Long Lovely Legs
View allAll Photos Tagged arbiter
...and on the surface.
It's Comet Cleanser. I actually took this shot for last Macro Mondays "Soap" theme. The can top diameter is just under 3 inches, so it fits within the size limit. But I wasn't sure that the group's arbiters would accept it as "soap," so I went with something else. I kinda like this image, though, so here it is.
Flies are ugly to us, but how can we be the absolute arbiter of ugliness when it is basically learnt. I'm sure that this fine fellow has quite a few admirers in its own domain, and I do know of a few humans on flickr that would call it pretty.
From a western point of view life was either created by an omnipotent and omniscient God and called good, or has evolved to perfection over many millions of years through successive generations being more able to survive. Either way, you got to look at this fly with a bit of admiration, and maybe see beauty beyond fluffy cats and pretty birds, don’t you think?
Forward Building Built 1912
The building originally housed the Yiddish language newspaper "Forward" and the social organization "Arbiter Ring" (Workman's Circle) Converted to condominiums in 1999.
This beautiful decorative polychrome terra cotta is on the the third floor above the entrance.
Hair: No Match - NO ever @ Alpha
Skin: Fuoey - Christian skin @ ManCave
Facial hair: MRCOIN - Saul Facial Hair @ Men only Monthly
Mesh Body: Inithium - Kario 2.21
Tattoo: WIHK- Sensorium Tattoo @ The Darkness Event
Accessories: rotten - arbiter chains earrings @ The Warehouse Event
ROZOREGALIA - Gemma bridge (Prophecy) @ ManCave
ROZOREGALIA - Mica bracelet and armlet @ Alpha
The Factory - RICK AXE (BLOOD VERSION)
Victoria Building, Liverpool University, by Alfred Waterhouse
High Victorian Gothic was an eclectic architectural style and movement during the mid-late 19th century.[1] It is seen by architectural historians as either a sub-style of the broader Gothic Revival style, or a separate style in its own right.[2]
Promoted and derived from the works of the architect and theorist John Ruskin, though it eventually diverged, it is sometimes referred to as Ruskinian Gothic.[3] It is characterised by the use of polychrome (multi-colour) decoration, "use of varying texture", and Gothic details.[4] The architectural scholar James Stevens Curl describes it thus: "Style of the somewhat harsh polychrome structures of the Gothic Revival in the 1850s and 1860s when Ruskin held sway as the arbiter of taste. Like High Gothic, it is an unsatisfactory term, as it poses the question as to what is 'Low Victorian'. 'Mid-Victorian' would, perhaps, be more useful, but precise dates and description of styles would be more so."
A Swords of Sanghelios Grunt and Halo 5 Arbiter.
I have to say I was a little disappointed in the Halo 5 campaign, but I did like Arbiter's design, and Arbiter being my favorite character in all of gaming I figured I'd make him.
The base designs for these figures were not designed by me, but they were edited by me. I'm not sure who orginally did the designs I mentioned, but Elite credit may go to TRSLegofan?
Sponsored:
Headpiece: Warrior by Azoury, available at a discount for Happy Weekend at the Azoury Mainstore.
Posture Collar x Harness: Vertebra by Unholy, available at the Unholy mainstore.
Arms: Pneuma by Cureless, available at the Cureless Mainstore.
Scales: Judicium Scale by Unholy, available at The Warehouse Sale, and afterwards at the Unholy x Vellum Mainstore.
If you're curious about the raw shot, you can find it on my BlueSky. Check it out!
__________________________________
Links:
"...... delivering absolution, raises thought-provoking questions about power, morality, and the complexities of human agency. the agent becomes both arbiter and executor, wielding the tools of violence to grant forgiveness or redemption."
Someone appealed my receiving X-Mas gifts this year. I am not sure who ratted out on me. but my fate is left up to Justice Lego.
IMG_0917r
Between 1900 and 1913, Hector Guimard was responsible for the first generation of entrances to the underground stations of the Paris Métro. His Art Nouveau designs in cast iron and glass dating mostly to 1900, and the associated lettering that he also designed, created what became known as the Métro style (style Métro) and popularized Art Nouveau. However, arbiters of style were scandalized, and the public was also less enamored of his more elaborate entrances. In 1904 his design for the Opéra station at Place de l'Opéra was rejected and his association with the Métro ended; many of his station entrances have been demolished, including all three of the pavilion type (at Bastille and on Avenue de Wagram at Étoile). Those that remain are now all protected historical monuments, one has been reconstituted, and some originals and replicas also survive outside France.
(source: Wikipedia)
๖ۣۜღ Body๖ۣۜღ
メ Body // eBODY - REBORN // by eBODY in Mainstore
メ Head // LeLUTKA Briannon Head 3.1 // by Lelutka in Mainstore
メ Hairbase // (Enfer Sombre*) Bonnie hairbase {LeL EvoX} // by Enfer Sombre in Kawaii Project
メ Skins // (Enfer Sombre*) Sea skin {LeL EvoX} // by Enfer Sombre in Mainstore
メ Hair // Stealthic - Perla // by Stealthic in Kustom9
๖ۣۣۜۜღ Cosmetics๖ۣۜღ
メ Eyeshadow // (Enfer Sombre*) Bubble Eyeshadow {LeL EvoX} // by Enfer Sombre in Mainstore
๖ۣۣۜۜღ Apparel๖ۣۜღ
メ Top Bra // Wicca's Originals - Mahel Top // by Wicca's Originals in The Warehouse Sale Event
メ Crop Top // - TRIGGERED - Liv Crop Top // by Tirggered in Mainstore
メ Skirt // AVEC TOI - Aria Mini Skirt // by Avec Toi in Mainstore
メ Skirt Chains // [VERBOTEN] Scamander Waist Chains // by Verboten in Sabbath Event
๖ۣۜღAccesories๖ۣۜღ
メ Earrings // rotten {arbiter chains} fatpack // by Rotten in The Warehouse Sale Event
メ Collar // UNHOLY ACANTHA SPIKED COLLAR // by UNHOLY in Sabbath Event
メ Cuffs // UNHOLY ACANTHA SPIKED CUFFS // by UNHOLY in The Warehouse Sale Event GIFT
メ Tail // + Daemonium Tail + {egosumaii}// by Aii in Mainstore
メ Horns // + Pearlescent Devil Horns + {aii} // by Aii in Mainstore
メ Condom // Kiru - Condoms (Fatpack) // by Kiru in Okinawa Summer Nights
メ Garters // - Vermilion - Tough Love // by Vermilion in Mainstore
๖ۣۜღDeco๖ۣۜღ
メ Backdrop // K&S - // No way out. Backdrop // by K&S in Mainstore
メ Pose // mirinae: lovelic // by Mirinae in Okinawa Summer Nights
As mankind endeavors to assert dominion over the natural world, we are but pretenders to the throne, wrapped in our illusions of mastery. The intricate machinery and towering edifices that we construct belie our vulnerability, for, in truth, nature remains the ultimate arbiter of our fate. We may harness her forces, summon her bounties, and ply her secrets for our advancement, but let us not forget that she is a capricious sovereign, capable of wrath as swift and terrible as her favors. The relentless flow of time reveals our fragility, and, as with the fickle tides, nature can, with the subtlest gesture or tempestuous roar, erase the grandest marks of our ambition, returning us to the humbling recognition of our place in her eternal tableau.
