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Understanding HDR part III - The Histograms
The histograms are very important for all photographers, including HDR photographers. In this article goo.gl/2fD0J3 I explain histograms and why they are important to HDR photographers and how to use them to increase your image quality significantly.
This photo is the Piccadilly Circus.
Piccadilly is always crowded - well almost always. And shooting photos there is difficult because of all of the people. But when you patiently are waiting, with your camera on tripod, people also get curious and come talking to you. This particular image is assembled from 9 various photos, with different people and light settings. Photo by: Jacob Surland, www.caughtinpixels.com
Perpetual Moonlight - www.flickr.com/groups/moochiesl/, Moochie (220, 60, 22) - Moderate
According to the UNESCO Website:
Located on the west coast of Greenland, 250 km north of the Arctic Circle, Greenland’s Ilulissat Icefjord is the sea mouth of Sermeq Kujalleq, one of the few glaciers through which the Greenland ice cap reaches the sea. Sermeq Kujalleq is one of the fastest and most active glaciers in the world. It annually calves over 35 km3 of ice, i.e. 10% of the production of all Greenland calf ice and more than any other glacier outside Antarctica. Studied for over 250 years, it has helped to develop our understanding of climate change and icecap glaciology. The combination of a huge ice-sheet and the dramatic sounds of a fast-moving glacial ice-stream calving into a fjord covered by icebergs makes for a dramatic and awe-inspiring natural phenomenon.
Brief synthesis
Located on the west coast of Greenland, 250 km north of the Arctic Circle, Greenland’s Ilulissat Icefjord is a tidal fjord covered with floating brash and massive ice, as it is situated where the Sermeq Kujalleq glacier calves ice into the sea. In winter, the area is frozen solid. One of the few places where ice from the Greenland ice cap enters the sea, Sermeq Kujalleq is also one of the fastest moving (40 m per day) and most active glaciers in the world. Its annual calving of over 46 cubic kilometres of ice, i.e. 10% of all Greenland calf ice, is more than any other glacier outside Antarctica, and it is still actively eroding the fjord bed. The combination of a huge ice-sheet and the dramatic sounds of a fast-moving glacial ice-stream calving into a fjord full of icebergs make for a dramatic and awe-inspiring natural phenomenon.
The Greenland ice cap is the only remnant in the Northern Hemisphere of the continental ice sheets from the Quaternary Ice Age. The oldest ice is estimated to be 250,000 years old, and provides detailed information on past climatic changes and atmospheric conditions from 250,000 to around 11,550 years ago, when climate became more stable. Studies made over the last 250 years demonstrate that during the last ice age, the climate fluctuated between extremely cold and warmer periods, while today the ice cap is being maintained by an annual accumulation of snow that matches the loss through calving and melting at the margins. This phenomenon has helped to develop our understanding of climate change and icecap glaciology.
Criterion (vii): The combination of a huge ice sheet and a fast moving glacial ice-stream calving into a fjord covered by icebergs is a phenomenon only seen in Greenland and Antarctica. Ilulissat offers both scientists and visitors easy access for a close view of the calving glacier front as it cascades down from the ice sheet and into the ice-choked fjord. The wild and highly scenic combination of rock, ice and sea, along with the dramatic sounds produced by the moving ice, combine to present a memorable natural spectacle.
Criterion (viii): The Ilulissat Icefjord is an outstanding example of a stage in the Earth’s history: the last ice age of the Quaternary Period. The ice-stream is one of the fastest (40 m per day) and most active in the world. Its annual calving of over 46 km3 of ice accounts for 10% of the production of all Greenland calf ice, more than any other glacier outside Antarctica. The glacier has been the object of scientific attention for 250 years and, along with its relative ease of accessibility, has significantly added to the understanding of ice-cap glaciology, climate change and related geomorphic processes.
Integrity
The property is of sufficient size to adequately represent the geological process of the ice fjord, i.e. the fast-moving ice-stream, the relevant portion of the inland icecap, the glacial front and the fjord. The boundaries of the property are clearly defined in relation to the logical topographic criteria of the natural watershed, and the settlements of the nearby villages of Ilimanaq and Ilulissat are excluded from the property. Along with climatic limitations and the fact that no roads exist at the site, the area’s physical features retain a high degree of natural integrity.
The property has effective legal protection and a sound planning framework, including the prohibition of any mining in the protected area. However, increased management will be required as pressures from tourism and resource harvesting continue to grow.
Protection and management requirements
The property is protected and conserved by an established framework of government legislation and protective designations and by local planning policies. The main legislative measure is the Greenland Parliament Act No. 29 of 18 December 2003 on nature protection. This act is the foundation framework for the protection of species, ecosystems and protected areas. Ilulissat itself is protected under the Greenland Home Rule Government Order No. 10 of 15 June 2007 on protection of Ilulissat Icefjord. The area bordering the property is further controlled by national regulations on waste disposal, use of snowmobiles, building constructions and landscape protection. Extensive hunting and fishing occurs in a portion of the property, and a special hunting law is enforced and monitored to ensure that the exploitation of biological resources in the area is sustainable. The property itself is managed cooperatively by a Board consisting of representatives from the Ministry of Environment and Nature and the Municipality of Ilulissat.
A comprehensive management plan has been developed and the property will benefit from a monitoring programme. Particular attention was paid to the rapidly increasing tourism in the area, and in particular pressures emanating from cruise ships visiting the site and helicopter traffic. Regulations concerning visits to the property by boat, foot, helicopter and dog sledge; the management of waste and waste disposal; building constructions; exploitation of biological resources in the area, and protection of the cultural heritage sites within the property have been put into place. Signage and visitor infrastructure have been upgraded, and a visitor centre in the town of Ilulissat is planned.
All land in the reserve is state-owned and no permanent settlements are allowed. Nearby construction is also strictly controlled. Visitor access to the area is limited by the wilderness character of the landscape, with no roads or human-made structures. Management issues such as crowding (from cruise tourism) and erosion are limited to a small area close to the town of Ilulissat. The protection of the property will be further enhanced when a planned buffer zone is adopted.
This is the view from above the trail on shore.
This 360° High Dynamic Range panorama was stitched from 78 bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, processed with Color Efex, and touched up in Affinity Photo and Aperture.
Original size: 25000 × 12500 (312.5 MP; 1.36 GB).
Location: Ilulissat, Greenland
Scratched into the horizontal surface of one of the steps leading to Il-Maqluba. Who knows if they still care for each other?
“Understanding suffering is very important.
The practice of meditation is designed not to develop pleasure but to understand the truth of suffering; and in order to understand the truth of suffering, one also has to understand the truth of awareness.
When true awareness takes place, suffering does not exist. Through awareness, suffering is somewhat changed in its perspective.
It is not necessarily that you do not suffer, but the haunting quality that fundamentally you are in trouble is removed.
It is like removing a splinter.
It might
hurt, and you might still feel pain, but the basic cause of that pain, the ego, has been removed.”
“Removing the splinter of ego” from Chapter Three, "The Power of Flickering Thoughts," in “the truth of suffering and the path of liberation”, based on talks at the Vajradhatu Seminaries conducted by Chogyam Trungpa.
This young man was removing a splinter from his foot as he was sitting along the Ganges in Varanasi (Benaras).
