Flickr CPR
View allAll Photos Tagged article,
In Explore. Highest position: 6
Just thought I'd let you know that the BBC has published an article on my photography on their "Get Creative" arts magazine website. They chose the image above as one to spotlight, I originally posted it a long time ago, so I thought I'd use this as an excuse to resurrect it again.
The Article: www.bbc.co.uk/programmes/articles/5wWbzZZ93H73HkkHhTl8Yp3...
This was my first ever attempt at macro photography.
For those of you who think the bug was dead, here's the next photo when it wandered off during the exposure:
Je vous invite à voir mon article sur le Cap Dramont, cliquez sur le lien ci-contre :
"Apprendre la Pose Longue", un article dédié à toutes personnes voulant s'essayer à cet art, cliquez sur le lien ci-contre :
© "Copyright" || ® "All rights reserved" || 2009 ~ 2018.
Warning !!! Don't use my photos on websites, blogs or other media without my explicit permission.... Thanks !!!!
in the City Series (View Original Size)
On the streets of Ave. St. Laurent... Formula 1 happening
Montréal June 12, 2005
In my previous article, like many photographer, I was very excited about the release of the new R6 and R5 because they offered tremendous advances.
www.flickr.com/photos/garivalden/50209737163/in/dateposted/
I bought the R6, the Canon RF 100-500mm and sold everything to buy again a 5D mark III
Why? Because the Canon R6 is also that:
1) Delivery of the RF – EF Adapter Ring offered by Canon has arrived 60 days after purchase. Fortunately, my nice store went out of its way to lend me one.
Many customers have suffered this and it is scandalous on the part of Canon not to have integrated the ring in the original box.
2) Prepare to pay (and I'm not even talking about new RF lenses)
- a very fast and robust SD card to enjoy the burst like the Sony Tough SD
- Resistant, I used Lightroom 6 box. To read new raw CR3s, you need Lightroom Classic
- To make the photos look like a Canon Picture Style you need a quality color profile, thank you to Damien Bernal for your recommendations
The choice of an L Bracket is complicated with this screen, Tom Migot has devoted several videos to it.
www.youtube.com/watch?v=LA25FyekVKY
The R6 is with High ISO but if you want a very clean result, Denoise by Topaze is the best Tool , So, one question: Why have I never needed it before?
www.flickr.com/photos/garivalden/51296276233
This photo at 12800 iso will be almost unusable on 5D Mark III but never forget that the easiest and most beautiful thing is to take pictures when there is ... light
- The second battery is essential. It is difficult to say how many pictures you can take with one battery but I advise you to double your battery park as well as the charging time.
For years, I shot without ever thinking about the drums with a second in the bag never used.
3) The ergonomics of the R6 disappointed me and brought nothing
- The grip is worse than before. However, I have small hands and the handle seems too small to me. Those with large hands have their little finger in the air and some props even sell a base to add.
I wore for years a 5d Mark III with a 300mm 2.8mm IS II sometimes by the tips of two fingers to tell if the whole thing was balanced.
- The SD card door opens only by friction. There is still a small slot to slide a nail with difficulty, but the 5d Mark III and IV opened more easily with one hand.
The adjustable screen has never been useful to me because its tilt to the left of the device is not practical and even less with the L bracket
Touch has never been useful to me, in the field physical buttons are more practical
4 / A user experience that sometimes disappoints:
- Eye tracking stalls when it is too complicated in the foliage. Does the ultimate portrait of your dreams with a subject against a pretty background require this technology?
- In billebaude if you take your camera back, it will sometimes take a while before everything turns on again. Several times I had to turn off the R6 completely because the autofocus didn't know where it was.
- You see a beautiful sunset, you take your R6, you put your eye in the viewfinder and there… disappointment. Why not keep looking in our good old DSLR?
5) The rendering of R5 and R6 is often very different in appearance compared to DSLR.
More so if you mount a native RF lens.
Is it the technology or the level of detail that wants this? The shots often appear to be very artificially separated, and natural colors like grass are sometimes strange. I know you can change everything in PP, but all of this bothers me and takes me away from the pictorial and cinematographic universe.
My daughter came home from school with a drastically different school photo than I saw for a decade, I got it, the canon photographer (my daughter had asked a few years ago ;-) had bought an R6 or R5 and the schoolyard became a bit strange as « Gattaca ».... Advantage for Eye AF, it’s tea time for him ;-)
6) Let's talk about goals.
The photos of a Canon hybrid with an RF lens that I have seen in recent months made me want to buy a Canon EF 85mm f1.2 II 1 month after the R6. I'm not sure that was the goal. from Canon that we buy back the EF lenses that we had sold second-hand.
www.flickr.com/photos/garivalden/50806574161
Canon did not lose everything because, to get Canon cash back, I exchanged my Canon EF 300MM 2.8 is II before the summer of 2021 for an RF 100-500mm ...
Why did I do this?
Fear of obsolescence and maybe a follow-up helped by an abundant marketing hype which made me give in and go against my convictions of never buying a zoom because the rendering really has nothing to do with a focal length fixed premium… I sold it 1 month later.