Ethereal City Dusk
maps.secondlife.com/secondlife/Ethereal%20City%20Dusk/212...
Arbiters, some call them the magic cops but there's much more to their duties. Assigned to one of the three Towers of Sorcery the Arbiters investigate any use of magic by an unregistered caster. Hunt, locate, detain, this is the sworn duty of every Arbiter in Chicago. Chloe, a puca fae by birth, just happened to be one of the best.
Model: Seffy
Location: Hangars Liquides
As hard as you may think it is, building curves on this scale is actually pretty easy! I know it doesn't look like much, but at this rate I could finish this section within two months.
Here is my new custom Lego Arbiter minifigure. Started this guy on Monday, and finished him today, which is currently Wednesday.
This figure features custom made "Chicken Legs" which were originally used by Billy.
He also has a custom sculpted head and armor. The plates on the arms are actually strips of electrical tape. I also modified some Brickwarriors vambraces and a Lego Zod Henchman armor piece for this guy.
It was then painted by me.
What do you think?
Please check out this photo for scale with my Master Chief: www.flickr.com/photos/99717434@N04/23233060181/in/photost...
And please check out this video for a 360 of this guy for a better view: www.flickr.com/photos/99717434@N04/23207329382/in/photost...
I am not very satisfied with the eyes on this, so I will most likely redo them. I spent literally an hour just on them, and they still look shit, so just kinda ignore them.
State Theatre, Sierra Blanca, West Texas
Best viewed in Lightbox, i.e., click on expand arrows at upper right.
Perhaps my last upload from my shoot in this decaying village east of El Paso. I wonder how long it's been since last the lights flickered here on a silver screen? Would have loved to have shot inside, but it wouldn't surprise me if the power has long since been turned off.
I debated long and hard over whether to upload the B&W or a color version. For this type of photo, B&W is my usual choice, but in this case the various elements of the photos had better separation in the color version. Perhaps inertia was the final arbiter of my decision.
Since uploading this photo 2.5 years ago, I have since discovered that this theater opened in 1952 and closed in 1986. It has 260 seats. As of 2020, the interior remained in good condition according to those that had been inside. There was an attempt to sell it on ebay in 2008 for $34,000, but apparently there were no takers.
After three years of anticipation, here we are! Batman v Superman: Dawn of Justice has finally been released in theaters, and my god it was amazing. I've already seen the film three times while in Kansas City. It was everything I hoped it would be. The entire movie is incredible. It truly is the kick starting of the DC Cinematic Universe, and I could not be more excited for Justice League Part One in November 2017!!
Alright, here we go!
(this is all very rough, so please bare with me lol)
Batman:
Ever since the initial black & white reveal photo of Ben Affleck in the Batsuit, I had always wondered "How the hell am I gonna make that cowl?" That question was answered for me toward the end of 2015 when I came across minifigmadness' Batman cowl. As soon as I saw it, I knew with a little sanding, I could make it look a hell of a lot closer to the BvS cowl than anything I'd be able to do by modding Lego's. As soon as I got a hold of one, that's exactly what I did! I know not everyone will agree, but I think it turned out great! Also, thanks to a lot of feedback later on in the process of making the figure I sculpted a chinstrap onto the cowl that really completed the whole thing. That in itself was a real challenge, because I had already painted the cowl in my own black color, and sculpting onto something after you already painted it tends to mess things up pretty bad. Anyway, the chinstrap was sculpted in three sections, the main strap itself, and then the two separate pieces that create the curve in each corner. I had a couple of major concerns with it though, the sturdiness of it for one, and how consistent it would look with the rest of the cowl. A few days of sanding and a ton of sealant/various layers of thick paint later, I managed to solve both of those issues! The rest of the figure was really just continuing the pattern that Lego already had going on their printed torso, and if there's one thing I absolutely hate while making figures, it's repetition. Painting the exact same two little lines all over the entire figure while trying to keep it all organized wasn't exactly what I would call enjoyable. Regardless, I knew it would look awesome in the end, and so I pressed on lol. Throw a few black lines in certain areas on top of that, and I had a properly upgraded Ben Affleck Batsuit! Finally, for his weapon, I decided to go with the grenade gun that he uses during both his fight with Superman, and when the Trinity assembles to face Doomsday (hence my decision to allow both the regular Batman and the Armored Batman to share it). At first, I tried to heavily modify a BrickArms D9-8R and glue on a Tiny Tactical grenade launcher attachment. That failed miserably, so I ended up modifying a Coreburner instead, and then I cut the grenade launcher off of a CombatBrick gun instead of potentially wasting another one from TT. This version ended up being a much better idea, and once all of the base colors were applied I painted a fair amount of detail on both sides. Oh and he has a pair of TT glove tops as well, because they're great, they look great on so many figures, and I don't care what anyone else says ;)
Superman:
Ok, this figure was definitely a lot simpler. When it comes to body suits on characters, I can paint them with a decent amount of reference over a period of time no problem. However, getting likeness to an actor right is never an easy thing to do. Thankfully, and I realize not everyone will agree here either, but I think I nailed it on the first try. This isn't always the case, but I'm glad it was this time around! His hairpiece is the same one that Lego debuted with the official BvS Superman minifigure, and despite me saying I wasn't going to use it and that it wasn't Henry Cavill's hairstyle, I quickly realized (thanks to epicnick100) that sanding the sides of it down would make all the difference. Originally, I was going to use a classic Superman hairpiece and just slice off the 'S' curl and paint over that. I still think that could've worked just fine, but this I feel was the better option of the two. Then the rest of the figure's look stems from the printed torso, and to give that more depth, I painted various areas in my own dark blue and metallic blue colors. Kal-El also sports a pair of TT glove tops, but this time painted in metallic blue. Right above that on each arm is the wrist design he now has that I've painted on as well (and it wraps around the entirety of each arm by the way). Finally, his thighs both feature the same metallic blue details on the sides, and his boots are painted to wrap around all four sides of each leg as well. Also, for whatever reason, painting the front of each of his boots was a living hell and I have no idea why lol.