He reminded me a Greek sculpture from the Hellenistic department which is in Le Louvre museum in Paris.
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Taken from a photograph from Tanja ..... www.flickr.com/photos/tanja_exurban/4090716191/ (with permission)
What an amazing place to visit and photograph. If only I could be there just once. After researching this incredible place, there are literally hundreds of current photographs here on flickr and on the web. What incredible architecture and buildings.
OK I used a little artistic license but the mood of the place still is there. Will need to do a couple of washes and a few touch ups here and there. Oil paint is still wet, so cannot touch until maybe tomorrow.
Now one project nearly finished, next the huge drug open book tests I have to finish for the Hospital (yuk) and finalize the High School Brochure for the printers. Then I think I can sigh and relax. Spend some time here with you dear flickr friends. But I know my friends have been very understanding.
Being wanting to try a star trail photo for a while, finally got a clear night so grabbed the opportunity. This is my first attempt and due to a mis-understanding on how my interval timer worked, I ended up with a gap in the middle of the trails, the moon also encroached into the frame near the end. Things to remember for next time. The hardest part was standing in the cold for so long, I think I will take a flask with me next time.
The two very bright stars on the bottom right of the sky are actually planets, Venus on the bottom and Saturn on the top. This is taken from the island of Vigra in Norway, with the small island of Erkna visible.
This is 76 photos taken over 38 minutes merged together.
Equipment
Nikon D7000 @ 30 sec
Sigma 18-200 @ 18mm f/3.5
ISO: 1000
Shot with a tripod
Thirty-eight images merged using ImageStacker.
Best viewed on black ' L '
Whilst watching a fabulous Sax player on the street in Shibuya late on a thursday night I saw this guy with his wonderful grey hair . He noticed me looking at him and I had already grabbed a couple of quick shots from a distance. I went over an said how much that I llked the music the Sax player was performing and he clearly did to , Sometimes we forget what an instant way music can be to unite people and break down barriers .
Leica M8
Summilux 35mm
Brighton Palace Pier
Brighton (/ˈbraɪtən/) is a seaside resort on the south coast of England that is part of the city of Brighton and Hove, located 47 miles (76 km) south of London.
Archaeological evidence of settlement in the area dates back to the Bronze Age, Roman and Anglo-Saxon periods. The ancient settlement of "Brighthelmstone" was documented in the Domesday Book (1086). The town's importance grew in the Middle Ages as the Old Town developed, but it languished in the early modern period, affected by foreign attacks, storms, a suffering economy and a declining population. Brighton began to attract more visitors following improved road transport to London and becoming a boarding point for boats travelling to France. The town also developed in popularity as a health resort for sea bathing as a purported cure for illnesses.
In the Georgian era, Brighton developed as a fashionable seaside resort, encouraged by the patronage of the Prince Regent, later King George IV, who spent much time in the town and constructed the Royal Pavilion in the Regency era. Brighton continued to grow as a major centre of tourism following the arrival of the railways in 1841, becoming a popular destination for day-trippers from London. Many of the major attractions were built in the Victorian era, including the Metropole Hotel (now Hilton) Grand Hotel, the West Pier, and the Brighton Palace Pier. The town continued to grow into the 20th century, expanding to incorporate more areas into the town's boundaries before joining the town of Hove to form the unitary authority of Brighton and Hove in 1997, which was granted city status in 2000. Today, Brighton and Hove district has a resident population of about 288,200 and the wider Brighton and Hove conurbation has a population of 474,485 (2011 census).
Brighton's location has made it a popular destination for tourists, renowned for its diverse communities, quirky shopping areas, large cultural, music and arts scene and its large LGBT population, leading to its recognition as the "unofficial gay capital of the UK". Brighton attracted 7.5 million day visitors in 2015/16 and 4.9 million overnight visitors, and is the most popular seaside destination in the UK for overseas tourists. Brighton has also been called the UK's "hippest city", and "the happiest place to live in the UK".
The first settlement in the Brighton area was Whitehawk Camp, a Neolithic encampment on Whitehawk Hill which has been dated to between 3500 BC and 2700 BC. It is one of six causewayed enclosures in Sussex. Archaeologists have only partially explored it, but have found numerous burial mounds, tools and bones, suggesting it was a place of some importance. There was also a Bronze Age settlement at Coldean. Brythonic Celts arrived in Britain in the 7th century BC, and an important Brythonic settlement existed at Hollingbury Castle on Hollingbury Hill. This Celtic Iron Age encampment dates from the 3rd or 2nd century BC and is circumscribed by substantial earthwork outer walls with a diameter of c. 1,000 feet (300 m). Cissbury Ring, roughly 10 miles (16 km) from Hollingbury, is suggested to have been the tribal "capital".
Later, there was a Roman villa at Preston Village, a Roman road from London ran nearby, and much physical evidence of Roman occupation has been discovered locally. From the 1st century AD, the Romans built a number of villas in Brighton and Romano-British Brythonic Celts formed farming settlements in the area. After the Romans left in the early 4th century AD, the Brighton area returned to the control of the native Celts. Anglo-Saxons then invaded in the late 5th century AD, and the region became part of the Kingdom of Sussex, founded in 477 AD by king Ælle.
Anthony Seldon identified five phases of development in pre-20th century Brighton. The village of Bristelmestune was founded by these Anglo-Saxon invaders, probably in the early Saxon period. They were attracted by the easy access for boats, sheltered areas of raised land for building, and better conditions compared to the damp, cold and misty Weald to the north. By the time of the Domesday survey in 1086 it was a fishing and agricultural settlement, a rent of 4,000 herring was established, and its population was about 400. Its importance grew from the Norman era onwards. By the 14th century there was a parish church, a market and rudimentary law enforcement (the first town constable was elected in 1285). Sacked and burnt by French invaders in the early 16th century—the earliest depiction of Brighton, a painting of c. 1520, shows Admiral Pregent de Bidoux's attack of June 1514—the town recovered strongly based on a thriving mackerel-fishing industry. The grid of streets in the Old Town (the present Lanes area) were well developed and the town grew quickly: the population rose from c. 1,500 in 1600 to c. 4,000 in the 1640s. By that time Brighton was Sussex's most populous and important town. Having lost the Battle of Worcester, King Charles II, after hiding for 42 days in various places, fled on the evening of 15 October 1651 in the "Surprise" from Brighthelmstone to his exile in Fécamp, France.
Over the next few decades, though, events severely affected its local and national standing, such that by 1730 "it was a forlorn town decidedly down on its luck". More foreign attacks, storms (especially the devastating Great Storm of 1703), a declining fishing industry, and the emergence of nearby Shoreham as a significant port caused its economy to suffer. By 1708 other parishes in Sussex were charged rates to alleviate poverty in Brighton, and Daniel Defoe wrote that the expected £8,000 cost of providing sea defences was "more than the whole town was worth". The population declined to 2,000 in the early 18th century.