The bottom line of this financially not very pleasant operation is that, as in many areas, if we have the feeling that things will not be in our best interest, it is better to abstain ;-)
What will I miss most about the Canon R6
Focusing in low light, your 85mm 1.2 will get a facelift
Staggering stabilization from 100-500mm net to 1/50 th to 500mm
The focus on the eye, clearly the majority of wedding, sports and animal photographers will never want to go back, I understand them, this is a decisive advantage over the competition
And especially the advantage of having the collimators close to the edge unlike the DSLR
The burst and the endless sorting it generates, the swiveling screen, the touchscreen, the wifi, the gps, I will miss less.
I don't think I’ll buy again this excellent 300mm 2.8 IS II.
I still got the magical 135 mm F2 and 85mm 1.2 , my next wildlife Canon Lens will be a prime EF, surely excellent, not too big (price too) because I take my equipment everywhere, repairable I don't know ...
www.flickr.com/photos/garivalden/47688762631
Every day, especially since the digital and the Internet, our so-called user-friendly world becomes unnecessarily more complicated and deliberately consumerist.
The R5 and R6 are good cameras and Canon has really caught up to the competition but it's not my direction.
The 5D Mark III is 2012, a century after 1912, my favorite year, in which I have been preparing a photo for a very long time.
What if Canon EF finally became a way of life.
Gari Valden
Please feel free to follow me on Flickr , Instagram and Twitter X
℗ © 2021 Copyright - All Rights reserved
🇫🇷 En français ici:
I read an article today that said that people experience their highest stress levels of the year during the Christmas season.
This starts with the Christmas decorations, goes through the procurement of gifts, various Christmas parties at the company, school or kindergarten through to the planning and organization of the Christmas dinner. Then there are the family obligations during the holidays (who is with whom and when?). Finally, in the post-Christmas period, it culminates in redeeming vouchers, exchanging gifts and clearing up the domestic chaos that the holidays have left behind (both organizationally and emotionally).
When I read this coherently, only one question comes to mind: "Why are we doing this to ourselves?"
Especially in view of the Christian history (very simple circumstances and only three visitors) and what Christmas actually stands for, much of the above is hardly comprehensible to me.
This effort is the complete opposite of what would actually be appropriate at this time of year and takes away so much of the meaning of the Christmas season.
And so I wish you that this week you have the opportunity to clear your head of all these “I have to, because that is what is expected of me” and to replace them with as many “I want to, because that makes me happy” as possible replace.
Ich habe heute einen Artikel gelesen, der besagt, dass die Menschen in der Weihnachtszeit das höchste Stresslevel im Jahr empfinden.
Das beginnt schon bei der Weihnachtsdekoration, geht über die Beschaffung von Geschenken, diverse Weihnachtsfeiern von der Firma, der Schule oder dem Kindergarten bis hin zur Planung und Organisation des Weihnachtsessens. Hinzu kommen dann noch die familiären Verpflichtungen während der Feiertage (wer ist wann bei wem?). Schlußendlich gipfelt es dann in der Nach-Weihnachtszeit in dem Einlösen von Gutscheinen, dem Umtauschen von Geschenken und dem Beseitigen des häuslichen Chaos, welches die Feiertage hinterlassen haben (sowohl organsatorisch als auch emotional).
Wenn ich das so zusammenhängend lese, dann kommt mir nur eine Frage in den Sinn: "Warum tun wir uns das an?"
Vor allem im Hinblick auf die christliche Geschichte (sehr einfache Verhältnisse und nur drei Besucher) und dem, wofür Weihnachten eigentlich steht, ist für mich vieles von dem oben genannten kaum nachvollziehbar.
Dieser Aufwand ist das komplette Gegenteil von dem, was in dieser Zeit des Jashres eigentlich angebracht wäre und nimmt der Weihnachtszeit so viel von Ihrer eigentlichen Bedeutung.
Und so wünsche ich Euch, dass Ihr diese Woche die Gelegenheit habt den Kopf frei zu bekommen von all diesen "Ich muss, denn das wird von mir erwartet" und diese durch so viele "ich möchte, denn das macht mich glücklich" wie möglich zu erstetzen.
more of this on my website at: www.shoot-to-catch.de
52 weeks for dogs ... week 38 ... OMG - OMD ...
I edited an article about behaviour towards owners with a dog with a muzzle on ... ofcourse there had to be a photo to go with it but I could nót find a border collie with a muzzle on !
I remembered I bought one for Drift when I still had the illusion we could go work with sheep with him, to avoid injuries with the sheep ... but he easily slipped out of it when I trained with him to wear it so ... no way he was gonna wear thát no matter whát I tried ... for this photo he was able to leave it on for 3 shots ...
LIMG_4370_lr
I finally managed to finish my article on "Optical" which was a small manufacturer based in Spain, which producing projection lenses for cine and slide projection.
I tried my best to find some information about the company and their products but unfortunately there still are lots of open questions. Believe it or not, I wasn't able to find even a single ad or mention in any book or catalog... Perhaps someone who knows where to find anything like that is going to stumble upon the article in the future and let me know. I'm still wondering how a company managed to sell their lenses without any kind of advertisement.
One of the reasons might be that they seem to have been a subsidiary of Benoist Berthiot a notable manufacturer of projection lenses from France... so they likely were able to use their channels (sales people etc.) and didn't have to rely on publicity beyond that. Another reason might be that it was just too small scale to leave a lot of traces. I don't have any concrete evidence of production numbers, but it's nowhere close to the big names among projection lens makers, like ISCO, Schneider, Zeiss, Bausch & Lomb etc.