Wonder Woman:
For a printed minifigure in a set, I thought Lego's Wonder Woman figure was brilliant. The new hairpiece, shield, head, torso designs, and leg printing…everything is great. It was one of their best superhero minifigs in recent years, but I wanted to take it a lot further. So that meant taking their amazingly printed minifigure, and dropping the sword, legs, and torso. As I mentioned, I loved the super accurate torso designs on the original fig, and I did my best to paint my own version of them over onto an Arealight curved torso while also making the straps 3D. The heavily modified/painted CapeMadness waistcape that I decided to make in favor of Lego's printed version was by far the biggest change I made. Before even attempting it, I first had to steal and brasso a pair of flesh legs from the bacta-tank Luke Skywalker minifigure. For whatever reason though, despite the more precise cutting that was involved with Wonder Woman's waistcape, I found it easier to make than any of the ones I did for Star Wars: The Force Awakens. As you might be able to tell, the painting process of it was definitely more than just the denim lines. I had to extend the gold plated and heavily detailed armor that I already had on the torso onto the waistcape itself. It wasn't easy to keep it consistent, but I think it turned out pretty good and I definitely tried my hardest. So back to talking about the legs; they were easily the most time consuming part of the figure, and it was almost like painting an Iron Man suit due to all of the detail selection I had to do in order to make sure what I painted would be as accurate as possible. I'm really happy with how they turned out, and the gold areas do have a bit of mild weathering as well. Her gauntlets were painted to be a full wrap around extension of the small chunk Lego had already managed to print onto the arms in the first place. I think it worked out quite well, and I'm especially fond of the painted details on them that are closest to the torso. For the longest time, I had planned on making my own Wonder Woman face using the tiara design that Lego already had on their head, but in the end I decided that there was really no reason for it. Lastly, I decided to scrap the sword she came with in the set, and paint one of BrickForge's instead, with weathering added to the sword's guard as well. Oh and the shield is the same one from the set, but I gave it plenty of battle damage :)
Armored Batman:
I'll say this first; my Armored Batman figure would either look drastically different or just flat out not exist at all if it weren't for Brickzalive. The entire figure is a painted cast made from his incredible sculpt of the movie's iconic armor that he worked on for several months. After collaborating with Josiah on the Halo 5: Guardians Arbiter, I was not only super excited that he was able to get this one produced, but just being able to work on another one of his sculpts in general! So, after a night of sanding and eventually priming the whole thing, I got to work on what ended up being a fairly simple paint job actually. Batman's armor in the movie does have some dark grays/dark metallic colors here and there (which I made
sure to portray on the figure), but it's mostly all silver with a lot of weathering. I was pretty specific with the order in which I painted everything; for most of it, I would start at the top and work my way down to the bottom. Once each piece was fully painted in its base colors, all of the weathering would always be the final touch. The cape is painted in a very dark gray color, because I thought black would've looked too invasive on the rest of the figure. Finally, as mentioned above, he shares the same grenade gun with the normal Batman, but to keep his accessories at least a little bit unique to him, I gave him one or BrickArm's grenade shells to represent a Kryptonite round. Also, I realize not everyone is big on toe sculpting, but it's not something that has ever bothered me really :)
Lex Luthor:
Man, this figure was about as last minute as it gets for me. Knowing Lex's outfit wouldn't be that difficult for me to tackle, I decided to put it off until I was done with everyone else lol. Let me start off by saying the entire figure was mostly based on his character poster, along with a few screenshots from the rooftop scene. The hairpiece I decided to paint for him was the obvious choice; the real challenge of the figure was getting the likeness right. I've painted a lot of faces before, but Jesse Eisenberg was a bit of a challenge. The main issue was definitely the mouth, at first I tried a smirk, I really didn't like it at all, and it almost made him look "older" than I wanted it to. Lex does smirk quite a bit in the movie, but he also has his fair share of serious moments as well. With that in mind, I went for a serious expression, and I think it looks a hell of a lot better than what I had originally. His coat is a modified CapeMadness trench coat, fully painted in dark gray with buttons galore. The figure's arms are also painted in my own dark gray color, with the wrist of each hand painted in white. So basically this entire figure is 100% painted, and that of course includes the torso, which may not be totally color accurate, but is mostly accurate nonetheless! Lex's legs are pretty basic, featuring only a couple of rings on his shoes, this was because I had pretty much no idea what they looked like aside from a blurry screenshot of his back, and they get covered up by the coat anyway. Lastly, I painted the bandage onto his right hand, and painting a design around the entirety of a minifigure's hand is something I rarely do. Poor Alexander will never be able to grip an accessory in his right hand ever again, but...WORTH IT!
Doomsday:
My third big-fig, Doomsday! I remember when him being in the movie was just a rumor, but the moment he was revealed in the second trailer, I knew any chances of making Alfred or the Knightmare Batman suit had just bit the dust. Regardless of what you might think about his appearance, Doomsday was absolutely incredible in the movie, the CGI for him was fantastic, and thankfully he really didn't go through any drastic changes during the fight, so my figure is still pretty accurate! When I first approached this, I knew I was going to use one of Decool's big-figs as a base once again like I did for The Thing. Eventually, I ended up ordering their Venom, and sanding away any part of it that resembled that character. I'm not at all ashamed of using it either, I think I turned it into something pretty awesome, and tearing off a Hulk hairpiece, or sanding the crap out of a Darkseid big-fig is just unnecessary. It was also pretty clear that more sculpting would need to be done on top of the bone protrusions. This involved sculpting entire sections around his eyes, chin, chest, and knees. None of which were particularly easy, especially the tiny bone protrusions on top of each eye section, but thankfully sculpting/painting the larger protrusions scattered around the upper half of his body were a little easier to do. A few of the ones you see behind his head along with most of the ones on his shoulders are meant to be accurate, however the rest on his back are pretty much all randomized due to lack of reference. The painting process was a little extensive as you can imagine, and once everything was sculpted on I started by basically lathering the whole thing in dark gray paint. Then came the light gray weathering and the brownish skin effect; finding a proper balance between the two was time consuming to say the least lol. Doomsday also had me struggling a bit with likeness again, as I got his eyes right fairly quickly, but the mouth was more difficult. In the end, I based the entire mouth off of Lego's Hulk big-fig. To wrap this all up, I do want to point out that the scar on his upper right breast was carved in on purpose, because it certainly stands out quite a bit on his body. Also, the scar that was on General Zod's face is Doomsday's face in the movie too, so of course I painted it onto my figure because that's just a really cool detail for me to pass it up.
These figures were a blast to finally make, and I'm really proud of each one. Why no Alfred though? Or Knightmare Batman? Or Lois? Well, I'm only one person, with one hell of a tight schedule for 2016, and I can't make everyone.