From the 1730s, Brighton entered its second phase of development—one which brought a rapid improvement in its fortunes. The contemporary fad for drinking and bathing in seawater as a purported cure for illnesses was enthusiastically encouraged by Dr Richard Russell from nearby Lewes. He sent many patients to "take the cure" in the sea at Brighton, published a popular treatise on the subject, and moved to the town soon afterwards (the Royal Albion, one of Brighton's early hotels, occupies the site of his house). Others were already visiting the town for recreational purposes before Russell became famous, and his actions coincided with other developments which made Brighton more attractive to visitors. From the 1760s it was a boarding point for boats travelling to France; road transport to London was improved when the main road via Crawley was turnpiked in 1770; and spas and indoor baths were opened by other entrepreneurial physicians such as Sake Dean Mahomed and Anthony Relhan (who also wrote the town's first guidebook).
From 1780, development of the Georgian terraces had started, and the fishing village developed as the fashionable resort of Brighton. Growth of the town was further encouraged by the patronage of the Prince Regent (later King George IV) after his first visit in 1783. He spent much of his leisure time in the town and constructed the Royal Pavilion during the early part of his Regency. In this period the modern form of the name Brighton came into common use.
A permanent military presence was established in the city with the completion of Preston Barracks in 1793.
The arrival of the London and Brighton Railway in 1841 brought Brighton within the reach of day-trippers from London. The population grew from around 7,000 in 1801 to more than 120,000 by 1901. Many of the major attractions were built during the Victorian era, such as the Grand Hotel (1864), the West Pier (1866), and the Palace Pier (1899). Prior to either of these structures, the famous Chain Pier was built, to the designs of Captain Samuel Brown. It lasted from 1823 to 1896, and is featured in paintings by both Turner and Constable.
Because of boundary changes, the land area of Brighton expanded from 1,640 acres (7 km2) in 1854 to 14,347 acres (58 km2) in 1952. New housing estates were established in the acquired areas, including Moulsecoomb, Bevendean, Coldean and Whitehawk. The major expansion of 1928 also incorporated the villages of Patcham, Ovingdean and Rottingdean, and much council housing was built in parts of Woodingdean after the Second World War. In 1997, Brighton and Hove were joined to form the unitary authority of Brighton and Hove, which was granted city status by Queen Elizabeth II as part of the millennium celebrations in 2000.
(Wikipedia)
The Brighton Palace Pier, commonly known as Brighton Pier or the Palace Pier[a] is a Grade II* listed pleasure pier in Brighton, England, located in the city centre opposite the Old Steine. Opening in 1899, it was the third pier to be constructed in Brighton after the Royal Suspension Chain Pier and the West Pier, but is now the only one still in operation. It is managed and operated by the Eclectic Bar Group.
The Palace Pier was intended as a replacement for the Chain Pier, which collapsed in 1896 during construction. It quickly became popular, and had become a frequently-visited theatre and entertainment venue by 1911. Aside from closures owing to war, it continued to hold regular entertainment up to the 1970s. The theatre was damaged in 1973 and following a buy-out was demolished in 1986, changing the pier's character from seaside entertainment to an amusement park, with various fairground rides and roller coasters.
The pier remains popular with the public, with over four million visitors in 2016, and has been featured in many works of British culture, including the gangster thriller Brighton Rock, the comedy Carry On at Your Convenience and the Who's concept album and film Quadrophenia.
The pier entrance is opposite the southern end of the Old Steine (the A23 to London) where it meets the Marine Parade and Grand Junction Road which run along the seafront. It is 1,722 feet (525 m) long and contains 85 miles (137 km) of planking. Because of the pier's length, repainting it takes three months every year. At night, it is illuminated by 67,000 bulbs.
No. 14 and No. 27 buses run directly from Brighton railway station to the pier.
The pier was designed and constructed by R. St George Moore. It was the third in Brighton, following the Royal Suspension Chain Pier in 1823 and the West Pier in 1866. The inaugural ceremony for laying of the first pile was held on 7 November 1891, overseen by Mayor Samuel Henry Soper. A condition to be met by its builders, in exchange for permission to build, was that the Chain Pier was to be demolished as it had fallen into a state of disrepair. In 1896, a storm destroyed the remains of the Chain Pier, which narrowly avoided colliding with the new pier during its collapse. Some of its remaining parts, including the toll houses, were re-used for the new pier. A tram along the pier was in operation during construction, but it was dismantled two years after opening.
Work was mostly completed in 1899 and the pier was officially opened on 20 May by the Mayoress of Brighton. It was named the Brighton Marine Palace and Pier, whose name was inscribed into the pier's metalwork. It cost a record £27,000 (£3,062,000 in 2019) to build, including 3,000 lights to illuminate the pier. Part of the cost was repairs to the West Pier and the nearby Volk's Electric Railway caused by damage in the 1896 storm from the Chain Pier's debris. The pier was not fully complete on the opening date; some work on the pavilion was completed shortly afterwards. It was designed to resemble kursaals, which were entertainment buildings found near spas on the Continent, and included reading and dining rooms.
The pier was an immediate success and quickly became one of the most popular landmarks in Brighton. By 1911, the reading rooms had been converted into a theatre. Both Stan Laurel and Charlie Chaplin performed at the pier to hone their comic skills early in their career, before migrating to the US and finding major commercial success in Hollywood. During World War I, the sea surrounding the pier was extensively mined to prevent enemy attacks. In the 1920s, the pier was widened, and a distinctive clock tower was added.
During World War II, the pier was closed as a security precaution. A section of decking was removed in order to prevent access from an enemy landing. The pier regained its popularity after the war, and continued to run regular summer shows, including Tommy Trinder, Doris and Elsie Waters and Dick Emery.
The pier was listed at Grade II* on 20 August 1971. As of February 2001, it was one of 70 Grade II*-listed buildings and structures, and 1,218 listed buildings of all grades, in the city of Brighton and Hove.
During a storm in 1973, a 70-long-ton (71 t) barge moored at the pier's landing stage broke loose and began to damage the pier head, particularly the theatre. Despite fears that the pier would be destroyed, the storm eased and the barge was removed. The landing pier was demolished in 1975, and the damaged theatre was never used again, despite protests from the Theatres Trust.
The pier was sold to the Noble Organisation in 1984. The theatre was removed two years later, on the understanding that it would be replaced; however a domed amusement arcade was put in place instead. Consequently, the seaward end of the pier was filled with fairground rides, including thrill rides, children's rides and roller coasters. Entertainment continued to be popular at the pier; the Spice Girls made an early live performance there in 1996 and returned the following year after achieving commercial success.
On 13 August 1994, a bomb planted by the IRA near the pier was defused by a controlled explosion. A similar bomb by the same perpetrators had exploded in Bognor Regis on the same day. The bombing was intended to mark the 25th anniversary of the start of The Troubles. The pier was closed for several days owing to police investigation.
The pier was renamed as "Brighton Pier" in 2000, although this legal change was not recognised by the National Piers Society nor some residents of Brighton and Hove. The local newspaper, The Argus, continued to refer to the structure as the Palace Pier.
The Palace Pier caught fire on 4 February 2003 but damage was limited and most of the pier was able to reopen the next day. Police suspected arson.
In 2004, the Brighton Marine Palace Pier Company (owned by the Noble Organisation), admitted an offence of breaching public safety under the Health and Safety at Work Act and had to pay fines and costs of £37,000 after a fairground ride was operated with part of its track missing. A representative from the Health and Safety Executive said that inadequate procedures were to blame for the fact that nothing had been done to alert staff or passengers that the ride would be dangerous to use. The pier management came into criticism from Brighton and Hove City Council, who thought they were relying too much on fairground rides, some of which were being built too high.