However in my eyes that doesn't make their lenses any less fascinating or capable. They made some uniquely interesting lenses and I had a lot of fun using them. Here's the link to the article:
Deep freeze hit the Deep South: -8 °C in the morning (17 °F)! Here, a robin perches on a Callery pear tree.
City of Decatur (Winnona Park), Georgia, USA.
4 January 2025.
***************
▶ Callery pear trees (Pyrus calleryana) are invasive in the U.S. but the "fruits (which are often assumed to be inedible due to their abundant, cyanide-laced seeds) of the Callery pear are small (less than 3⁄8-inch in diameter, or 1-cm) and hard (almost woody) until softened by frost, after which they are readily eaten by birds, which disperse the seeds in their droppings."
— Wikipedia.
▶ The American robin (Turdus migratorius), on the other hand, is quite at home. Unlike the Callery pear tree, it is native to the U.S.
***************
▶ Photo by: YFGF.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
— Follow on Threads: @tcizauskas.
— Follow on Bluesky: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
— Lens: Olympus M.40-150mm F4.0-5.6 R.
— Edit: Photoshop Elements 15, Nik Collection (2016).
▶ Commercial use requires explicit permission, as per Creative Commons.
After my earlier posting of the knitting scene , as requested by some , here is a shot of the finished article .
To be more precise it is a " Polar Infinity Scarf " , as such there is no end and it is worn doubled round .
Article 800 on my blog!
For more details follow the link mirajes.blogspot.co.uk/2018/05/now-you-see-me.html
Reading an article, pointing at a picture, talking in the phone, playing cards or sleeping ? ? ? ?
its all part of the diversification in my mind.
shot taken by Sabbaa7i
We used the slow shutter mode... About 260 seconds :P so this pic is not edited.. cam>> sabba7i's pc>> my inbox>> my flickr page :P
In a day of false information, artificial ingredients, fake ID’s, phony personas, counterfeit money, and outrageous fake eyelashes it’s nice to know that you can still own something real … and yes, it’s even paid for.
How did I not share this before? I was contacted a few months ago by a lady wanting to write an article about my life and about my organization. I didn't think much of it and didn't really think it would go anywhere. But a few weeks ago I started getting calls from friends and family and from total strangers about seeing me in a magazine, no way!! I didn't think it was true and had totally forgotten about the interview at the time. But low and behold we went to barnes and noble and there it was, a beautiful 3 page article about me. It was weird at first reading about my own life told by someone else but I quickly got over it LOL! I have since been contacted by more people about doing stories and such which is so overwhelming but also exciting!! Theres a wild ride ahead ...but I think I'm ready!
I read an article on magazine. The writer suggests that we should shoot pictures which are not done by other people before. No matter it is the subject, the scene, the approach, the style or the composition. We should make only fresh, new and creative pictures. The world is already full of cliche. They don't need more of it.
I fully understand that the world is already loaded with tons of compositions with the Japanese maples. The composition with the tree branches is cliché in the eyes of many.
But I still do it. Because this is the beauty in my eyes. I keep my own record.
Park & Tilford Gardens, North Vancouver. October 2016.
Fuji X-T1 camera
Fuji XF 23mm F1.4 lens
The original article for this image lives at tokyo.japantimes.co.jp/post/en/1201/Ibiza+Chillout+Party....
Best to be viewed in large size format.
PLEASE don't use any type of graphics in comments.
According to Law 9.610/98, it is prohibited the partial or total commercial reproduction without the previous written authorization of the author (article 29). ® All rights are reserved. Conforme a Lei 9.610/98, é proibida a reprodução total e parcial ou divulgação comercial sem a autorização prévia e expressa do autor (artigo 29). ® Todos os direitos reservados.
Tropaeolum
Genus of plants in the family Tropaeolaceae
This article is about the flowering plants of the genus Tropaeolum, commonly called nasturtiums. For the genus of watercresses, see Nasturtium (plant genus).
Tropaeolum /trəˈpiːələm, troʊ-/, commonly known as nasturtium (/nəˈstɜːrʃəm, næ-/; literally "nose-twister" or "nose-tweaker"), is a genus of roughly 80 species of annual and perennial herbaceous flowering plants. It was named by Carl Linnaeus in his book Species Plantarum, and is the only genus in the family Tropaeolaceae. The nasturtiums received their common name because they produce an oil similar to that of watercress (Nasturtium officinale).
Quick Facts Scientific classification, Type species ...
Tropaeolum majus
The genus Tropaeolum, native to South and Central America, includes several very popular garden plants, the most common being T. majus, T. peregrinum and T. speciosum. One of the hardiest species is T. polyphyllum from Chile, the perennial roots of which can survive the winter underground at elevations of 3,300 metres (11,000 ft).
Plants in this genus have showy, often intensely bright flowers and rounded, peltate (shield-shaped) leaves with the petiole in the centre. The flowers are bisexual and zygomorphic, with five petals, a superior three-carpelled ovary, and a funnel-shaped nectar spur at the back, formed by modification of one of the five sepals.
History
Tropaeolum was introduced into Spain by the Spanish botanist Nicolás Monardes, who described it in his Historia medicinal de las cosas que se traen de nuestras Indias Occidentales of 1569, translated into English as Ioyfull newes out of the newe founde worlde by John Frampton. The English herbalist John Gerard reports having received seeds of the plant from Europe in his 1597 book Herball, or Generall Historie of Plantes. Tropaeolum majus was named by the Swedish botanist Carl Linnaeus, who chose the genus name because the plant reminded him of an ancient custom: After victory in battle, the Romans erected a trophy pole (or tropaeum, from the Greek tropaion, source of English "trophy") on which the vanquished foe's armour and weapons were hung. The plant's round leaves reminded Linnaeus of shields and its flowers of blood-stained helmets.