Thank you so much for reading through all of that, and if you drop this a favorite, let me know what you think in the comments too!!
Watch "LEGO Batman v Superman : Dawn of Justice Minifigures - Showcase" via YouTube:
Although St Mark's was modelled after the Church of the Holy Apostles in Constantinople, ceremonial needs as well as the limitations posed by the physical site and the pre-existing walls and foundations made it necessary to adapt the design. The overall cruciform plan with five domes was maintained. But the Holy Apostles was a true centrally planned church: the central dome, larger than the others, was alone pierced with windows, and the altar was located underneath. Also, there was no distinction between the four crossarms: no apse existed, and double-tiered arcades surrounded the interior on all sides. In contrast, the longitudinal axis was emphasized in St Mark's so as to create the space appropriate for the processions associated with state ceremonies. Both the central and western domes are larger, accentuating the progression along the nave, and by means of a series of increasingly smaller arches, the nave visually narrows towards the raised chancel in the eastern crossarm, where the altar stands. The crossarms of the transept are shorter and narrower. Optically, their height and width are further reduced by the insertion of arches, supported on double columns, within the barrel vaults. The domes of the transept and the chancel are also smaller.
As with the Holy Apostles, each of the domes rests on four barrel vaults, those of the central dome rising from quadripartite (four-legged) piers. But the two-tiered arcades that reinforced the vaults in the Holy Apostles were modified. In St Mark's there are no upper arcades, and as a result the aisles are less isolated from the central part of the church. The effect overall is of more unified sense of space and an openness that have parallels in other Byzantine churches constructed in the eleventh century, an indication that the chief architect was influenced by middle-Byzantine architectural models in addition to the sixth-century Church of the Holy Apostles.
The location of the main altar within the apse necessarily affected the decorative programme. The Christ Pantocrator, customarily located in the central dome over the altar, was placed in the semi-dome of the apse, where normally the Virgin in prayer was depicted in middle-Byzantine churches. The large seated figure, now a sixteenth-century recreation, is surrounded with the inscription: "The King of all, made flesh for the love of sinners, do not despair of forgiveness while you have time." (SUB REX CUNCTORUM CARO FACTUS AMORE REORUM · NE DESPERATIS VENIE DUM TEMPUS HABETIS). Below, interspersed with three windows, are late-eleventh and early-twelfth-century mosaics that portray Saint Nicholas of Myra, Saint Peter, Saint Mark, and Saint Hermagoras of Aquileia as the protectors and patrons of the state, Saint Nicholas being specifically the protector of seafarers. Saint Peter, Saint Mark, and Saint Hermagorus also indicate the apostolic foundation of the Aquileian church, of which Venice is understood to be the legitimate successor.
Over the high altar in the eastern crossarm is the Dome of Immanuel (God with us), which concerns the Incarnation. It presents a young, beardless Christ in the centre, surrounded by stars in allusion to his divine nature. Radially arranged underneath are standing figures of the Virgin, as the mother of Incarnate God (ΜΡ ΘΥ), and Old-Testament prophets, the latter bearing scrolls with passages that largely refer to the Incarnation. Rather than seraphim as was customary in middle-Byzantine churches, the pendentives of the dome show the symbols of the four evangelists.
An extensive cycle narrating the Life of Christ covers much of the interior, with the principal events located along the longitudinal axis. The eastern vault, between the central dome and the chancel, contains the major events of the infancy (Annunciation, Adoration of the Magi, Presentation in the Temple) along with the Baptism of Christ and the Transfiguration. In their present form, these mosaics date from the sixteenth century and are based on preliminary drawings by Tintoretto's workshop. The western vault depicts the events of the Passion of Jesus on one side (the kiss of Judas, the trial before Pilate, and the Crucifixion) and the Resurrection on the other side (the Harrowing of Hell and the post-resurrection appearances). Consistent with middle-Byzantine decorative programmes, the Crucifixion and the Harrowing of Hell, are placed opposite one another, and the resurrected Christ is portrayed as if walking toward the altar. A secondary series illustrating Christ's miracles is located in the transepts, but the arrangement of the episodes is not always chronological. The series, originally consisting of twenty-nine scenes, seems to have derived from an eleventh-century Byzantine Gospel. The transepts also contain a detailed cycle of the Life of the Virgin: these scenes were probably derived from an eleventh-century illuminated manuscript of the Protogospel of James from Constantinople. As a prelude, a Tree of Jesse showing the ancestors of Christ was added to the end wall of the northern crossarm between 1542 and 1551. Throughout the various narrative cycles, Old-Testament prophets are portrayed holding texts that relate to the New-Testament scenes nearby.
The Dome of the Ascension occupies the central position, whereas in the Church of the Holy Apostles it was located over the southern crossarm. The prominence given to the representation of the Ascension of Christ into heaven may have had political connotations as a reference to the civic celebrations on Ascension Day, which began with solemn mass in St Mark's and involved the Doge's ceremonial marriage of the Adriatic as a symbol of Venice's dominion on the sea. The dome, executed in the late twelfth century, is exemplary of middle-Byzantine prototypes in Constantinople. In the centre Christ ascends, accompanied by four angels and surrounded by standing figures of the Virgin, two angels, and the twelve apostles. As tradition in Byzantine art, two of the apostles have been substituted with Mark and Luke in order to have, together with Matthew and John, all four of the evangelists. The inscription derives from Acts 1:10 and anticipates the return of Christ and the Last Judgement: "Say, why do you stand looking into heaven? This Son of God, Jesus, o men of Galilee, as he departs from you, so shall he come as judge of the world, with right judgement to give all their due" (DICITE QUID STATIS IN AETHERE CONSIDERATIS · FILIUS ISTE D[E]I I[ESU]S CIVIS GALILEI · SUMPTUS UT A VOB[IS] ABIIT ET SIC ARBITER ORBIS · JUDICII CURA VENIET DARE DEBITA JURA). As customary for the central dome in middle-Byzantine churches, the pendentives contain the four evangelists, each with his gospel. The addition, underneath, of the representations of the four rivers that flowed from the Garden of Eden indicates a western influence. Thematically, these rivers allegorize the live-giving water that flows from the Gospel. Distinctly western is also the inclusion of the virtues and beatitudes that alternate with the windows.