In 2011, the Noble Organisation put the pier for sale, with an expected price of £30 million. It was rumoured that the council wanted to buy the pier, but this was quickly ruled out. It was taken off the market the following year, due to lack of interest in suitable buyers. In 2016, it was sold to the Eclectic Bar Group, headed by former PizzaExpress owner Luke Johnson, who renamed the pier back to Brighton Palace Pier in July.
The Palace Pier remains a popular tourist attraction into the 21st century, particularly with day visitors to the city. In contrast to the redevelopment and liberal culture in Brighton generally, it has retained a traditional down-market "bucket and spade" seaside atmosphere. In 2016, the Brighton Fringe festival director Julian Caddy criticised the pier as "a massive public relations problem".
The pier has featured regularly in British popular culture. It is shown prominently in the 1971 film, Carry on at Your Convenience, and it is shown to represent Brighton in several film and television features, including MirrorMask, The Persuaders, the Doctor Who serial The Leisure Hive (1980), the 1986 film Mona Lisa, and the 2007 film, Sweeney Todd: The Demon Barber of Fleet Street.
The Graham Greene novel Brighton Rock featured the Palace Pier. John Boulting's 1947 film adaptation helped established "low life" subculture in Brighton, and the climax of the film is set on it, where gangleader Pinkie Brown (played by Richard Attenborough) falls to his death. The 1953 B movie Girl on a Pier is set around the Palace Pier and also features the clash between holidaymakers and gangsters in Brighton. The Who's 1973 concept album Quadrophenia was inspired in part by band leader Pete Townshend spending a night underneath the pier in March 1964. It is a pivotal part of the album's plot, and features in the 1979 film. Townshend later said that the rest of the band understood this element of the story, as it related to their mod roots.
The 2014 novel The Bone Clocks by David Mitchell includes passages that take place on the pier. The 2015 British TV series, Cuffs, which takes place in Brighton features the pier, both in the opening theme as well as in parts of the story lines.
In 2015, Martyn Ware, founding member of pop group The Human League, made a series of field recordings on the pier as part of a project with the National Trust and British Library project to capture the sounds of Britain.
The pier was awarded the National Piers Society's Pier of the Year award in 1998.[4] In 2017, it was listed as the fourth most popular free attraction in Britain in a National Express survey.
In 2017, the pier was said to be the most visited tourist attraction outside London, with over 4.5 million visitors the previous year.
(Wikipedia)
Brighton [ˈbɹaɪtn] ist eine Stadt an der Küste des Ärmelkanals in der Grafschaft East Sussex und bildet zusammen mit dem unmittelbar angrenzenden Hove die Unitary Authority Brighton and Hove. Die Stadt ist das größte und bekannteste Seebad im Vereinigten Königreich. Die unabhängigen, aber räumlich zusammengewachsenen Gemeinden Brighton, Hove und Portslade schlossen sich 1997 zu Brighton & Hove zusammen, das im Jahr 2001 den Status einer City erhielt. Im Gegensatz zu den alten Cities verfügen sogenannte Millennium-Cities wie Brighton und Hove jedoch nicht über alle königlichen City-Privilegien, wie zum Beispiel einen Bischofssitz.
Auf dem Gebiet der späteren Stadt siedelten schon die Römer. Bei Ausgrabungen wurde eine römische Villa freigelegt. Die heutige Stadt Brighton geht auf eine angelsächsische Gründung aus dem 5. Jahrhundert zurück. In der ersten urkundlichen Erwähnung wird der Ort „Beorthelm’s-tun“ (town of Beorthelm) genannt, später „Bristemestune“ und im 16. Jahrhundert dann Brightelmstone, ehe der Ort 1660 erstmals Brighton geschrieben wird. Offiziell gilt dieser Name seit 1810.
1497 wurde ein erster Befestigungsturm in der Nähe des Ortes errichtet. Dennoch wurde das Fischerdorf im Jahr 1514 von der französischen Flotte während eines Krieges nach dem Treaty of Westminster (1511) zerstört und niedergebrannt. Der Ort wurde wieder aufgebaut und 1580 lebten 400 Fischer und 100 Bauern dort, mit ihren Familien also über 2000 Personen. Um 1660 soll Brighton sogar etwa 4.000 Einwohner gehabt haben, es war also keineswegs ein Dorf, wie mitunter behauptet wird. Im 17. Jahrhundert wurde der Fischfang, von dem die Bevölkerung überwiegend lebte, durch Kriege zwischen Franzosen und Holländern stark in Mitleidenschaft gezogen, da die Fischkutter oft nicht auslaufen konnten.
1703 und 1705 wurde der Ort durch schwere Stürme verwüstet. Es wurden nicht mehr alle zerstörten Häuser neu aufgebaut, denn die wirtschaftliche Krise hielt an, außerdem ging kontinuierlich Land entlang der Küste verloren, da es keine Deiche gab. Zu Anfang des 18. Jahrhunderts hatte Brighton nur noch etwa 1.500 Einwohner. 1750 veröffentlichte der Arzt Richard Russell aus Lewes eine Schrift über die gesundheitsfördernden Aspekte des Meerwassers, vor allem in Brighton. Er errichtete 1753 auf dem Grundstück Old Steine das damals größte Gebäude Brightons, in dem er wohnte und auch seine Patienten logierten, und schon bald machten sich wohlhabende Kranke auf den Weg an die Küste. Um 1780 entwickelte sich Brighton zu einem modischen Kurort. Diese Entwicklung wurde beschleunigt, als 1786 der junge Prinzregent (der spätere König George IV.) hier ein Landhaus kaufte, um den größten Teil seiner Freizeit dort zu verbringen. Er ließ es später zum exotisch aussehenden Royal Pavilion ausbauen, der bekanntesten Sehenswürdigkeit der Stadt. Er ähnelt von außen einem indischen Palast, während die Inneneinrichtung im Stil der Chinoiserie gehalten ist. Seit 1850 ist er im Besitz der Stadt.
Von 1770 bis 1795 wurden 635 neue Häuser in Brighton gebaut. Um 1820 wurden die Viertel Kemp Town und Brunswick Town errichtet. 1823 erhielt der Ort als ersten Pier den Chain pier, 1866 folgte der West Pier. Seit 1841 gab es eine Eisenbahnverbindung nach London. 1872 wurde ein großes Aquarium eingeweiht, damals eine internationale Attraktion. Aus Meyers Konversationslexikon von 1898 ist zu erfahren:
„Brighton hat drei Saisons im Lauf des Jahres. Im Mai und Juni ist es fast ausschließlich von den Familien der Londoner Kleinbürger (tradespeople) besucht, im Juli und August von Ärzten, Advokaten, Künstlern etc., und in den Herbst- und Wintermonaten, wenn es an der südlichen Seeküste sonnig warm ist, wimmelt es von Lords und Ladies, die vom Kontinent heimkehren. Die Zahl der Besucher, welche sich längere Zeit hier aufhalten, beträgt jährlich über 80.000“.