Nasturtiums were once commonly called "Indian cresses" because they were introduced from the Americas, known popularly then as the Indies, and used like cress as salad ingredients. In his herbal, John Gerard compared the flowers of the "Indian Cress" to those of the forking larkspur (Consolida regalis) of the buttercup family. He wrote: "Unto the backe part (of the flower) doth hange a taile or spurre, such as hath the Larkes heele, called in Latine Consolida regalis."
J. R. R. Tolkien commented that an alternative anglicization of "nasturtium" was "nasturtian".
Description
Tropaeolum is a genus of dicotyledonous annual or perennial plants, often with somewhat succulent stems and sometimes tuberous roots. The alternate leaves are hairless, peltate, and entirely or palmately lobed. The petioles or leaf stalks are long and, in many species, can twine around other stems to provide support. The flowers are bisexual and showy, set singly on long stalks in the axils of the leaves. They have five sepals, the uppermost of which is elongated into a nectar spur. The five petals are clawed, with the lower three unlike the upper two. The eight stamens are in two whorls of unequal length, and the superior ovary has three segments and three stigmas on a single style. The fruit is naked and nut-like, with three single seed segments.
I had a little fun with a friend and made a fake news article about a train accident. I staged the scene on my model railroad and then wrote the article to go along with it. Using Photoshop I made it appear to be a printed news article on thin paper (you can see another article on the reverse leaking through) and look like a computer scanned it at a slight angle.
Earlier this winter, in an effort to not die while driving home in an ice storm, I walked around my local university shooting Kodak Portra 400 at 3200. I instructed the lab to develop and scan the film without adjusting for the underexposure.
This is the fancy library during winter break.
2000 NABI 40LFW 4018 on the 92 Line at CSU Eastbay. College newspaper article about AC Transit 92 Line is now free for all students/facutly at CSU Eastbay. I saw this bus on the 92 today.
OK, it's not so mighty. I use the Argus once per year to shoot a roll for Argus day in Argust, and when I do, I am mostly quite happy with the results. Though of course in Argust I am likely to find sunny weather and can stop down and get sharp photos with any lens. It's photography reduced to the basics. I can't even use the rangefinder because it's seriously off at short distances, so zone focus. I do enjoy shooting that one roll, but I wouldn't want this as my everyday camera.
Incidentally, the other day I googled "America's favourite classic camera" and the first hit was this article on the "Top 5 American Cameras Worth Owning" and guess what, at the top of the list was the Argus C3. There were some serious contenders such as the Graflex Speed Graphic, which plays in a completely different league.
I attached the Canon EOS300 to the Leica Macro Elmar-r 100 on a Leica-R bellows via a Novoflex adapter and shot some close-ups of old camera gear with it. Doing macro work through that finder is not so easy. Normally. I use the bellows with a Canon EOS600D, which has a fold-out LED screen so with LiveView. focusing is a breeze. Obviously, this is not an option when using a film camera
Camera: Canon EOS300
Lens: Leica Macro Elmar-R 1:4/100
Leica R bellows
Kodak TMAX 100 black & white negative film
Developed and scanned by www.meinfilmlab.de
A very fun build for Gizmodo's Food Week. It accompanied an article called 10 Teched-Out Techniques for Saving Food.
The article below originated from:
Traditional Building Magazine
Updated: Jan 6, 2020
Original: Feb 2, 2016
Originally built in 1916, the Palm Beach courthouse was a tour de force of Neoclassical architecture. The architect Wilber Burt Talley designed a granite base, brick and stone façades, soaring Indiana limestone columns and Corinthian capitals that held up triangle pediments, and a dentil molding below the cornice. The four-story, 40,000-sq.ft. the building housed the county government offices and records, as well as the jail.
Almost immediately the courthouse ran out of space, and 11 years later an addition was constructed 25 feet to the east. Talley again served as the courthouse architect, and the 1927 addition was similar in appearance and used many of the same materials as the original building. In 1955, the two buildings were connected with usable rooms to accommodate the growing county.
Yet another addition was required in the late ’60s; it was completed in 1969. The architecture firm Edge & Powell delivered a brick building that nearly doubled the square footage to 180,000 sq. ft. This time, the addition was less than sympathetic. In fact, the 1916 and 1927 buildings were lost in the center of the new construction, which wrapped around them completely.
The building was utilized for 36 years in this configuration, until 1995, when a new courthouse opened across the street. Expansions had plagued the 1916 courthouse almost as soon as it was built, and this was no exception. “After the new courthouse opened, the old one was slated for demolition,” says Rick Gonzales, Jr., AIA, CEO and principal at REG Architects. “Since I knew about the 1916 courthouse, I recognized the potential of the site and got in touch with preservation specialists in the area. It took some time, but a group of us eventually convinced the county to fund a feasibility study, which we conducted in 2002.”
Gonzales talks about stimulating interest in the project: “We would go to the new courthouse to sell our idea and walk people up to the windows to look at the old site,” he says.
“‘Believe it or not, there’s a building inside that building,’ I’d say. That really piqued people’s interest.”