As in the Church of the Holy Apostles, the Dome of Pentecost is located over the western crossarm. In the centre is an hetoimasia, an empty throne with a book and dove. Radiating outward are silver rays which fall on the heads of the apostles and evangelists seated around the outer rim of the dome, each with a flame on his head. The circular inscription describes the infusion of the Holy Spirit on Pentecost: "The Spirit pours over them, strengthening them by filling the heart of each and uniting them by bonds of love. Then the nations become believers, seeing the miracle of the speaking in various tongues" (SPIRITUS IN FLAMMIS SUP[ER] HOS DISTILLAT UT AMNIS CORDA REPLENS MUNIT ET AMORIS NEXIBUS UNIT HINC VARIE GENTES MIRACULA CONSPICIENTES FIUNT CREDENTES VIM LINGUE PERCIPIENTES). The nations are represented by the groups of figures that are interspersed with the windows below, whereas the pendentives, rather than the nations as was typical for the Pentecost dome in Byzantine churches, contain angels.
In keeping with Pentecost, as the institution of the Church, the side vaults and walls of the western crossarm largely illustrate the subsequent missionary activities of all twelve of the apostles and their deaths as martyrs. The specific events in the lives of the various apostles and the manner of their deaths adhere to Western traditions, as narrated in Latin martyrologies that derive in part from the Book of Acts but to a greater extent from apocryphal sources. However, the single representations and the overall concept of presenting the lives of the saints in a composition that combines several events together in one scene have their parallels in Greek manuscript illustrations of the middle-Byzantine period. A number of the mosaics were later remade, using preliminary drawings by Antonio Vassilacchi, Palma Giovane, and Alessandro Varotari.
The western vault illustrates Saint John's vision of the Apocalypse and, as the end of the decorative programme, the Last Judgement. Several of these mosaics are no longer the originals, having been remade on the basis of preliminary drawings by Tintoretto, Domenico Tintoretto, Maffeo Verona, and Antonio Vassilacchi. On the wall below there is a thirteenth-century deesis with Christ enthroned between the Virgin and Saint Mark.
The chancel is enclosed by a Gothic altar screen, dated 1394. The work of Pierpaolo dalle Masegne [it] and his brother Jacobello dalle Masegne [it], it is formed by eight columns made of marbles from southern France, Lesbos, and Anatolia and is surmounted by a bronze and silver Crucifix, flanked by statues of the Virgin and Saint Mark, together with the twelve apostles. On the left of the screen is the ambo for readings from Scripture. On the right is the platform from which the newly elected Doge was presented to the people. From here, important relics were also displayed on major holidays, notably the relic of the Precious Blood which was shown to the faithful on Maundy Thursday and again during the Easter Vigil.
Behind the screen, marble banisters with Jacopo Sansovino's bronze statues of the Evangelists and Girolamo Paliari's of the four Latin Doctors of the Church mark the limit of the choir, which after the reorganization by Doge Andrea Gritti (in office 1523–1538) was utilized by the Doge, civic leaders, foreign ambassadors, and the knights of Saint Mark. The backs of the seats (dispersed) were inlaid with allegories of the theological and cardinal virtues and were covered for ceremonies with silk and gold thread tapestries by Jan Rost of Flanders [it]. The tribunes above, for musicians and singers, are faced with bronze reliefs by Sansovino that portray events in the life of Saint Mark and his miracles.
Beyond the banisters is the presbytery, reserved for the clergy, with the high altar which since 1835 contains the relics of Saint Mark, previously located in the crypt. The ciborium above the altar is composed of a canopy in Verd antique supported by four intricately carved columns, in Proconnesian marble, with scenes that narrate the lives of Christ and the Virgin. The age and provenance of the columns is disputed, with proposals ranging from sixth-century Byzantium to thirteenth-century Venice. According to tradition, they are spoils taken from the Basilica of Santa Maria del Cannetto in Pola by Doge Pietro II Orseolo (in office 991–1009). The altarpiece, originally designed as an antependium, is the Pala d'Oro, a masterpiece of Byzantine enamels on gilded silver that incorporates 1,300 pearls, 300 sapphires, 300 emeralds, 400 garnets, 90 amethysts, 15 rubies, 75 spinels, and 4 topazes, all highly polished, unfaceted gems. The altarpiece was ordered from Constantinople in 1102 by Doge Ordelafo Faliero Dodoni (in office 1102–1118). It was enlarged in 1209 with enamels taken from the Monastery of the Pantocrator in the aftermath of the Fourth Crusade. In its present form, the altarpiece dates to 1345 when the enamels were reorganized and the Gothic frame was added. Some of the enamels may come from the first altarpiece, ordered in Constantinople by Doge Pietro I Orseolo in 976.
The two choir chapels, located on either side of the chancel, occupy the space corresponding to the lateral aisles in the other crossarms. They are connected to the chancel through archways which also serve to reinforce the barrel vaults supporting the dome above.
The choir chapel on the northern side is dedicated to Saint Peter. Historically, it was the principal area for the clergy, probably in consideration of its proximity to the residences of the clerics to the north of the church. The altar contains the relics of Saints Peter, John the Evangelist, Matthew, Luke, and Bartholomew, which were likely acquired in the ninth century for the Participazio church. This was consistent with the tradition, that began with Saint Ambrose's fourth-century Basilica Apostolorum in Milan, whereby the possession of important relics, specifically those of the apostles, was necessary to distinguish the political and ecclesiastical importance of a city.
The mosaic decoration in the vault above the chapel largely narrates the life of Saint Mark in order to demonstrate the apostolic origins of the Patriarchate of Aquileia. It begins with Saint Peter's unhistorical consecration of Saint Mark as bishop of Aquileia and later of Saint Hermagoras as his successor and concludes with Saint Mark's departure for Alexandria, his martyrdom, and burial. The figures of 'Patriarch' Helias of Grado and Pope Pelagius II, located on the arch that connects the chapel to the chancel, refer to the alleged papal recognition of Grado as Aquileia's successor and of Grado's metropolitan jurisdiction over Venetia. Beginning in 1156, the Patriarch of Grado (after 1451 Patriarch of Venice) resided in Venice, and from at least the twelfth century, he had a seat on the northern side of the chancel of St Mark's, near the entry to the choir chapel of Saint Peter, from which he could assist at mass on the high altar.
Prior to the sixteenth century, the Doge's throne was located on the opposite side of the chancel, near the choir chapel of Saint Pope Clement I, which through the doorway opens to the courtyard of the Doge's Palace. The chapel was particularly reserved for the Doge's private use. From the window above, which communicates with his private apartments, it was also possible for the Doge to assist at mass in the church. Around the perimeter of the chapel, the inscription reminds the Doge that he shall be judged for his actions after his death, and it specifically exhorts him to love justice and to give everyone his due; to be a patron and benefactor of paupers, widows, minors, and orphans; and to not be influenced by fear, desire, hate, or greed.
