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My little knitted PG Tips monkey. Taken on the macro setting on my XZ-1 with the Amaran LED Ring Flash mounted on the front. As a result you can see the nice circular catch lights in his eyes.
Edited from RAW in Darktable, applied 'Hollywood' style.
Watch Sattam (1983) Tamil Full Length Movie Online - Kamal Haasan, Madhavi, Sarath Babu | K. Vijayan Sattam tamil full movie starring Kamal Haasan, Madhavi, Sarath Babu, K. Balaji, Jaishankar, Y. G. Mahendra, Ilavarasi, Manorama, Sathyakala and others. Directed by K. Vijayan. Produced by Anandavalli Balaji. Music composed by Gangai Amaran. Hi Thaliva TV Viewers, a entertainment channel you can watch latest Tamil Movies, latest Tamil songs, latest Official trailers, and all genre like funny & comedy scenes, romantic scenes, love scenes, action scenes And More. For more Updates Subscribe to us: goo.gl/JXT9cg
Shot with:
Minolta Maxxum 7000i
Minolta Maxxum AF 70-210mm F4 at F4.5
Adox Silvermax 100 at ISO160
Rollei Supergrain at 1:12 for 7 minutes at 68F
30 seconds initial agitation & 1 inversion every 30 seconds
TF-5 Fixer for 4 minutes with 30 second agitation per minute
Scanned with:
Olympus EM5II in AP Mode
Minolta MC Macro Rokkor-QF 50mm f3.5 at f8
Minolta Slide Copier
Aputure Amaran Fi Led Light 5" from Copier
Its the time to Disco :-).
This is the most beautiful and colorful spider I've ever seen. Its the Indian Peacock Spider(Maratus volans). I found this toddler late evening and kept him in plastic box for half-a-day and sorry about that. He/she was so tiny, must be about 2mm x 4 mm.
Took it with kit lens reversed and my new gift LED ring flash ( Amaran Halo LED Ring Flash) mounted to the front of the lens with two sided tap. Tried to get higher magnification but was too difficult to track him as he was extremely tiny. After spending an hour with him left him in the yards with freedom :-).
si no aman las plantas no amarán el ave,
no sabrán de música, de rimas, de amor.
Nunca se oirá un beso, jamás se oirá una clave...
From the left are:
Buddha - 9 years old, loves vegetarian food and very intelligent. Unfortunately both parents suffered from tuberculosis and his father eventually passed away. His mother had to go to the hospital constantly so she relied on her neighbour to take care of Buddha. The neighbour abused Buddha and his brother. Buddha's tongue was burned with a cigarette and he was hit on the head many times. He came to Agathians with damaged speech and hearing. The Agathians raised a campaign to send Buddha to a speech therapist. He has since recovered.
Shashwin - 4 years old and was brought up by a single father who drives a van for a living. His father was reluctant to give Shashwin up but due to financial constraints he had no choice but to place his son in an orphanage. However he is working very hard to make enough money so that he can take Shashwin back into his care. He visits Shashwin constantly.
Tharuman - He was raised by a single mother and is currently in Form 3. Tharuman finds it hard to catch up with his studies because his mother didn't pay much attention to his education during his formative years.
Shankar - Brought up by his mother who couldn't cope financially after his father's death. She has bronchitis as well.
Poobalan - Raised by his mother who worked in a timber factory. One day her hair got caught in the conveyor belt and she was dragged to a timber saw. It sawed off her upper cranium and she now suffers from psychological disorders. She visits Poobalan from time to time, wishing that she could take him back one day.
Agilan - Only knew life in a squatter house before he came to Agathians.
Prashan - His father went in and out of prison and he didn't have any family members to take care of his son.
Amaran - His mother despised his father and didn't want Amaran to carry his father's name. So she didn't register his birth. If you do not have a birth certificate in Malaysia you will not have an identification that grants you public education, healthcare and formal employment. Amaran cannot go to a school but he is tutored by volunteers. He loves playing chess and could even beat the caretaker.
