is wilder. Beaches are mainly pebbles rather than sand, and the marshes stretch inland, cutting the coast off from the rest of the county. Unlike Norfolk, Suffolk has no coast road, and so the settlements on the coast are isolated from each other, stuck at the ends of narrow lanes which snake away from the A12 and peter out in the heathland above the sea. There are fewer of them too. It is still quicker to get from Walberswick to Southwold by water than by land. Because they are isolated from each other, they take on individual personalities and characteristics. Because they are isolated from the land, they become bastions of polite civilisation.
Between Felixstowe in the south, which no outsiders like (and consequently is the favourite of many Suffolk people) and Lowestoft in the north, which is basically an industrial town-on-sea (but which still has the county's best beaches - shhh, don't tell a soul) are half a dozen small towns that vie with each other for trendiness. Southwold is the biggest, and today it is also the most expensive place to live in all East Anglia. Genteel tea shops survive, but are increasingly shouldered by shops that specialise in ski-wear and Barbour jackets, delicatessens that stock radicchio and seventeen different kinds of olive, jewellery shops and kitchen gadget shops and antique furniture shops where prices are exquisitely painful. Worst of all, the homely, shabby, smoke-filled Sole Bay Inn under the lighthouse has been converted by the now-trendy Adnams Brewery into a chrome and glass filled wine bar.
If you see someone in Norfolk driving a truck, they are probably wearing a baseball cap and carrying a shotgun. in Suffolk, they've more likely just bought a Victorian pine dresser from an antique shop, and they're taking it back to Islington. Does this matter? The fishing industry was dying anyway. The tourist industry was also dying. If places like Southwold, Aldeburgh and Orford become outposts of north London, at least they will still provide jobs for local people. But the local people won't be able to afford to live there, of course. They'll be bussed in from Reydon, Leiston and Melton to provide services for people in holiday cottages which are the former homes they grew up in, but can no longer afford to buy. Does this seriously annoy me? Not as much as it does them, I'll bet.
So, lets go to Southwold, turning off the A12 at the great ship of Blythburgh church, the wide marshes of the River Blyth spreading aimlessly beyond the road. We climb and fall over ancient dunes, and then the road opens out into the flat marshes, the town spreads out beyond. We enter through Reydon (now actually bigger than Southwold, with houses at half the price) and over the bridge into the town of Southwold itself.
Having been so critical, I need to say here that Southwold is beautiful. It is quite the loveliest small town in all East Anglia. None of the half-timbered houses here that you find in places like Long Melford and Lavenham. Here, the town was completely destroyed by fire in the 17th century, and so we have fine 18th and 19th century municipal buildings. One of the legacies of the fire was the creation of wide open spaces just off of the high street, called greens. The best one of all is Gun Hill Green, overlooking the bay where the last major naval battle in British waters was fought. The cannons still point out to sea. The houses here are stunning, gobsmacking, jaw-droppingly wonderful. If I could afford to buy one of them as a weekend retreat, then you bet your life I would, and to hell with the people who moaned about it.
At the western end of the High Street is St Bartholomew's Green, and beyond it sits what is, for my money, Suffolk's single most impressive building. This is the great church of St Edmund, a vast edifice built all in one go in the second half of the 15th century. Only Lavenham can compete with it for scale and presence. Unlike the massing at St Peter and St Paul at Lavenham, St Edmund is defined by a long unbroken clerestory and aisles beneath - where St Peter and St Paul looks full of tension, ready to spring, St Edmund is languid and floating, a ship at ease.
Southwold church was just one of several vast late medieval rebuildings in this area. Across the river at Walberswick and a few miles upriver at Blythburgh the same thing happened. Blythburgh still survives, but Walberswick was derelicted to make a smaller church, as were Covehithe and Kessingland. Dunwich All Saints was lost to the sea. But Southwold was the biggest. Everything about it breathes massive permanence, from the solidity of the tower to the turreted porch, from the wide windows to the jaunty sanctus bell fleche.