Im Jahre 1896 wurde Brighton Zielort eines der ältesten kontinuierlich ausgetragenen Autorennens der Welt, des heutigen London to Brighton Veteran Car Run. In diesem Rennen dürfen lediglich Fahrzeuge aus edwardianischer Zeit und den Urtagen der Automobilität teilnehmen, das heißt Fahrzeuge, die ein Baudatum vor dem Januar 1905 ausweisen können.
1930 wurden dann Deiche aufgeschüttet, um die Erosion durch den Seegang aufzuhalten. Während des Zweiten Weltkriegs wurde Brighton ebenso wie London von der deutschen Luftwaffe bombardiert. Über 5.000 Häuser wurden beschädigt oder zerstört.
Die Universität von Sussex wurde 1962 gegründet. Nachdem Brighton sein städtisches Polytechnikum „Universität“ nennt und die grafschaftliche Universität von East Sussex sich weit ab im Grünen, zwischen den Zivilgemeinden Stanmer und Falmer, aber noch auf Stadtgebiet von Brighton & Hove, niedergelassen hat, ist das Seebad auch eine Universitätsstadt mit zwei Universitäten geworden. Andererseits ist es auch ein hektischer Ferienort mit vielen Antiquitäten- und Buchläden, Restaurants und Spielhallen. Die Stadt wird manchmal auch London by the Sea genannt, wegen seiner Atmosphäre sowie wegen der großen Anzahl von Besuchern aus London, die vor allem an den Wochenenden und während der Sommerferien an die Küste strömen. Im Sommer beherbergt Brighton Tausende von jungen Menschen aus ganz Europa, die hier Sprachkurse belegen.
Im Kongresszentrum von Brighton findet fast alljährlich ein Parteitag einer der drei großen politischen Parteien statt. Am 12. Oktober 1984 explodierte im Grand Hotel eine Bombe der IRA; fünf Menschen starben. Die damalige Premierministerin Margaret Thatcher, die dort abgestiegen war, entkam nur knapp dem Attentat. Einer der Minister, Norman Tebbit, wurde leicht verletzt.
Im Jahr 1997 schlossen sich Brighton und die benachbarten Orte Portslade, Rottingdean und die Hove zu einer Stadt zusammen.
(Wikipedia)
Der Brighton Palace Pier (zuvor auch Brighton Marine Palace and Pier oder nur Palace Pier) ist eine Seebrücke (englisch pier) in Brighton, England. Sein Gegenstück war der inzwischen zerstörte und nur noch als Ruine erhaltene West Pier.
Der erste Pfahl wurde am 7. November 1891 gesetzt. Das Bauwerk wurde im Mai 1899 eröffnet.
Brighton Pier vom Ufer aus, 2006.
1973 wurde der Pier von einem Schiff beschädigt.
Das Theater wurde 1986 entfernt.
(Wikipedia)
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The Nature of Dreams
SIGMUD FREUD'S theory of dreams was part of his theory of man. He assumed that man in the course of his growth is forced to repress evil strivings - egocentricity, destructiveness, irrationality - in order to adapt himself to the requirements of social life. He does so, said Freud, partly by turning his asocial strivings into socially useful ones - a process which Freud interpreted as either "sublimation" or "reaction formation." Successful "sublimation" is exemplified by the surgeon who was turned his original sadistic strivings into a socially useful activity. An example of successful "reaction formation" is that of a humanitarian who has developed great kindness in combatting his destructive potentialities. The best in man, according to Freud, is rooted in his worst.
When we are asleep, Freud reasoned, we relax the effort that normally restraints the criminal we are at bottom. Our dream life is the refuge, as it were, where we recover from the heavy burden of our culture and are free to satisfy repressed infantile strivings. Yet even in sleep the internal censor's attention is only relaxed, not entirely dismissed. To deceive him, we dream in a kind of secret code. The real meaning of the dream can be understood only if the code is deciphered. This process of deciphering is what Freud called the interpretation of dreams.
Freud's theory of dream shocked psychologists and was denounced by many as unscientific. Most of his followers have denied it fanatically, though some accepting its heavy content of truth, came to consider it one-sided. Carl Custav Jung, who became the leader of his group, tended increasingly emphasize the 'higher' aspects of dreams just as one-sidedly as Freud has emphasized the 'lower'. Where Freud has found in dreams only irrational infantile strivings, Jung saw only expressions of moral or religious experiences, which he interpreted as outgrowth of racially inherited religious and metaphysical ideas.
If a man saw his dream a woman whose features were unknown to him, Freud would assume that this woman represented his mother, that the infantile sexual attachment to the mother, repressed in the conscious state, was satisfied in his dream. Freud argued that the dream she remained unknown to the dreamer in order to fool the censor. Relating this longing for the mother to the recent experiences of the dreamer, the analyst sought the hidden incestuous aspects in the dreamer's relationship to a woman which whom he may recently have fallen in love. Jung, on the other hand, tended to interpret the unknown woman as the image of the "unconscious", and also as a symbol of feminine aspects in the male dreamer's personality.
Had Jung been less concerned with the creating another school, and less fascinated by irrational racialism, his departure from Freud's dogmatism could have avoided the blind alley into which it ultimately led. As matters stand, a constructive revision of Freud's theory of dreams must pick up the thread where it was left before Jung's and other schools of psychoanalysis were formed.
WE MAY begin with Aristotle's definition of dreams, quoted but not accepted by Freud: Dreams are expressions of any kind of mental activity under the condition of sleep. The distinctive quality of dreams, the, is not a particular area of experience - neither Freud's "infantile wishes" nor Jung's "true picture of the subjective state" -but the effect of the condition of sleep upon our mode of experiencing.
Physiologically, sleep is a condition of chemical regeneration of the organism. Energy is restored while physical activity and even sensory perception are almost entirely discontinued. Sleep suspends the main function of waking life: reacting to reality by perception and action. This difference between the biological functions of waking and of sleeping is, in fact, a difference between two states of experience. In the waking state, thoughts or feelings responds primarily to challenge - the challenge of mastering our environment, changing it, defending ourselves against it. The primary task of waking man is survival; this means essentially, that he must think in terms of time and space, and that his thoughts are subject to the logical laws which are necessary for action.
During sleep the frame of reference changes radically. While we sleep we are not concerned with bending the outside world to our purposes. We are helpless - but we are also free. We are free from the burden of work, from the task of attack or defense, from the watching and mastering reality. We live in an inner world concerned exclusively with ourselves.
In sleep the realm of necessity has given way to the realm of freedom where "I" am the only system to which thoughts and feelings refer. In a dream the grief I experienced 10 years ago may be just as strong now, and I may hate a person on the other side of the globe as intensely as if he stood beside me. Sleep experience need not pay attention to qualities that are important in coping with reality. If I feel, for instance, that a person is a coward, I may dream that he has changed into a chicken. This change is illogical in terms of my orientation to outside reality, but logical in terms of what I feel about the person. Sleep experience, therefore, is not lacking in logic, but it is subject to a special logic of its own, which is entirely valid in that particular experiential state.
The "unconscious" is unconscious only in relation to the "normal" state of activity. When we call it "unconscious", we really say only that it is an experience alien to the frame of mind which exists while we act; it is then felt as a ghost-like, intrusive element, hard to get hold of and to remember. But the day world is an unconscious in our sleep experience as the night world is in our waking experience.