Hari - Ran away from home at the age of 8. He has no birth certificate as well. Four boys in the Agathians Shelter do not have birth certificates. The caretaker has been pursuing this matter with the authorities for 4 years now and he said that their chances are slim.
Thaban - He was brought to the Agathians at the age of 11 by both of his parents. They just said they that didn't want him anymore.
Please bring some joy to these children's life. You can organise a birthday party at the Agathians as how my friend did.
The Agathians Shelter needs your support. Kindly visit www.agathians.org
I got a roll of mystery film as part of an eBay lot. I exposed it at ISO 200, and stand-developed it. It turned out to be Ilford FP4+. Shot with my Olympus OM-2N, Zuiko 50mm.
Lighting: Amaran LED ringlight at full power through a diffuser, camera left.
I got a roll of mystery film as part of an eBay lot. I exposed it at ISO 200, and stand-developed it. It turned out to be Ilford FP4+. Shot with my Olympus OM-2N, Zuiko 50mm.
Lighting: Amaran LED ringlight through a diffuser, camera left.
Shot with:
Konica Autoreflex T3
Konica Hexanon AR 35mm F2.8
12mm Extension Tube
Shot at F8
Rollei Superpan 200 at ISO 400
Rollei Supergrain at 1:12 for 8 minutes at 68F
30 seconds initial agitation & 1 inversion every 30 seconds
TF-4 Fixer for 5 minutes
Scanned with:
Olympus EM5II in AP Mode
Minolta MC Macro Rokkor-QF 50mm f3.5 at f8
Minolta Slide Copier
Aputure Amaran Fi Led Light 8" from Copier
Shot with:
Canon P Rangefinder
Canon 50mm F1.4 LTM
Canon Auto-up 450
Shot at F4
Rollei Superpan 200 at ISO 250
Rollei Supergrain at 1:12 for 8 minutes at 68F
30 seconds initial agitation & 1 inversion every 30 seconds
TF-4 Fixer for 5 minutes
Scanned with:
Olympus EM5II in AP Mode
Minolta MC Macro Rokkor-QF 50mm f3.5 at f8
Minolta Slide Copier
Aputure Amaran Fi Led Light 8" from Copier
ILAIYARAJA the MAESTRO Original - by Artist Anikartick,Chennai,India
Ilaiyaraaja (born Gnanadesikan) is an Indian film composer who works in the Indian film Industry. His body of work has spanned across Tamil, Telugu, Malayalam, Kannada, Marathi, Hindi and English language films. Regarded as one of the finest music composers in India,[1] Ilaiyaraaja is also an instrumentalist, conductor, singer, and a songwriter. To date, he has composed over 4500 songs and provided film scores for 1000 Indian films in various languages,[2][3] particularly being acclaimed for his background scoring.[4] His songs and background score played a very crucial role in the success of many films.[5][6]
Ilaiyaraaja has been a prominent composer of film music in the South Indian cinema since the late 1970s.[7] His works are mainly in Tamil, but has also scored music for numerous films in Telugu, Malayalam, Kannada, and Hindi. Of late, he also composed for two Marathi films.[8] He integrated folk—in Tamil—and introduced western musical sensibilities into the South Indian musical mainstream.