Along the top of the aisles, grimacing faces look down. All of them are different. The pedestals atop the clerestory were intended for statues as at Blythburgh, but were probably never filled before the Reformation intervened. At the west end, above the great west window, you can see the vast inscription SAncT EDMUND ORA P: NOBIS ('Saint Edmund, pray for us') as bold a record of the mindset of late medieval East Anglian Catholicism as you'll find.
As at Lavenham and Long Melford, the interior has been extensively restored, but not in as heavy or blunt a manner as at those two churches. St Edmund has, it must be said, benefited from the attentions of German bombers who put out all the dull Victorian glass with blast damage during World War II. Here, the interior is vast, light and airy, and much of the restoration is 20th century work, not 19th century.
Perhaps because of this, more medieval interior features have survived. Unlike Long Melford, Southwold does not have surviving medieval glass (Mr Dowsing saw to that in 1644), but it does have what is the finest screen in the county.
It stretches right the way across the church, and is effectively three separate screens. There is a rood screen across the chancel arch, and parclose screens across the north and south chancel aisles. All retain their original dado figures. There are 36 of them, more than anywhere else in Suffolk. They have been restored, particularly in the central range, but are fascinating because they retain a lot of original gesso work, where plaster of Paris is applied to wood and allowed to dry. It is then carved to produce intricate details.
The central screen shows the eleven remaining disciples and St Paul. They are, from left to right, Philip, Bartholomew, James the Less, Thomas, Andrew, Peter, Paul, John, James, Simon, Jude and Matthew.
The south chancel chapel is light and open. The bosses above are said to represent Mary Tudor and her second husband Charles, Duke of Brandon. The screen here is painted with twelve Old Testament prophets, and Mortlock suggests that they are by a different hand to the images on the other two screens. Here on the south screen, some of the figures have surviving naming inscriptions, and Mortlock surmises that the complete sequence, from left to right, is Baruch, Hosea, Nahum, Jeremiah, Elias, Moses, David, Isaiah, Amos, Jonah and Ezekiel. Further, he observes that the subject is a usual one for the English Midlands, but rare for East Anglia, and that perhaps this part of the screen came from elsewhere. The same may be true of the other two parts - it is hard to think that the central screen was deliberately made too wide for the two arcades.
The north aisle chapel is reserved as the blessed sacrament chapel. The screen is harder to explore, because the northern side is curtailed by a large chest, but it features angels. Unlike the screens at Hitcham and Blundeston, which show angels holding instruments of the passion, these are the nine orders of angels, with Gabriel at their head, and flanked by angels holding symbols of the Trinity and the Eucharist. Mortlock says that they are so similar to the ones at Barton Turf in Norfolk that they may be by the same hand, in which case the central screen is also by that person. They are, from left to right, the Holy Trinity, Gabriel, Archangels, Powers, Dominions, Cherubim, Seraphim, Thrones, Principalities, Virtues, Messengers, and finally the Eucharist. The Holy Trinity angel still has part of the original dedicatory inscription beneath his feet.
If part or all of this screen came from elsewhere, where did it come from? Possibly either Walberswick, Covehithe or Kessingland, the three downsized churches mentioned earlier. More excitingly, it might have come from one of the churches along this coast that was lost to the sea, perhaps neighbouring St Nicholas at Easton Bavents, or, just to the south, St Peter or St John the Baptist, the two Dunwich churches lost in the 16th and 17th centuries. We'll never know.
If you turn back at the screen and face westwards, your eyes are automatically drawn to the towering font cover, part of the extensive 1930s redecoration of the building. The clerestory is almost like a glass atrium intended to house it. Also the work of the period is the repainting and regilding of the 15th century pulpit (a lot of people blanch at this, but I think it is gorgeous) and the lectern. Beneath the font cover, the font is clearly one of the rare seven sacraments series, and part of the same group as Westhall, Blythburgh and Wenhaston. As at Blythburgh and Wenhaston, the panels are completely erased, probably in the 19th century, an act of barbarous vandalism. Given that Westhall is probably the best of all in the county, we must assume that three major medieval art treasures were wiped out. Astonishingly, vague shadows survive of the former reliefs; you can easily make out the Mass panel, facing east as at Westhall, the Penance panel and even what may be the Baptism of Christ.