From what has been said so far it follows that the concepts "conscious" and "unconscious" are to be understood relative to the sleeping and waking states respectively. As and old Chinese poet put it: "I dreamed that I am a butterfly; now I do not know, am I a man who dreamed he was a butterfly or am I a butterfly who dreams it is a man." In the waking state of action those experiences which feel real in the dream are "unconscious." But when we are asleep and no longer preoccupied with action but with self-experience, the waking-experience is "unconscious" and sometimes it is a hard struggle to chase away the sleep world and to convince oneself of the reality of the waking world.
It is true that even in the waking state of existence, thinking and feeling are not entirely subject to the limitations of time and space. Our creative imagination permits us to think about past and future objects as if they were present, and of distant objects as if they were before our eyes. It could therefore be argued that the absence of the space-time system is not characteristic of sleep existence in contradiction to waking existence, but of thinking and feeling in contradiction to acting. Here it becomes necessarily to clarify an essential point.
We must distinguish between the contents of thought process and the logical categories employed in thinking. While it is true that the contents of our waking thoughts are not subject to limitations of space and time, the logical categories of thinking are those of the space-time logic. I can, for instance, think of my father, and state that his attitude in a certain situation is identical with mine; this statement is logically correct. If I state, on the other hand, "I am my father," the statement is "illogical" because it is not conceived in reference to the physical world. The sentence is logical, however, in a purely experiential realm: it expresses the experience of intense closeness to my father. When I have a feeling in the waking state with regard to a person whom I have not seen for 20 years, I remain aware of the fact that the person is not present. But if I dream about the person, my feelings deals with the person "as if he or she were present" is to express the feeling in logical waking-life concepts. In sleep existence there is no "as if"; the person is present. (It is true, however, that sleep is not completely free from action concepts, as proved by the fact that sometime we think in our dream that what we dream cannot really be so.)
The experiential mode of thought occurs in other forms of dissociation besides dreams - in the hypnotic trance, in psychoses, in early infantile experience, and possibly in primitive thinking. And there is, of course, the state of intense mystical contemplation, wherein attention is withdrawn completely from the outside world as a potential field of action, and is completely focused on self-experience although the person remains awake. The mystic, indeed, considers this state to be highest awareness. The language employed in such a state of contemplation follows the experiential logic of dream, not the action logic of "normal" thinking.
So the sleep existence, it seems, is only the extreme case of a purely contemplative experience, which can also be established by a waking person if he focuses on his inner experience. Symbolic language employing experimental logic is one mode of human expression - just as valid and rational as our "normal" logic, and different from it only as to the systems of reference. These systems, in turn, are determined by the total orientation of the culture. Cultures, in which the emphasis is on self-experience, such as those of the East, or some "primitive" cultures where mastery of nature is little developed, give great scope to this symbolic language. In modern Western culture, almost exclusively focused on activity in the sense of mastery over nature, the comprehension of symbolic language has atrophied. Dreams are remnants of a legitimate mode of human expression, one well known, now looked up as if they were undecipherable hieroglyphs.
IT is peculiarity of dreams that inner experiences are expressed as if they were sensory experiences, subjective states as if they were actions dealing with the external reality. This interchange between the two modes of experience is the very essence of symbols, and particularly of the dream symbol. While the body is inactive and the senses shut down, the inner experience makes use of the dormant faculties of sensory reaction.
A forceful illustration of the dream's symbolic language is the story of Jonah. God commanded the prophet to help the people of Nineveh to repent of their sin and so to save them. But Jonah is a man of stern justice rather than of mercy; he declines to feel responsible for sinners and attempts to escape from his mission. he boards a ship. A storm comes up. Jonah goes into hold of the ship and falls into a deep sleep. The sailors believe that God sent the storm because of jonah and throw him into sea. He is swallowed by a whale and stays inside the animal for several days.
The central theme of this symbolic, dreamlike story is Jonah's desire for complete seclusion and irresponsibility - a position which at first was meant to save him for mission, but eventually is turned into a unbearable, prisonlike existence. The ship, the sleep, the ocean, the whale's belly - all are different symbols of that state of existence. They follow each other in time and space, but they stand for growing intensity of a feeling - the feeling of seclusion and protection. Being inside the whale has brought this experience to such a final intensity that Jonah cannot stand it any longer; he turns to God again; he desires to be freed, to go on with his mission.
SO far we have been concerned with the mode of expression and the particular logic of dreams resulting from the peculiar condition of sleep. We must now turn to the question in what respect the state of sleep also determines the content of dreams. According to Freud it does so in a specific way. Culture, in his view, suppresses our primitive-bad-instincts and the sublimation and reaction formation springing from this suppression are very essence of civilized life. Quite logically, then, in his view, dreams must bring out our worst, since in our sleep we are free - from the cultural pressure.
There can be no doubt that many dreams express the fulfillment of irrational, asocial and immoral wishes which we repress successfully during the waking state. When we are asleep and incapable of action it becomes safe to indulge in hallucinatory satisfaction of our lowest impulses. But the influence of culture is by no means as one-sidedly beneficial as Freud assumed. We are often more intelligent, wiser and more moral in our sleep than in waking life. The reason for this is the ambiguous character of our social reality. In mastering this reality we develop our faculties of observation, intelligence and reason; but we are also stultified by incessant propaganda, threats, ideologies and cultural "noise" that paralyze some of our most precious intellectual and moral functions. In fact, so much of what we think and feel is in response to these hypnotic influences that one may well wonder to what extent our waking experience is "ours." In sleep, no longer exposed to the noise culture, we become awake to what we really feel and think. The genuine self can talk; it is often more intelligent and more decent than the pseudo self which seems to be "we" when we are awake.
My conclusion, then, is that we may expect to find true insights and important value judgments expressed in our dreams, as well as immoral, irrational wishes. We may even find in them reliable predictions based on a correct appreciation of the intensity and the direction of forces operating in ourselves and in others. Both Freud's emphasis on the "low" and Jung's emphasis on the "high" aspect of dream content are dogmatic restrictions. Only if it is recognized that dreams can express either side of a dreamers nature is the way cleared for a real understanding to them.
The following examples illustrate the alternative interpretations that can be given to the same dream. The dreamer sees himself naked in the presence of strangers and feels ashamed but powerless to alter the painful situation. Freud said that this dream represented an infantile exhibitionistic impulse still alive in the adult. During sleep this impulse comes to the fore and finds its fulfillment in the dream; the dreamer's mature personality, not entirely silenced, reacts with shame and fear to the very wishes of his infantile self.
No doubts many nakedness dreams are to be so understood. But others must be interpreted differently. Nakedness is not necessarily an expression of sexual exhibitionism; it can also symbolize the true self of a person, free from pretense and make-believe. A person who dreams of himself as being naked in a well-dressed group may give symbolic expression to his wish to be honest, to be more himself, not to be conformist who wants to please everybody. And his embarrassment in the dream is the same embarrassment he would feel in waking, too, whenever he tried to discard his dependence on other people's opinion.