A gold medalist in classical guitar from Trinity College of Music, London, in 1993, he organised a full symphony and thus became the first Asian to compose a full symphony performed by the Royal Philharmonic Orchestra in London's Walthamstow Town Hall, which is yet to be released. In 2003, according to an international poll conducted by BBC, people from 155 countries voted his composition Rakkamma Kaiya Thattu from the 1991 film Thalapathi as fourth in the world's top 10 most popular songs of all time.[9] He was also nominated in the Best Indian album Music Awards category[10] at US based Just Plain Folks Music Organization, which is the largest grassroots music organization in the world, and stood third for his "Music Journey: Live in Italy".[10]
In the 2000s, he composed a variety of non-film music, including religious and devotional songs, an oratorio, and world music, while shifting his focus to Malayalam and Kannada films. He is usually referred to by the title Isaignani (English: Musical Genius), or as The Maestro.[11] As of 2013, he has won four Indian National Film Awards; three for Best Music Direction and one for Best Background Score[12] and is a recipient of Padma Bhushan, awarded by the Government of India. Ilaiyaraaja also received the NTR National Award in 2004.[13] In 2012 he received the Sangeet Natak Academi Award for his creative and experimental works in music field.[14]Popular world cinema portal Taste of Cinema placed Ilaiyaraja at the 9th position in its list of 25 greatest film composers in the cinema history.[15] In a poll conducted by CNN-IBN celebrating 100 years of Indian cinema in 2013, Ilaiyaraaja was voted the greatest music composer of India with a maximum of 49%.[16]
Contents
1 Early life and family
2 Early exposure to music
3 Session musician and film orchestrator
4 Film composer
4.1 Impact and musical style
5 Musical characteristics
6 Non-cinematic output
7 Notable works
8 Live performances
9 Discography
10 Awards
11 References
12 Further reading
13 External links
Early life and family
Ilaiyaraaja was born as Gnanadesikan on 3 June 1943 in a Tamil family in Pannaipuram, Theni district, Tamil Nadu, India. When he joined the school his father changed his name as "Rajaiya" but his village people used to call him as "Raasayya".[17] Ilaiyaraaja joined Dhanraj Master as a student to learn musical instruments and the master renamed and called him as just "Raaja".[18] In his first movie Annakili, Tamil film producer Panchu Arunachalam added "Ilaiya" (Ilaiya means younger in Tamil language) as prefix in his name Raaja and he named as "Ilaiyaraaja" because in 1970's there was one more music director A. M. Rajah who was a popular one.
Ilaiyaraaja was married to Jeeva and the couple have three children—Karthik Raja, Yuvan Shankar Raja and Bhavatharini—all film composers and singers.[19][20] His wife Jeeva died on 31 October 2011.[21] Ilaiyaraaja has a brother Gangai Amaran, who is also a music director and lyricist in Tamil film industry.[22]
Early exposure to music
Ilaiyaraaja grew up in a rural area, exposed to a range of Tamil folk music.[23] At the age of 14, he joined a travelling musical troupe headed by his elder brother, Pavalar Varadarajan, and spent the next decade performing throughout South India. While working with the troupe, he penned his first composition, a musical adaptation of an elegy written by the Tamil poet laureate Kannadasan for Jawaharlal Nehru, India's first prime minister.[24] In 1968, Ilaiyaraaja began a music course with Professor Dhanraj in Madras (now Chennai),[18] which included an overview of Western classical music, compositional training in techniques such as counterpoint, and study in instrumental performance. Ilaiyaraaja specialized in classical guitar and had taken a course in it at the Trinity College of Music, London.[25]
Session musician and film orchestrator
In the 1970s in Chennai, Ilaiyaraaja played guitar in a band-for-hire, and worked as a session guitarist, keyboardist, and organist for film music composers and directors such as Salil Chowdhury from West Bengal.[26][27][28] After being hired as the musical assistant to Kannada film composer G. K. Venkatesh, he worked on 200 film projects, mostly in the Kannada language.[29] As G. K. Venkatesh's assistant, Ilaiyaraaja would orchestrate the melodic outlines developed by Venkatesh. During this period, Ilaiyaraaja also began writing his own scores. To hear his compositions, he would persuade Venkatesh's session musicians to play excerpts from his scores during their break times. Ilaiyaraaja would hire instruments from composer R. K. Shekhar, father of composer A. R. Rahman
Film composer
In 1975, film producer Panchu Arunachalam commissioned him to compose the songs and film score for a Tamil-language film called Annakkili ('The Parrot').[30] For the soundtrack, Ilaiyaraaja applied the techniques of modern popular film music orchestration to Tamil folk poetry and folk song melodies, which created a fusion of Western and Tamil idioms.[31][32] Ilaiyaraaja's use of Tamil music in his film scores injected new influence into the Indian film score milieu.[33] By the mid-1980s Ilaiyaraaja was gaining increasing stature as a film composer and music director in the South Indian film industry.[7] He has worked with Indian poets and lyricists such as Kannadasan, Vaali, Vairamuthu, O. N. V. Kurup, Sreekumaran Thampi, Veturi Sundararama Murthy, Aacharya Aatreya, Sirivennela Sitaramasastri, Chi. Udaya Shankar and Gulzar and is well known for his association with film makers such as Bharathiraja, K. Balachander, Mani Ratnam, Sathyan Anthikkad, Priyadarshan, Fazil, Balu Mahendra, Vamsy, K. Vishwanath, Singeetham Srinivasa Rao and R. Balki.