Stepping through the screen, the reredos ahead is by Benedict Williamson and the glass above by Ninian Comper, familiar names in the Anglo-catholic pantheon, and evidence of an enthusiasm here that still survives in High Church form. There is a good engraved glass image of St Edmund to the north of the sanctuary, very much in the 1960s fashion, but curiously placed. On the wall of the chancel to the west of it, the high organ case is also painted and gilded enthusiastically.
As well as the screen, Southwold's other great medieval survival is the set of return stalls either side of the eastern face of the chancel screen. They have misericord seats, but the best feature are the handrests between the seats. On the south side, carvings include a man with a horn-shaped hat and sinners being drawn into the mouth of hell. On the north side are a man playing two pipes, a monkey preaching and a beaver biting its own genitals, a tale from the medieval bestiary, apparently.
What else is there to see? Well, the church is full of delights, and rewards further visits which always seem to turn up something previously unnoticed. St George rides full tilt at a dragon on an old chest at the west end of the north aisle. There is good 19th century glass in the porch and at the west end of the nave. A clock jack stands, axe and bell in hand, at the west end, a twin to the one upriver at Blythburgh. This one has a name, he's called Southwold Jack, and he is one of the symbols of the Adnams brewery.
As Mortlock notes, there are very few surviving memorials. This is partly because St Edmund was not in the patronage of a great landed family, but it may also suggest that they were largely removed at the time of the 19th century restoration, as at Brandon. One moving one is for the child of a vicar, and there are some interesting pre-Oxford Movement 19th century brasses in the south aisle.
High, high above all this, the roofs are models of Anglo-Catholic melodrama, the canopy of honour to the rood and the chancel ceilure in particular. But there is a warmth about it all that is missing from, say, Eye, which underwent a similar makeover. This church feels full of life, and not a museum piece at all. I remember attending evensong here late one winter Saturday afternoon, and it was magical. On another visit, I came on one of the first days of spring that was truly warm and bright, with not a cloud in the sky. As we drove into town, a cold fret off of the sea was condensing the steam of the brewery, sending it in swirls and skeins around the tower of St Edmund like low cloud. It was so atmospheric that I almost forgave them for what they have done to the Sole Bay Inn.
Homemade soft focus lens.
3 elements: two balanced positive menisci and a negative achromat.
Along the American River Trail in Sacramento, CA.
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Please do not download and use without my permission.
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Kathryn Koch, Chief Investment Officer of Public Equity, Goldman Sachs Asset Management, Goldman Sachs, USA captured during the How Detached Are Markets From Economic Reality? session at the World Economic Forum Annual Meeting 2022 in Davos-Klosters, Switzerland, 24 May. Congress Centre - Ignite Room. Copyright: World Economic Forum/Sikarin Fon Thanachaiary
Manufactured by Konishiroku Co., Japan
Model: c.1972 (produced between 1971-73)
35 mm film Rangefinder fully automatic camera,
Lens: Hexanon 38mm f/2.8, four element in three groups, filter thread 46mm
Aperture: f/2.8-f/14, setting: Automatic
Focusing: double-image alignment in the finder by a ring with a handle on the lens
Focus range: 1-5m +inf
Focusing ring has Auto index mark besides distance marks also
Mode and Guide Number selection ring: on the lens, w/ index marks , B, 7, 14, 28, 56,
w/ half click stops, for metres, (also there are numbers for the feet), these are GN setting numbers according to electronic flashes,
(number 14 for Konica X-14 flash, film 80-125 ASA)
Ring turns by pressing a small silver button on it
B exposure is permissible only at full lens opening, align B and distance scale index mark by turning the GN ring till clicks