Above the chapel, the mosaics in the vault continue to illustrate the story of Saint Mark with the events of the translatio. They constitute the oldest surviving representation of the transfer of Saint Mark's relics to Venice and serve to demonstrate Venice's legitimate right to possess the relics. They also symbolically indicate the transfer of metropolitan authority from Aquileia/Grado to Venice. The altar contains the relics of early martyrs of the Roman Empire, particularly of Aquileia.
Copyright©Jesus Silva. This image is protected under International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission.
Master Chief and the Arbitor challenged the Troopers to a game of battleship. Lets just say there a reason the Empire lost the war.....Especially when Tk 117 calling the numbers.
Hey guys, here's a sculpt that I worked on for about 6 months. I finished about 2 weeks before the drop of halo 5. This figure was for a Collab between Ross and myself. I'm looking forward to the finished product, and I think you guys are really gonna like it.
Lonnie Donegan and Mark Goodwin during performance of "My Old Man's a Dustman. c 1971.
This pic just turned up out of the blue. I don't know when or where it was taken or who the photographer was. However, I am very pleased because of all the pics I have of this time, I did not have one of Lonnie and I performing Dustman. This looks like it was taken under the stairs!...Maybe there was an air raid warning!!
Excerpt from Wikipedia:
Sir Arnold Henry Moore Lunn (18 April 1888 – 2 June 1974) was a skier, mountaineer and writer. He was knighted for "services to British Skiing and Anglo-Swiss relations" in 1952. He was born in Madras, India and died in London aged 86.
Introduced to skiing by his father, he invented the slalom skiing race in 1922. In 1921 Lunn organized the first British national ski championship to include a national slalom race as well as jumping and cross-country. The 1921 slalom was decided on style, as Zdarsky's pole race had been. By 1922, however, Lunn, convinced that there was a real need for a race designed to test a skier's ability to turn securely and rapidly on steep Alpine ground, was insisting on speed being the only arbiter. "The object of a turn is to get round a given obstacle losing as little speed as possible," he wrote. "Therefore, a fast ugly turn is better than a slow pretty turn." On 1 January 1922, the Alpine Ski Challenge Cup, first held in 1920, was transformed into a challenge cup for slalom racing. On the practice slopes at Mürren, Lunn set pairs of flags through which the competitors had to turn, and the flags were so set as to test the main varieties of Alpine ski turns. Lunn's innovation was that the winner was simply the competitor who could make his way down in the shortest time. This first slalom was won by J. A. Joannides.
Lunn was the founder of the Alpine Ski Club (1908), the Ladies Ski Club (1923) and the Kandahar Ski Club (1924), and he was the organizer of many ski races around the world. He initiated in collaboration with the Austrian skier Hannes Schneider the Arlberg Kandahar Challenge Cup in honour of Lord Roberts of Kandahar. Through his efforts, the Downhill and Slalom races were introduced into the Olympic Games in 1936, although he opposed the Winter Olympic Games of that year being held in Garmisch-Partenkirchen. He later wrote, "In 1936 the Olympic Committee paid Hitler the greatest compliment in their power by entrusting the Nazis with the organisation of the summer and winter Olympic Games." Lunn refereed the slalom in the 1936 Winter Olympics, and his son, Peter, was the captain of the British ski team, but neither marched in the opening procession or attended the lavish banquet organised by the Nazis.
I am Truth! The voice of the Covenant!
And so you must be silenced.
-Prophet of Truth and The Arbiter, as Truth is assassinated
The Energy Sword is a holy weapon wielded by Covenant Elites.
The LEGO Energy Sword is 41.5" long, weighs 6 pounds, and is 100% LEGO - no glue/tape, no non-LEGO framework. Blades based on Halo 2 Sword; hilt based on Halo: Reach Sword.
Subscribe on YouTube to see the video when it's ready - www.youtube.com/c/nickbrick
You were the only one who didn't judge me, Marcel.
Okay, drink was taken. Not that this made any difference.
Judge what James? There is no shame in a virus, a bacterium, a spore or a spirochete. They are each in turn, like everything else, simply life asserting itself.
I love these 'drivers' that run us ragged.
Talking of drivers, those hormone suppressors are working wonders with your hair, James. Prostate shrinking with a side order of lush young follicles, there's a story there, perhaps even one of desperation, as ‘natural’ as that might be. I wonder if they effect how you write, those pills, I mean what else might they effect.
I love that we are life's guineapigs.
Ruin is putting words in our mouths, you know that Marcel, don't you.
Yes James, it's how we make stories, or rather it is how stories evolve. Some get passed on, some don't. Time is a wonderfully indifferent arbiter, totally unpredictable to boot. It simply takes what it needs. There is no waste.
! BOSS ENCOUNTER !
Adventurer, you must demonstrate your VALOR by conquering the ARBITER!
My take on a MOC using the #bignicle frame. It was loads of fun to build in a different style around a frame! And the frame is impressively sturdy and posable, so I took some more varied poses here, visible in the full album.
I have phases, as the moon
Phases of being hid
Phases of coming out…
Misfortune of my life!
Misfortune of my life!
I have phases of being yours,
And others of being alone.
These phases go and come
In the secret calendar
Invented for me by an arbiter astrologer.
And the melancholy lasts in its never-ending way!
I don’t meet anybody
( i have phases, as the moon…)
When is the day of somebody to be mine,
It isn’t the day of myself to be them…
And, when this day comes,
The other has disappeared…
Adverse moon by Cecília Meireles
The Cort Theater located on 48th St in Manhattan.The theater first opened in 1912 and is modeled after the Petit Trianon, en.chateauversailles.fr/discover/estate/estate-trianon/pe...a small chateau in the Palace of Versailles in Versailles,France.There are 1082 seats inside.The Cort Theater is one of the few Lamb (Thomas W. Lamb,architect) theaters still extant and functioning as a legitimate theater.In order for an old NYC theater to receive landmark status it must continue to function as one,and not anything else.
There is a play currently playing at the Cort Theater called Indecent by Pulitzer Prize-winning playwright Paula Vogel.The play's storyline comes from a book by dramatist Sholem Asch called God of Vengeance (1907).The drama is about a Jewish couple who run a brothel in the basement of their house.The couple's married daughter,Yekel,has a love affair with the their prized prostitute in one of the scenes.A Torah is also hurled across the stage in the play (OMG!).
When the Asch drama was translated from Yiddish into English,it was made into a play which opened at the Apollo Theater (then on 42nd St) in Manhattan in 1923.The play caused quite a firestorm with arbiters of the Jewish community and NYC authorities.It was shut down after six weeks of production with the cast,producer,and one of the owners of the theater facing charges of obscenity and arrested.
So I hadn't planned this at all but I wanted to do something with my new Arbiter figure (based on Bricktechstudios elite design). So choose to recreate the scene from Halo 5 where the Swords of Sangheilios defeat the Covenant at Sunaion.