According to the orthodox Freudian interpretation, the nakedness dream's essential impulse is an infantile sexual desire; in the alternative, it is a rational wish, rooted in the most mature part of the dreamer's personality. But if so, why should it be distinguished in dream symbolism? Why should we repress some of our very best impulses? The answer is that in our culture people are no less ashamed of their best strivings than of their worst. Generosity is suspected as "foolish", honesty as "naive", integrity as "not practical." While one tendency within our complex culture presents these qualities as virtues, another stigmatizes them as "idealistic dreams." Consequently wishes motivated by such virtues often live and underground existence together with wishes rooted in our vices. To mistake rational wishes of the dreamer for expressions of irrational strivings makes it impossible for him to recognize positive goals which he has set himself. Yet to see in every dream an ideal or profound religious symbol is just as fallacious. Whether a dream is to be understood as an expression of the rational or the irrational side in ourselves can be determined only by a full investigation of the individual case - by knowing the dreamer's character, his associations with the dream elements, the problems he was concerned with before he fell asleep.
The following dream is an example of unconscious insight and moral judgment: A man has visited X, a widely known figure whose kindness and wisdom are praised by everybody. He was properly impressed by the admirable man. The same night he dreams of X, who now has a cruel face and tries to swindle a poor old woman out of her last dollar. He remembers this dream the next day, is quite surprised and wonders why the dream picture of X differs so completely from the "real" picture of the day before. Suddenly he is struck by the recollection that his instinctive reaction to X had been one of intense antipathy - but so fleeting had this first reaction been that he was not aware of it at the time of the visit. Actually his antipathy was his real insight into X's character. it was silenced at once by the conventional picture of X: the "noise" had drowned the dreamer's real judgment, which awoke when he was asleep.
If this dream were understood in Freud's terms, the subject would accuse himself of unconscious hostility and, having discovered his own wickedness, would be all the more prone to accept the conventional picture of X. If, on the other hand, the interpreter assumed that dreams unerringly express the "real" judgment, the dreamer might accept his dream as evidence against X, and act accordingly, though it may indeed have expressed only the dreamer's own hostility. Which interpretation is correct can be found only in an appraisal of the dreamer's total situation.
One of the best known dreams of prediction is Joseph's dream, reported in the Bible. He dreamed that the sun, moon and stars were making obeisance to him. His brothers, hearing of the dream, did not need the help of an expert to understand that the dream expressed a feeling of superiority over his parents and brothers. It certainly can be argued that the infantile rivalry with father and brothers was the root of the dream (which would be Freud's interpretation). But what Joseph saw in the dream later came true; the dream indeed predicted future events. And Joseph was able to make such a prediction because he sensed his exceptional gifts, which made him actually superior to the other members of his family; but the conceited character of such insight made it impossible for him to be aware of his superiority - except under the condition of sleep.
WHEN we dream we speak a language which is also employed in some of the most significant documents of culture: in myths, in fairy tales and art, recently in novels like Franz Kafka's. This language is the only universal language common to all races and all times. It is the same language in the oldest myths as in the dreams every one of us has today. Moreover, it is a language which often expresses inner experiences, wishes, fears, judgments and insights which much greater precision and fullness than our ordinary language is capable of. Yet symbolic language is a forgotten language, considered by most as non-sensical or unimportant. This ignorance not only prevents us from understanding the wisdom expressed in myths but also from being in touch with a significant part of ourselves. "Dreams which are not understood are like letters which are not opened," says the Talmud, and this statement is undeniably true.
Why, then, do we not teach the understanding of this forgotten language as a subject in the curriculum of higher education?
True, there are dreams so difficult and complicated that it requires a psychologist of great knowledge and technical skill to understand them; and sometimes even the expert will fail. But is this so different from the study of languages, of mathematics, of physics? Liberal education, in genera, only lays the foundation for more specialized skills which the student later develops for himself. The analogy between teaching dream interpretation and teaching languages is particularly close, not only because dream language is a sort of "foreign" language but also because the results of teaching are similar. No student succeeds in mastering a foreign language without specialized study; but even an average undergraduate is capable of understanding syntax and grammar.
For a number of years I have been teaching dream interpretation not only to graduate students of psychoanalysis but also to undergraduates at Bennington College. The results, at least to my satisfaction, compare with the results of teaching any other subject matter to the same group of students. Remarkable achievements have been rare in this as in any other field; the minimum achievements have not been lower. The aim is to help the student to understand an unknown language in which he expresses important aspects of his own personality, and also to understand a mode of expression in which mankind has expressed some of its most significant ideas.
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The Nature of Dreams - Erich Fromm
Photo by tonynetone
Earth is the third planet from the Sun,our planet is a beautiful blue has oceans of liquid water,and clouds global satellite measurements to improve human understanding of our home planet almost spherical flattened slightly at the poles, an overview of the Earth element viewing about geology, geography,engineering,such as earthquakes and landslides, people worldwide switched for earth over global warming by mass media specifically designed to reach a very large audience specialises in relationship with marketing. Stars in the Sol System the Milky Way the galaxys,populated by a wide variety of native organic lifeforms, in the very beginning of earth's history was formed in the same way as the sun, At first the earth was a hot glowing ball. Green Generation for Earth announce the grow to be the ecosystem.Earth is the largest of the terrestrial planets in the Solar System. Amazing documentary about Earth and our future on DVD Studios makes a wonderful introduction of classical researchers of Earth. Please enjoy the Earth
“Life Underground” is a permanent public artwork created in 2001 by American sculptor Tom Otterness for the 14th Street - Eighth Avenue station of the NYC Subway. The installation is a series of whimsical miniature bronze sculptures depicting cartoon like characters showing people and animals in various situations, and additional abstract sculptures, which are dispersed throughout the station platforms and passageways. The sculptor said the subject of the work is "the impossibility of understanding life in New York” and describes the arrangement of the individual pieces as being “scattered in little surprises”
This was the best I could do without trespassing and was taken from the disused platform 3 of Herne Bay Rail Station.
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw Today!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
"..,So where are the strong
And who are the trusted?
And where is the harmony?
Sweet harmony
'Cause each time I feel it slippin' away, just makes me wanna cry
What's so funny 'bout peace love & understanding?
What's so funny 'bout peace love & understanding?"
I needed a break from work so I took Friday off and walked around my favorite nature preserve. It was a day of calm with gentle rain and rich spring colors to die for. As I wandered for some seven hours, I saw deer (okay, only their white tails running away from me), a crane, a mama goose on her eggs, a group of wood ducks, and a variety of midwestern birds like this guy. We made eye contact and came to the simple understanding that I would sit still and make no sudden moves and he would pose like a model and give me every look in the book :-)
Dedication of the 1964 NY World's Fair's Unisphere
Flushing Meadow, Queens.
036_20131229_flushing_queens_pn_3_
RX100
ONLY PERSONAL COMMENTS. NO LOGOS. THANK YO FOR YOUR UNDERSTANDING.© RESPECT the copyright.
Leica-M6 TTL 0.72 Serial Number (2466527) Elmarit 1:2.8/21mm ASPH.
Delta 100asa Developer HC 110 1+31 20º 6 1/2 min.
Nikon Coolscan 5000ED.
Photoshop CS 4
Het Kröller-Müller Museum is een museum voor moderne kunst, gelegen in het Nationaal Park De Hoge Veluwe te Otterlo in de Nederlandse provincie Gelderland. Het museum en het aangrenzende beeldenpark, samen ca. 25 ha, genieten internationale bekendheid. Jaarlijks komen er ruim 250.000 bezoekers uit binnen- en buitenland.