Camera takes pictures with Electric-Eye Programmed photography system, this feature known as AE todays,
for this the Auto index mark must be aligned any GN on the GN ring,
Shutter: Copal B Mat special automatic programmed shutter, speeds: 1/30-1/650,
setting : Automatic, Combined aperture/shutter blades
Cocking lever: also winds the film, short stroke, retractable, double-exposure prevention, right of the top plate
Frame counter: Auto-resetting, advance type, a window just right of the winding lever
Shutter release: just front of the cocking lever, w/ cable release socket
Exposure meter: lens mounted CdS meter, its light taking window is on front-top of the lens,
Film speed range: 25-400 ASA
Setting: by ASA ring and a indicator window on front of the lens
Exposure setting: Automatic exposure adjustment, needle indication of shutter speed and aperture visible on the right side of the viewfinder with over and under exposure red lines
The exposure can be locked temporarily by pressing the shutter release half way
Viewfinder: coupled viewfinder/rangefinder, Bright Line with Parallax compensation mark for close distance subjects
Re-wind lever: folding crank type, left of the top plate, turns when winding
Re-wind release: a button on the bottom plate, must be kept depressed when rewinding
Flash PC socket: left upper side of the camera,
Hot-shoe: only for flashes (any accessory switches the system to 1/25)
X synch. 1/25, automatically sets and activates when a flashgun mounted onto the hot-shoe, a flash mark appears in the finder,
(not use any other accessory on the hot shoe and do not keep the flashgun on it when not using the flash)
Camera uses Auto Flashmatic system with Guide Number settings on the lens for electronic flashes
Self-timer: turn the lever and press the shutter
Back cover: hinged, opens by pulling up the re-winding crank
Tripod socket: 1/4''
Strap lugs
Battery: 1.3v PX675 mercury, (1.5v PX675A or LR44 might be useable, but the better is 1.35v Zinc/air batteries eg. Wein cell MRB675 ),
chamber on the bottom plate,
without battery shutter speed is fixed at 1/30 and aperture f/2.8
On/off switch: none, (keep the lens cap on it when not using)
Body: metallic, Weight 380g
Serial no.882915
Konica X-14 matching flashgun available and fires only when the subject was out of range of the internal metering. The flash is linked to the aperture and the system adjusts the aperture as the camera was focused.
Konica C35 is one of the smallest, quietest, lightest, and easy-to-use cameras, and goes well into the pocket.
After a visit to Crewe for some TLC, GB Railfreight's 92020 catches the eye of a traveller waiting for her train as the stunning Class 92 leaves Crewe on 0Z92 to Wembley Traincare Depot.
92020 had been on three test runs to Stafford and back a couple of days previously and passed with flying colours. After an A Exam upon its return to Wembley, the locomotive was expected to return to action on the Caledonian Sleeper.
A young child turns his head to observe the wonder and majesty of SNCF TGV-SE set 98 "Albertville", in a scene which could easily have been done on an old black and white camera in the early 1980's. Truth be told, this is a doctored image, from August 2015, but who wants to know all that rubbish?
70013 just about fits on the turntable at Minehead, ready for the journey back to London. This engine weighs 94 tons plus the tender coal and water and has to be balanced front and back to enable the Loco to be manually turned around by hand.
If you have ever seen The Beatles film, " A Hard Days Night ", in the film they used Minehead Station for filming some parts of the movie including the old turntable, however this one is a replacement
An interesting art installation in Liverpool by Richard Wilson. Watch the building in motion here: www.youtube.com/watch?v=zWDrrMMJ9mE&mode=related&...
Galati also has a small trolleybus system comprising of ten modern (2008) all white Maz-Eton vehicles and three Ikarus 415T’s. At least one of the Ikarus models was still operating and 1279 new as recently as 2000 swings right on to the one way system displaying an identical livery to those operating in Bucharest.