Impact and musical style
Ilaiyaraaja was one of the earliest Indian film composers to use Western classical music harmonies and string arrangements in Indian film music.[34] This allowed him to craft a rich tapestry of sounds for films, and his themes and background score gained notice and appreciation among Indian film audiences.[35] The range of expressive possibilities in Indian film music was broadened by Ilaiyaraaja's methodical approach to arranging, recording technique, and his drawing of ideas from a diversity of musical styles.[34]
According to musicologist P. Greene, Ilaiyaraaja's "deep understanding of so many different styles of music allowed him to create syncretic pieces of music combining very different musical idioms in unified, coherent musical statements".[7] Ilaiyaraaja has composed Indian film songs that amalgamated elements of genres such as Afro-tribal, bossa nova, dance music (e.g., disco), doo-wop, flamenco, acoustic guitar-propelled Western folk, funk, Indian classical, Indian folk/traditional, jazz, march, pathos, pop, psychedelia and rock and roll.
By virtue of this variety and his interfusion of Western, Indian folk and Carnatic elements, Ilaiyaraaja's compositions appeal to the Indian rural dweller for its rhythmic folk qualities, the Indian classical music enthusiast for the employment of Carnatic Ragas, and the urbanite for its modern, Western-music sound.[36] Ilaiyaraaja's sense of visualization for composing music is always to match up with the storyline of the running movie and possibly by doing so, he creates the best experience for the audience to feel the emotions flavored through his musical score. He mastered this art of blending music to the narration, which very few others managed to adapt themselves over a longer time.[6]
Although Ilaiyaraaja uses a range of complex compositional techniques, he often sketches out the basic melodic ideas for films in a very spontaneous fashion.[7][23] The Indian filmmaker Mani Ratnam illustrates:
Ilayaraja would look at the scene once, and immediately start giving notes to his assistants, as a bunch of musicians, hovering around him, would collect the notes for their instrument and go to their places. When the orchestra played out the notes, they would be perfect, not just in harmony but also in timing — the background score would commence exactly where it should and end at the exact place required. Ilayaraja is a genius, who could compose music with just one look at the scene.
Musical characteristics
Ilaiyaraaja's music is characterised by the use of an orchestration technique that is a synthesis of Western and Indian instruments and musical modes. He uses electronic music technology that integrates synthesizers, electric guitars and keyboards, drum machines, rhythm boxes and MIDI with large orchestras that feature traditional instruments such as the veena, venu, nadaswaram, dholak, mridangam and tabla as well as Western lead instruments such as saxophones and flutes.[7]
He uses catchy melodies fleshed out with a variety of chord progressions, beats and timbres. Ilaiyaraaja's songs typically have a musical form where vocal stanzas and choruses are interspersed with orchestral preludes and interludes. They often contain polyphonic melodies, where the lead vocals are interwoven with supporting melody lines sung by another voice or played by instruments./