I also decided to edit the picture like I did a long time ago. I really want to edit some sort of template for all of my other builds because right now my photostream is kinda a mess.
Anyway hope you like it and more builds are coming soon!
Epic close up on Arby: www.flickr.com/photos/68524060@N07/27801249203/in/datepos...
Meh,uncreative name. :P
Inspired by Peco and Mclovin.
Shoulder armor-AMA Arbiter
Eye Protector-Ama
Vest/extra pouch-Minifigcat
Head/Balaclava-Eclips
pouches and shells-TT
Rest-BA
Hope you like him! :)
Tribute to Lord Lichfield. Professional Photographer to the rich, famous and beautiful.
The above photograph isn't mine, I found it on Blue Sky Seminars website.
"I don't think old photographers retire .... they just go out of focus" - Lord Lichfield
Photographer Lord Lichfield dies
Friday, 11 November 2005
Royal photographer Lord Lichfield has died at the age of 66 after suffering a major stroke.
The Queen was among the first to pay tribute to Lord Lichfield, saying she was "deeply saddened" at the news.
Lord Lichfield was the Queen's first cousin once removed and was the official photographer at the wedding of the Prince of Wales to Diana.
He was being treated in the stroke unit at the John Radcliffe Hospital in Oxford after falling ill.
The renowned photographer had been staying in the area with friends when he suffered a stroke. He died at 0400 GMT on Friday.
A Buckingham Palace spokeswoman said: "It's a private matter. The Queen is deeply saddened and will be sending private condolences."
Lord Lichfield - who inherited the earldom of Lichfield in Staffordshire from his grandfather - has often been asked by the royals to take their official portraits.
He photographed the Queen and the Duke of Edinburgh for her Golden Jubilee in 2002.
In July 1981, he took the official wedding photographs for the Prince of Wales and Lady Diana Spencer.
"He wasn't complicated, he wasn't pretentious, he wasn't an intellectual, he just loved making beautiful images" - Geordie Greig, Tatler editor.
Tatler editor Geordie Greig said Lord Lichfield was an "old-fashioned gentleman" whose best work had been his shots of the wedding.
"The royal wedding was spectacularly memorable, he got the intimacy of the Royal Family, he got that fairytale magic.
"There was a sort of almost Hollywood magic dust spread throughout that shoot and the world enjoyed it.
"He wasn't complicated, he wasn't pretentious, he wasn't an intellectual, he just loved making beautiful images."
Former royal press secretary Dickie Arbiter said Lord Lichfield had been very close to the Royal Family and was noted for the easy way he handled them during shoots, using a whistle to marshal guests at the wedding of Charles and Diana.
"One year, we were shooting a Christmas card at Windsor Castle it was all over in about 15 minutes, he was almost a one-shot man, he would get it perfect the first time."
Baroness Thatcher, whose recent 80th birthday photos were taken by Lord Lichfield, said: "Patrick Lichfield was not only one of the most talented and professional of photographers, he was also an absolute delight to sit for.
"Always courteous and considerate, he had a rare skill which is now sadly gone."
Friend and photographer Terry O'Neill said Lord Lichfield's style was always spontaneous.
"He did go for the moment. He was instinctive. It was part of his nature."
He remembered that the aristocrat liked to be viewed as "one of the chaps".
In a career spanning 40 years, Lord Lichfield worked for Vogue and photographed many stars, including Sixties singer Marsha Hunt, Michael Caine and Joanna Lumley.
As well as editorial photography, he worked on advertising commissions across several industries, including fashion, tobacco and pharmaceuticals.
He was recently commissioned by the British Tourist Authority, and was involved in Hot Shots, a television series for Discovery Real Time in which amateur photographers are taught by professionals.
Interviewed in October by the BBC News website, he told reporter Caroline Briggs: "Remember that the person you are photographing is 50% of the portrait and you are the other 50%.
"You need the model as much as he or she needs you. If they don't want to help you, it will be a very dull picture."
Lord Lichfield's long-term partner was Lady Annunziata Asquith, and he had had three children with ex-wife Lady Leonora Grosvenor - a son, Tom, and two daughters, Rose and Eloise.
Lord Lichfield : BBC News Website Obituary
Friday, 11 November 2005
Lord Lichfield stretched beyond his privileged upbringing to become a world-renowned photographer.
He first used a camera at the age of seven, taking pictures of his family, pets and scenes at his beloved home, the stately Shugborough Hall in Staffordshire.
He attended Harrow School, and took his first pictures of the Queen as he played cricket against Eton.
While his upbringing was aristocratic, Lichfield's great passion for photography carried him far beyond any blue-blooded barriers, and through an extremely successful 40-year career.
The son of Viscount Anson and Princess Anne of Denmark, Patrick Lichfield - the 5th Earl of Lichfield - was the Queen's first cousin once removed.
He made his break into photography in 1962, after leaving the Grenadier Guards.
Starting out as a photographer's assistant on £3 a week, he made the most of his showbusiness and aristocratic connections, snapping everybody from Mick and Bianca Jagger on their wedding day to the Duke and Duchess of Windsor in exile.
Lichfield's memory of the latter encounter was of deliberately falling off his chair to force smiles out of his straight-faced subjects. The result got him a contract with Vogue magazine.
He also worked for a range of other newspapers and magazines, including Life.
One of his most iconic images, which he recently recreated, was the naked pose of the singer Marsha Hunt, complete with a huge afro hairdo for the musical Hair.
Another was Swinging London, which featured Roman Polanski, David Hockney and Lady Antonia Fraser. Other famous subjects included Michael Caine, Joanna Lumley and a host of 1960s glitterati.
His long career was celebrated two years ago with an exhibition at the National Portrait Gallery, and he was awarded fellowships of both the British Institute of Professional Photographers and the Royal Photographic Society.
Most recently, he took a special set of pictures of Baroness Thatcher to mark her 80th birthday.
His position and profession came together most famously in July 1981, when he took the official wedding photographs of the Prince and Princess of Wales, before sitting down to the wedding feast with hundreds of other royals.
From his studio in north Kensington, Lichfield became renowned the world over for his skill with the lens, and personally admired for his straightforward manner.
Although he was one the official photographers of the Queen's Golden Jubilee, he liked being addressed as plain Patrick Lichfield and was at his happiest poring over shots in his studio.
A self-professed "spiv" and admirer of feminine beauty, one of Lichfield's favourite commissions was the famous Unipart calendar, shot in glamorous locations all over the world with an emphasis on stunning models.
Lichfield admitted to having relationships with many of his pretty subjects but, away from the camera, he found companionship in his own well-bred circle.
He was married for 11 years to Lady Leonora Grosvenor, sister of the Duke of Westminster, with whom he had three children.