The county agreed to fund the project, and demolition of the additions began in January 2004 and was completed two years later. “It took a long time because it was a selective demolition,” says Gonzales. “We needed to be careful to salvage many of the materials from the 1927 building to use in the restoration of the 1916 structure. It resembled the original, so we took everything we could for reuse.” A number of materials were recovered, including limestone, granite, wood windows, doors, marble wainscot, mosaic floor tiles, wood flooring, trim, and hardware.
While a majority of the materials were the same from building to building, the detailing was not identical. “We were working from the drawings of the 1927 building because we couldn’t find drawings for the earlier structure,” says Gonzales. “We had thought the detailing was the same, but when we put our studies together we saw that the rhythm, proportion, and cornices were different.”
When REG Architects couldn’t apply the 1927 documentation to the restoration, the firm examined what was remaining of the building and the few images that had survived. “For a while, we had no cornice pieces, because all of the exterior ornamentations had been destroyed when the façades were smoothed for the addition,” says Gonzales. “Then a contractor found a 16-in. piece, which we used to re-create the cornice line.”
Other elements that needed to be re-created, such as the granite and limestone porticos on the north, south, and west façades, were designed using historic photographs. “We found limestone with the same vein from the same Indiana quarry that was originally used,” says Gonzales. “We were extremely lucky in that the quarry ran out of that vein right after our order.” REG Architects was also able to match the granite.
Many components of the building were salvaged and restored. The cornerstones were restored and placed in their original locations at the northwest corner. The 12 Corinthian capitals and the load-bearing limestone columns – each of which weighs 30,600 lbs. – were pieced back together and repaired. “Placement of the capitals was especially tedious,” says Gonzales, “because it needed to be precise. They were then secured with pegs and glue.”
On the north, south, and west elevations, the brick was restored and, when necessary, replaced. “We couldn’t locate replacement brick with the same hues as the existing brick hues,” says Gonzales, “so we hired artists to stain it so that it blended with the original brick.” On the east elevation, REG Architects specified new brick so the new façade clearly stood out from the old ones.
To the same point, new hurricane-proof wood windows were chosen for the east elevation, while REG Architects was careful to preserve as many old windows as possible on the other elevations. Hedrick Brothers repaired 76 original wood windows as well as the window hardware. “We found a local manufacturer, Coastal Millwork of Riviera Beach, FL, to get the original windows tested for hurricane-preparedness,” says Gonzales. “The company reinforced and laminated the windows, so we were able to reinstall them.”
The crowning achievement of the exterior work was the re-creation of an eagle crest on the west pediment.
Based on a small postcard and images of other eagle crests, Ontario, Canada-based Traditional Cut Stone designed the crest for Palm Beach. “They created a small scale model and then a full-scale model in clay,” says Gonzales. “The final piece, which took five months to produce, was hand-carved from five pieces of Indiana limestone.” Traditional Cut Stone was also responsible for all of the limestone work on the building. REG Architects based much of its interior design on the Desoto County Courthouse in Arcadia, FL, which was built by Talley in 1913.
“The dilemma about the interiors was that there was little archival material and few original photographs to give a precise vision for the interiors,” says Gonzales. “Emphasis was placed on trying to restore the character of the main courtroom and the main interior public spaces.” The main courtroom on the third and fourth floors was especially aided by the Desoto research. The millwork was re-created and the plaster ceiling and moldings, maple flooring, doors, and door hardware were restored. Replica lighting was fabricated.
Architectural elements in the corridors and staircases received similar treatment. Hendrick Brothers uncovered the original mosaic flooring and had it repaired. Only five percent of the tile needed to be replaced; in these cases, matching tile from the 1927 building was used. About 80 percent of the marble wainscoting was salvaged, while the other 20 percent was replaced with matching marble from the original quarry. Wood doors and door hardware were salvaged and reused.
All of the building code upgrades – including efficient HVAC, fire protection, and hurricane protection – were hidden as much as possible with historic finishes. The alley elevation provided an ADA-accessible entrance and space for elevators.
The newly restored Palm Beach County Court House now accommodates a museum for the historical society, as well as offices for the County’s Public Affairs Department and County Attorney. “People say this project was an alignment of the stars,” says Gonzales. “It was. We were lucky to have the opportunity to save this building, we worked with a lot of great people, and it turned out well. It was a great labor of love.” TB
Credit for the data above is given to the following websites:
www.traditionalbuilding.com/projects/courthouse-unwrapped
downtownwpb.com/things-to-do/history-museum-and-restored-...
en.wikipedia.org/wiki/Richard_and_Pat_Johnson_Palm_Beach_...
© All Rights Reserved - you may not use this image in any form without my prior permission.
I posted an outhouse for the second consecutive night to update my outhouse FLICKR album.
This one looks like it is detached from its "moorings,"
Interestingly there is an article about Smart-Toilets in the Financial Times today. These can involve heated seats, rear-washing and drying features, according to the article. They also can be further accessorized to be a place for "me time."
Outhouses were from a simpler time and are at the opposite end of the spectrum from smart toilets.
This man Cherokee ancestors were survivors and victims of the "Trail of Tears Walk" which was the brutal removal, in 1830, of five Indigenous tribes from their homeland to present day Oklahoma.
For more information on the Trail of Tears Walk click on the link below.
www.peoplesworld.org/article/trail-of-tears-walk-commemor...