The basslines in his songs tend to be melodically dynamic, rising and falling in a dramatic fashion. Polyrhythms are also apparent, particularly in songs with Indian folk or Carnatic influences. The melodic structure of his songs demand considerable vocal virtuosity, and have found expressive platform amongst some of India's respected vocalists and playback singers, such as S. P. Balasubrahmanyam, K. J. Yesudas, S. Janaki, Jayachandran, K. S. Chithra, Minmini, Jency, Swarnalatha, S. P. Sailaja, T. M. Soundararajan, P. Susheela, Sujatha, Malaysia Vasudevan, Asha Bhosle, Lata Mangeshkar, Hariharan, Udit Narayan, Sadhana Sargam and Shreya Ghoshal. Ilaiyaraaja has sung over 400 of his own compositions for films, and is recognisable by his stark, deep voice. He has penned the lyrics for some of his songs in Tamil and other languages.[37][38] Ilaiyaraaja's film scores are known both for the dramatic and evocative melodies, and for the more subtle background music that he uses to provide texture or mood for scenes in films such as Johnny (1980), Mouna Ragam (1986), Nayakan (1987), Geethanjali (1989), Guna (1991) Marupadiyum (1993).Notable works
Ilaiyaraaja's composition "Rakkama Kaiya Thattu", sung by SPB, Swarnalatha, Minmini in the movie Thalapathi (1991), was among the songs listed in a BBC World Top Ten music poll.[44] The soundtrack of My Dear Kuttichathan, the first stereoscopic 3D film made in India is composed by him. He composed the music for Nayagan (1987), an Indian film ranked by TIME Magazine as one of the all-time 100 best movies,[45] a number of India's official entries to the Oscars, such as Swathi Muthyam(1986),Nayagan(1987),Thevar Magan(1992), Anjali(1991), and Hey Ram (2000),[46] and for Indian art films such as Adoor Gopalakrishnan's FIPRESCI Prize-winning Nizhalkuthu ('The Shadow Kill') (2002).[47] Ilaiyaraaja has composed music for events such as the 1996 Miss World beauty pageant that was held in Bangalore, India, and for a documentary called India 24 Hours (1996).[48]
The Black Eyed Peas sampled the Ilaiyaraaja composition "Unakkum Ennakum" from Sri Raghavendra (1985), for the song "The Elephunk Theme" on Elephunk (2003).[49] The alternative artist M.I.A. sampled "Kaatukuyilu" from the film Thalapathi (1991) for her song "Bamboo Banga" on the album Kala (2007). As well, Gonjasufi sampled "Yeh Hawa Yeh Fiza" from the movie Sadma. His music compositions for the Hindi movie "Cheeni Kum" and Paa (3 December 2009) has won critical acclaim in several media reviews.
first thousands of bibles were impounded [to date 35 THOUSAND copies at ports in the country], due to certain terms that are deemed "sensitive".
Now due to elections in the state of Sarawak, where most of the Malay speaking Christians reside, the ban is lifted....conditionally..with WARNINGS stamped in them, like the Word of God ws some sort of cigarette. .
Christians in the country feel betrayed, but, in truth, The Bible IS DANGEROUS, in whatever language it's written in, and on that ground i couldn't agree more with the home ministry.
libertysentinel.wordpress.com/2011/03/17/malay-bibles-des...
Shot using a Canon FTb equipped with an Aputure Amaran 60 LED ring flash on Fuji Velvia 50 with a Manfrotto tripod.
Shot with:
Canon 7s
Nikkor-P.C 105mm F2.5
Rollei Superpan 200 at ISO 250
Rollei Supergrain at 1:12 for 8 minutes at 68F
30 seconds initial agitation & 1 inversion every 30 seconds
TF-5 Fixer for 4 minutes
Scanned with:
Olympus EM5II in AP Mode
Minolta MC Macro Rokkor-QF 50mm f3.5 at f8
Minolta Slide Copier
Aputure Amaran Fi Led Light 5" from Copier
Shot using a Canon FTb equipped with an Aputure Amaran 60 LED ring flash on Fuji Velvia 50 with a Manfrotto tripod.
This is a view of the race from Boston Street, between Fells Point and the Canton Waterfront Park. The entries show (in order) are: Bee-have, When Hell Freezes Over, Bumble Bee, Pussy Galore, the race judges in a golf cart, Go Ask Alice, Bumpo, and Cat-amaran. We were walking to the park to watch these sculptures go into the water. More video to follow.
Experimental Audio Research (E.A.R.)- Continuum. Experimental electronic drone music. English release.
Very bright even in normal light, backlit with my go-to 9 LED light for this lens (Amaran AL-M9)
Nikon D610 - Zhongyi Mitakon 20mm f/2.0 4.5X Super Macro Lens