The Kröller-Müller Museum is a museum for modern art, located in the National Park De Hoge Veluwe in Otterlo in the Dutch province of Gelderland. The museum and the adjacent sculpture park, together around 25 ha, are internationally renowned. Every year more than 250,000 visitors come from home and abroad.
🔴Leica my point of view.
Wetzlar, Deutschland.
Leica-CL 1974 Rangefinder
Leica-M 6 TTL 0.72 1998 Rangefinder
Leica-M6 TTL 0.85 2001 Rangefinde
I wish to thank everyone who has viewed my photos. I appreciate viewing yours also. Photos really do make the world come together and assist understanding between cultures. Thanks and Cheers.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
I've always been fascinated by golden hour although have never really been able to capture it too well.
I'm beginning to make progress with the ability to post process and finally understanding things like bracketing and exposure compensation.
Pássaro popularmente conhecido como Tesourinha (Muscivora tyrannus) ou (Tyrannus savana).
Na Argentina Tijereta e na Venezuela, Atrapamoscas Tijereta.
A tesourinha é uma ave facilmente reconhecível por sua longa cauda bifurcada, que lhe dá o nome. Mede no total 28 cm se for fêmea ou 38 cm se for macho, tendo este cauda mais longa. Tem ventre branco, costas cinzentas e cabeça e face pretas. Entre as penas do alto da cabeça, tem algumas de cor amarela que não costumam ser vistas, a não ser quando está excitada e/ou fazendo galanteios.
Migram para o Norte em fins de fevereiro ou início de março, em bandos que totalizam milhões de indivíduos, segundo Belton. Costuma pousar nos fios, arames de cerca, antenas de televisão, etc. A fêmea costuma botar quatro ovos, no período em que aqui permanece. Alimenta-se de pequenos artrópodes e frutos.
Informações do site: www.paginadogaucho.com.br/faun/pass.htm
A text in english:
Fork-tailed Flycatcher photographed in Brasília, Brazil.
The world of aves contains an order called passeriformes, the largest of the 34 existing orders. The order has an unusual family known as the Tyrannidae and within that family, is a species called Muscivora Tyrannus or Tyrannus savana, most cornmonly referred to as the Fork-tailed Flycatcher. The Forked-tail Flycatcher has a black cap with a yellow crown spot. Its underparts are white and its tail is black, forked and twice the length of its body.
Its nest is an elaborate hanging basket or cup preferably where colonial wasps or ants are nesting, presumably because of the protection from predators afforded by bites or stings of these neighbours. They lay one egg daily until the clutch is complete. The eggs are a white cream to buff with brown spots.
Bubba's new girlfriend gave him a Latin to English dictionary and he's convinced it's the key to a greater understanding of birdwatching. For instance, I would have guessed the Latin name Muscivora Tyrannus would have to do with its incredibly long forked tail or this varasious insectivorous birds appetite for flies but instead it's a description of its personality. Bubba looked it up and interpreted it as the tyrant intruder. A tyrant is defined as a cruel oppressive ruler or master.
The Tyrant Flycatchers all defend exclusive territories and are highly aggressive towards intruders, even intruders like hawks that may be three times their size.
From the site: www.ambergriscaye.com/birds/flycatcher.html
The Forked-tail Flycatcher's song (and others birds songs) is (are) at the following adress:
Inside the Space Life Sciences Laboratory at NASA’s Kennedy Space Center in Florida, bobtail squid are part of preparations on May 20, 2021, for the Understanding of Microgravity on Animal-Microbe Interactions (UMAMI) experiment that will launch to the International Space Station aboard SpaceX’s 22nd Commercial Resupply Services mission. The experiment will examine the effects of spaceflight on the molecular and chemical interactions between beneficial microbes and their animal hosts. Amimals, including humans, rely on microbes to maintain a healthy digestive and immune system. UMAMI is one of several experiments bound for the space station in the Dragon capsule atop the SpaceX Falcon 9 rocket. The mission is scheduled to lift off from Launch Complex 39A on June 3. Photo credit: NASA/Isaac Watson
Layered sedimentary rocks are key to understanding the geologic history of a planet, recording the sequence of deposition and the changes over time in the materials that were deposited.
These layered sediments are on the floor of eastern Coprates Chasma in Valles Marineris, the grandest canyon on Mars. They are erosional remnants of a formerly much more extensive sedimentary deposit that once filled the floor of the canyon but is nowadays reduced to isolated mesas.
NASA/JPL/University of Arizona
please turn your neck 45 degrees and post a comment to see properly
this stunning shot. thanks for your good understanding.
Enviado do meu iPhone
Leica-CL Summicron 1:2.0/40mm.
Ilford FP4 125asa.
Developer Ilford ID 11 1+1 20º 11 min.
Nikon Super Coolscan 5000 ED.
Thank you everyone for your visit, favorites and comments.
Cosplayers at Leipziger Buchmesse / Leipzig Book Fair 2014
2014_042
2014#110
2014#111
_coco / LadyDeSanta (Tessa) 567802 as Harley Quinn from Batman
Opticat (Rike) 583369 as Harley Quinn from Batman
Photos posted are 1024x768 pixels in size. Higher resolution (3000x2000) for models only, sorry.
Thank you for any group invites which I will gladly accept. However, if I can't check the content of such groups ("This group is not available to you") I'd rather not add any of my photos. Thanks for your understanding.
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"Understanding the symptoms of diabetes is a valuable Christmas gift."
~ Unknown
...................
2. Cure Diabetes,
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Thanks for stopping by
and God Bless,
hugs, Chris
With tablet exchanger deployed, a short Picton Express departs the dock at Christchurch's railway station over Easter in 1988.
The station (out of frame right), the Cathedral of the Blessed Sacrament (top right) and most of the other buildings in this scene were damaged or demolished in the 2010/1 earthquakes. The Cathedral of the Blessed Sacrament lost its domes and still stands as a ruin, but is expected to be rebuilt. The church is still fighting to prevent the main cathedral, the 'heart' of Christchurch in the centre of town being rebuilt. For reasons that defy understanding.
During 1988, Railfreight Systems sponsored the NZ Olympic team, hence the nose stickers, which left sticky dirty marks for many years after their removal. One of the last batch of 10 DFs, 6260 has migrated from the North Island. Its single MU plug on the nose, lack of 4-pipe brakes and black blower duct brand it as an outsider... Both it and 6110 have by now had the long hood handrails reconfigured.
Not sure I think he was writing "send me 3 and 4pence as were going to a dance" but I thought I heard his Captain asking "Send us reinforcements were going to advance" :))
.scepticism,
You might like what I say, you might enjoy what I write, but you should not believe it.
If it sounds so right to you, you should not take it for granted, at all.
You should discuss it, go check it, experience it, feel it, love it, hate it, change it, ...
... for yourself.
... Please.
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Copyright © 2007 Soo Hon Keong. ALL RIGHTS RESERVED.
You wake up every morning with back and neck pain. Finally, you decide it’s time to replace your mattress. What size should you get, though? Here’s a breakdown of which size will work best for your specific situation.
To continue reading this article, please click on the following link!
www.nectarsleep.com/posts/understanding-mattress-dimensions/