More info and tips on my BLOG
FREE article about my travel HERE
Plus d'infos et de conseils sur mon BLOG
Article GRATUIT sur mon voyage disponible en francais ICI
Merci pour les vues, favoris et commentaires, ils font très plaisir.
Bonne semaine à vous :)
Thanks all for the views, favs and comments, very appreciated.
Have a nice week :)
I was waiting for Amtrak, I'd missed it the two previous days. The Railfan article on Fort Worth's Tower 60 said BNSF came to a halt around Amtrak time, so when I headlight appeared at the appropriate time I assumed The Heartland Flyer. But no, a coal train going hard. 2 EMD's up front and 2 more at the rear.
We spent two weeks back in May up in the wild lands of Kodiak Island, Alaska photographing The United States Coast Guard for @RedBull. To look at the full article by Andreas Rotti and the pictures that I captured, you can take a look on the Red Bulletin at www.redbulletin.com/us/us/lifestyle/48-hours-with-the-ala...
Introduction This article is written to address "Everyone no matter your worth, how small or big you think you are?" You don’t really need to worry or succumb to uncertainty about life, no matter what you have experienced in the past Visit our blog: creativeartssolutionfoundation.blogspot.com.ng/2017/12/ev... for much more,
historic centre of lecce, italy
hdr, 2008
"...Lecce’s Roman Amphitheatre. An enormous circular structure that seated thousands of patrons. Excavated in 1938, during construction of an Italian bank - the theatre takes up nearly half of the piazza, while the other half remains buried under surrounding coffee shops and boutiques. In its heyday, Lecce’s Amphitheatre was the most important Roman monument of the city. Built under Hadrian's empire, the amphitheatre dates back to the 2nd century when Lecce thrived under its Roman name of “Lupiae”..."
taken from www.associatedcontent.com/article/13667/lecce_amphitheatr...
anfiteatro romano di lecce
As anticipated, First Cymru has replaced the ten Wright StreetCars based at Swansea Ravenhill depot with a similar number of Mercedes-engined Wright StreetLites, new this Summer to Port Talbot depot.
These have assumed the operation of Service 4 (Morriston Hospital-Morriston-Swansea City Centre-Singleton Hospital & University), though at a slightly reduced Monday to Friday frequency but with more running time.
Whilst they are gradually receiving 'Bws Gwynedd'-style red fronts on their corporate livery, 47663 is the first to also receive "metro" branding.
She is captured on the Metro Track near Paxton Street, Swansea in this early September 2015 shot.
Edited with Glorious Nature Overlay - tequilla sunrise
www.flickr.com/groups/1166705@N24/
I just watched the movie "It's Complicated."
stylechronicle.blogspot.com/2010/01/its-complicated-set-d...
The set design was so amazing, i fell in love with the house and the interior set decor.
www.traditionalhome.com/design_decorating/showhouses/set-...
Beth Rubino was the designer and she used a lot of warm orange pillows, browns, and cozy inviting colors. The same designer also created the set from "Somethings Gotta Give." (another divine set)
www.architecturaldigest.com/homes/spaces/2007/07/somethin...
Flickr article is out here.. Not everyone's cup of tea ... but I am pleased my first Flickr article is out. (2 more on the way.)
The car has become... an article of dress without which we feel uncertain, unclad, and incomplete. ~Marshall McLuhan, Understanding Media, 1964
© Copyright! ©
You cannot download, alter or reuse this photo without my written permission.
The veteran character actor and recent star of both House of 1000 Corpses and The Devil's Rejects. Sid is soon to make a cameo in Rob Zombie's Halloween remake.
This set appeared in Darkside, the UK's premiere horror magazine. Here's the article:
The veteran character actor and recent star of both House of 1000 Corpses and The Devil's Rejects. Sid is soon to make a cameo in Rob Zombie's Halloween remake.
Here is the article that appeared in Darkside Magazine, a few weeks before the release of the The Devil's Rejects.
Sid Haig has a face your nightmares won’t let you forget. With sunken eyes, heavy brow, swollen features and grizzly black beard, this hulking menace of an actor oozes gravitas with every carefully considered sentence that growls through his leathery lips. Today as the Californian sun beats hard upon his signature bald skull, he stands a looming 6’4” tall and cloaked entirely in black, commands presence that is undeniable.
Our interview is held in a plastic-cupped seaside café, halfway along the famous Santa Monica Pier, one of Hollywood’s favourite film locations and the point where western civilization ends. For over forty years, Sid’s vicious visage has found him cast in over fifty feature films and three hundred television appearances, mostly as the “heavy with a gun”. Odd really, for his onscreen roles belie a warm, charismatic and down-to-earth personality in the flesh.
Sid Haig’s first acting role on celluloid was in a UCLA student short called The Host, directed by Jack Hill – a crossing of paths that spawned a career-long collaboration and association with gritty genre pictures. Hill cast Sid as a demented murderer in his first feature Spider Baby (1968), the cult horror classic that featured a singing Lon Chaney, Jnr. and he quickly became an exploitation regular in films such as The Big Dollhouse (1971), Coffy (1973), and Foxy Brown (1974). Cast as one of the Slumber Brothers in Diamonds Are Forever (1971), he even managed the lucky task of tossing a Bond girl from a Las Vegas hotel room and of course his shaven-headed appearance was a definite advantage when he auditioned for THX1138 (1971).