His most recent partner was the biographer, Lady Annunziata Asquith.
Like the late Princess Margaret, he often took refuge on the Caribbean island of Mustique. It was at his holiday home there in 1992 that he suffered a very bad fall, from which he had difficulty recovering.
Despite this, he continued to work throughout his life, becoming a champion of the digital revolution, and attending to the photography that he described as his "calling".
As he got older, Lord Lichfield reflected on his legacy, wondering what he would leave behind.
Acknowledging his pedigree, he was delighted that Shugborough was smaller but better managed. But he always added: "There are the pictures."
Readers Comments about Lord Lichfield
Here are some of his Quotes, Tips & Tricks
I thought you all may like...I did.....
"I don't think old photographers retire .... they just go out of focus"
"The queen would walk into the room at 6.25 and walk out again at 6.30 giving me less than four minutes to capture the perfect portrait."
About digital .... "its better because its easier to lie your arse off with digital"
"Remember that the person you are photographing is 50% of the portrait and you are the other 50%"
"You need the model as much as he or she needs you. If they don't want to help you, it will be a very dull picture."
"The last shot of the day usually is your best shot"
"Master your technique. This allows you to be as creative as possible."
"On sunny days shoot your model in open shade, not direct sunlight."
"When the sky is overcast use reflectors to bounce light onto the model's face."
"When shooting indoors, the best light is from a north-facing window."
"Interact with your model to put them at ease. This will help you get better results."
"Use a long lens for a more flattering perspective. Too short and it can make the model's nose look huge."
"Use a digital camera. This way you can take lots of photographs and not waste money."
"For group portraits I keep a whistle in my pocket and quickly blow it and get there surprised looks then quickly followed by their laughter."
"A good photographer will know the most flattering angles but generally it is not standing square on to the lens. Most people look best three quarters facing the camera, with their shoulder towards it and the head turned."
"Weddings.. Most people don't realise what a complicated and precise science wedding photography can be. In 40 years of taking photgraphs, it's the nearest thing I know to news photography.. it's the only thing you cannot do again."
"Weddings.. Shoot some photos in black and white: it helps capture the atmosphere of the Big Day"
"Weddings.. Appoint a project manager - the bride's mother is ideal. Don't expect the bride or groom to attend to the details on their day."
"Weddings.. Visit the venue, do a "recce", plan every last detail in advance. walk through with the photographer the events and timing or the day ( a similar rehearsal to that of the bride and groom) so he/she has a precise knowledge of the layout, expected details and location of the wedding event. Then, add time and a half to account for unforeseen circumstances on the actual day."
"Weddings.. Make sure you know who the important family members are - otherwise you will find strangers creeping into your valuable photographs"
"Weddings.. Photograph the bride before she gets into the car to take her to the ceremony - if wearing a veil this is the only time you will find her with it in place over her face. Make sure when she gets out of the car you have the children in place."
"Weddings.. Always start your post -ceremony photographs with the biggest group and then start to discard individuals, this means you will not be searching for people at the last minute. Expect to work right through to the last photograph of just the bride and groom. "
"Weddings.. Get the children in the first photograph - otherwise they will get their clothes messy, tired and emotional or even lost!"
"Weddings.. Be ready for the speeches and cake"
"Weddings.. the photographer must not be distracted by the prettiest bridesmaid!"
"Weddings.. Be aware of the time the bride and groom are likely to depart - shots of confetti and the car are important"
His quotes...
"I don't think old photographers retire .... they just go out of focus"
"The queen would walk into the room at 6.25 and walk out again at 6.30 giving me less than four minutes to capture the perfect portrait."
About digital .... "its better because its easier to lie your arse off with digital"
"Remember that the person you are photographing is 50% of the portrait and you are the other 50%"
"You need the model as much as he or she needs you. If they don't want to help you, it will be a very dull picture."
"The last shot of the day usually is your best shot"
"Master your technique. This allows you to be as creative as possible."
"On sunny days shoot your model in open shade, not direct sunlight."
"When the sky is overcast use reflectors to bounce light onto the model's face."
"When shooting indoors, the best light is from a north-facing window."
"Interact with your model to put them at ease. This will help you get better results."
"Use a long lens for a more flattering perspective. Too short and it can make the model's nose look huge."
"Use a digital camera. This way you can take lots of photographs and not waste money."
"For group portraits I keep a whistle in my pocket and quickly blow it and get there surprised looks then quickly followed by their laughter."
"A good photographer will know the most flattering angles but generally it is not standing square on to the lens. Most people look best three quarters facing the camera, with their shoulder towards it and the head turned."
"Weddings.. Most people don't realise what a complicated and precise science wedding photography can be. In 40 years of taking photgraphs, it's the nearest thing I know to news photography.. it's the only thing you cannot do again."
"Weddings.. Shoot some photos in black and white: it helps capture the atmosphere of the Big Day"
"Weddings.. Appoint a project manager - the bride's mother is ideal. Don't expect the bride or groom to attend to the details on their day."
"Weddings.. Visit the venue, do a "recce", plan every last detail in advance. walk through with the photographer the events and timing or the day ( a similar rehearsal to that of the bride and groom) so he/she has a precise knowledge of the layout, expected details and location of the wedding event. Then, add time and a half to account for unforeseen circumstances on the actual day."
"Weddings.. Make sure you know who the important family members are - otherwise you will find strangers creeping into your valuable photographs"
"Weddings.. Photograph the bride before she gets into the car to take her to the ceremony - if wearing a veil this is the only time you will find her with it in place over her face. Make sure when she gets out of the car you have the children in place."
"Weddings.. Always start your post -ceremony photographs with the biggest group and then start to discard individuals, this means you will not be searching for people at the last minute. Expect to work right through to the last photograph of just the bride and groom. "
"Weddings.. Get the children in the first photograph - otherwise they will get their clothes messy, tired and emotional or even lost!"
"Weddings.. Be ready for the speeches and cake"
"Weddings.. the photographer must not be distracted by the prettiest bridesmaid!"
"Weddings.. Be aware of the time the bride and groom are likely to depart - shots of confetti and the car are important"
Explore #9 - 07.06.2009 & Explore Front Page
We who must act as handmaidens
To our own goddess, turn too fast,
Trip on our hems, to glimpse the muse
Gliding below her lake or sea,
Are left, long-staring after her,
Narcissists by necessity;
Or water-carriers of our young
Till waters burst, and white streams flow
Artesian, from the lifted breast:
Cupbearers then, to tiny gods,
Imperious table-pounders, who
Are final arbiters of thirst.
From A Muse of Water by Carolyn Kizer (1925 - )
Best Viewed Large On Black - See where this picture was taken. [?]