Due to dissatisfaction with his continual casting as heavies, Sid abandoned acting in 1992 to become a hypnotherapist. Yet he later joined the likes of John Travolta, David Carradine and Robert Forster with a career revival at the hands of Quentin Tarantino, playing the Judge in Jackie Brown (1997), the director’s ode to blaxploitation.
His next role was the most significant of his rejuvenated profession, playing the crazy killer clown Captain Spaulding in rocker Rob Zombie’s directorial debut House Of 1000 Corpses. Sid was actually cast because of the filmmaker’s love of the Saturday morning kids sci-fi series Jason Of Star Command (1979-81) in which he starred as the villainous cyborg Dragos. Fully bearded under thick white greasepaint like Caesar Romero in the sixties Batman, his creepy persona and penchant for murder in House Of 1000 Corpses created a character that many are calling the new horror icon of the 2000’s. Particularly surprising when one considers the panning that the film received at the hands of the critics when originally released. Fans knew better of course, and now Sid Haig is in a jovial mood, for the upcoming sequel looks set to succeed its predecessor in every single department.
“We had a screening of The Devil’s Rejects in Chatsworth in the San Fernando Valley with an audience of about five hundred people,” recalls Sid, full of beaming praise for his upcoming feature. “The final scene was taking place in broad daylight and the screen illuminated the faces of the audience. Rob made his way down front so he could get what their reaction would be. It was amazing because many of the women were crying and most of the guys were sitting there with their mouths open. They did a survey and 18 out of the 20 rated the film as excellent and the other two rated it very good. Now House was released at 600 theaters. The last word I got was that the new movie will be released in 2500 theaters nationwide! Lions Gate say it’s the largest release in the history of the company.”
The Devil’s Rejects continues the folklore surrounding the Dr. Satan cult murders created in House Of 1000 Corpses by following the Firefly family on another bloody rampage. Pursued by the brother of the late lamented Sheriff Wydell (played by William Forster) who is hell-bent on bloody revenge, the murderous clan is forced to hit the road. Captain Spaulding takes them to ‘Charlie's Frontier Funland’ a safe house that happens to be his brother’s brothel, a house of ill repute where a final gory showdown takes place.
“Sheriff Wydell may even be a little more crazy than the Firefly family!” chuckles Sid like his demented clown character. “We find out fairly early in the film that Captain Spaulding’s connection to the Firefly’s is that he’s Baby’s father, which is an interesting little twist, having been adopted himself by a young black family. Ken Foree plays my brother and everyone is asking, ‘How is Ken Foree going to be playing your brother?’ He and I both are saying, ‘We’re brothers from another mother!’”
The sequel continues the recent trend in filmmaking to trawl through the back catalogue of seventies horror movies for inspiration. The cast not only includes Dawn Of The Dead’s Ken Foree but also Texas Chainsaw Massacre 2’s Bill Moseley (reprising his role of Otis with a more rugged, realistic look), Halloween’s P.J. Soles and The Hills Have Eyes’ Michael Berryman. Rob Zombie shoots in a bleached-out, grainy Super 16 film stock and creates a universe where Leatherface could easily be lurking behind a battered pick-up truck or rusted out refrigerator. But what’s with the recent fascination with everything just post of Texas Chainsaw Massacre? Sid pauses and rubs his bearded chin before answering.
“It was a period that horror films were really good and after that everything was kind of predictable, not really very scary at all. There’s not really a whole lot of creativity in Hollywood at this point. I am so pissed that somebody had the brilliant idea to remake House of Wax (1953). That was one of my favorite films as a kid. I was in the theatre the night that it opened and it was one of the first 3D films I saw. I can’t even think about going to see Paris Hilton prancing around - it drives me nuts!”
This time, Sid promises that Rob Zombie has matured as a filmmaker. House’s scenes inside the creepy haunted house ride, Lucio Fulciesque catacombs and the Firefly’s Texas Chainsaw shack give way to a desert road trip scenario with classic Western themes and motifs. The MTV editing has been replaced by a thoughtful, Sergio Leone-influenced style and a move towards realism.
“Horror films seem to have to take place at night. Watching horrible things happen in broad daylight is much scarier,” theorises the actor. “House Of 1000 Corpses was a little campy and cartoony at times. There’s still a little humor, but just not as much. Rejects happens in the sunshine and there’s some really nasty stuff. It’s a very violent film, perhaps even more violent than House. It has a kind of Sam Peckinpah feel to it, very much like The Wild Bunch (1969).”
The bloodbath finale to The Devil’s Rejects is already causing frenetic fan speculation across hyperspace. The original film of course suffered very badly at the censor’s scissors in most territories and it seems Rob Zombie had to present the sequel an incredible eight times to the MPAA before it received the magical ‘R’ rating.
“Everything is much more real,” explains Sid. “It’s not so much a question of cutting the violence out. Rob couldn’t get it because they’d say, ‘We can’t pass that scene.’ He’d reply, ‘I don’t understand. Nobody gets molested in any way. There’s no blood, there’s no gore, there’s not even any cursing. So what’s the problem?’ ‘Well it’s too real,’ was the answer. Isn’t that what film is supposed to be? So it was an educational process for the MPAA.”
Perhaps members of the board were simply victims of caulrophobia, the dreaded fear of clowns. Could the sight of Sid Haig in Captain Spaulding make-up have been too much for their delicate sensibilities? The man behind the greasepaint doesn’t really understand the whole fascination with those evil, twisted monsters with venomous red noses and squirting flowers. Not to mention those enormous feet, fit for stomping small babies:
“I had really never heard that much about clown phobias until I did this film and people are just totally freaked out. I just think it’s the visual thing of this totally weird clown with the beard, the frown and the black eyes. Then other people just love the fact that this wacky clown is so evil and just does terrible things. Actually, a young lady was getting married and wanted me to perform the service as Spaulding. I said, ‘Well I can’t do it. I’m not ordained.’ So she got on the Internet with all my information and I’m now an ordained minister. I married them at the Chiller Theater convention in New Jersey in full makeup and insulting as hell. Everybody was drunk, laughing and carrying on.”
With Captain Spaulding sparking the imagination of young audience, a new generation is discovering some of Sid’s early work and most notably the wonderfully warped Spider Baby, another tale of a murderous family with a penchant for cannibalism. That low-budget movie enabled Sid to work with one of the masters of screen horror, the Wolfman himself, Lon Chaney, Jnr. during the twilight of his career. It was a last hoorah for a star who had truly fallen to the depths of bottle, a performance that would have been a fitting final bow instead of his ending up as an embarrassing bit part in Al Adamson’s campy but crappy Dracula Vs Frankenstein (1971).
“That was an amazing experience,” recalls the bearded genre icon. “Lon was so grateful to get that job, that somebody thought enough of him to offer him a part like that. He was really dedicated to what he was doing and dried out to do the film. I could see he was unhappy with where he had been and I could see how much joy he was taking in what we were doing. That was probably the best eleven days of his aging life and career.”
The tiny budget of the production forced the crew to be creative with their limited resources. Sid recalls how Al Taylor the director of photography – whose work in Spider Baby is one of the greatest assets of the film – once had to contend with having no electrical power to light a murky interior shot:
“Al bounced light off of six reflectors; the yard to the front door, down the hall, through one room and into another room to get light on the actor’s face. That’s pretty amazing. Most guys would just throw up their hands and say, ‘Oh we don’t have any light. Let’s go.’”
But during filming of Beware Of The Blob (1972), Larry Hagman’s comedic sequel to the 1958 original, Sid faced the true horrors of working within a miniscule budget.
“I was playing a cop and I caught these two kids smoking dope. Suddenly the Blob came down and devoured me,” he grimaces. “And there I stood in fifty-five gallons of dipee-dee-do, the most vile crap that anybody could put on their hair, let alone their entire body. So I turn and thankfully it’s all over. But there’s no shower! Oh my God! That was pretty sick.”
With Sid creating such a memorable screen persona with only ten minutes of screen time in House Of 1000 Corpses, his starring role in The Devil’s Rejects could unleash a new horror phenomenon. Could the misadventures of Captain Spaulding and his harem of homicidal hicks soon become a trilogy?
“Rob doesn’t want to do a third one. The reasoning is that if the first one is a success, the second one is usually better, but the third one sucks and he doesn’t want to go there. But I’m sure that some of us will get a call from Lions Gate saying ‘if you’re up for a third one, come and play…’”
Captain Spaulding is a rich, freakish multi-layered killer with some of the best caustic dialogue for a villainous champion of chaos since Freddy Kruger toyed with his hapless victims on Elm Street. This new bogeyman for the twenty-first century is a character that for once would actually create a welcomed franchise to a flagging Hollywood horror industry. It’s a strongly crafted, warped and still a strangely realistic role that only veteran Sid Haig could play with such true grit. Send in the clowns indeed.
(Photos and words - Copyright Mark Berry)
This article was written by ANDREW SCOTT - MASSETT - The other commercial centre is Masset (or Massett, as the post office name was originally spelled), located at the mouth of Masset Inlet on the north shore of Graham Island. It also got its start in the early 1900s. An application submitted in 1900 by post office inspector W. H. Dorman proposed Charles Harrison as postmaster but was rejected. “Residents at Massett now receive their mail from Port Simpson,” wrote Dorman, “from which place all supplies are obtained, by means of an Indian schooner which makes occasional trips between these places. It is possible that arrangements might be made to have an occasional mail conveyed between Massett and Port Simpson, but there would be no regularity about such a service. I do not consider a post office at Massett is required at present.” The post office was eventually authorized in 1906, it seems, but its opening was delayed until 1909 (Archives Canada lists Jan 6, 1910, as the date of establishment but Aug. 1, 1909, as the date of appointment of the first postmaster). This was Rev. William E. Collison, son of the noted Anglican missionary William Henry Collison. Do a search of "Early Postal History of B.C.’s Haida Gwaii" where you can read the complete article.
(from - Wrigley's 1918 British Columbia Directory) - MASSETT - a post office, fishing and lumbering village on the northern part of Graham Island, Queen Charlotte Islands, 86 miles from Prince Rupert, in Prince Rupert Provincial Electoral District, reached by Grand Trunk Pacific boats from Prince Rupert. Has telegraph office. Anglican church. The population in 1918 was 150. Local, resources: Lumbering, farming, mining and fishing.
MASSETT Post Office was opened - 1 August 1909. The spelling adjusted to MASSET Post Office - 28 May 1948.
LINK - to a list of all the Postmasters who served at the MASSETT / MASSET Post Office - central.bac-lac.gc.ca/.redirect?app=posoffposmas&id=2...
- sent from - / MASSETT / AU 25 / 11 / B.C. / - split ring cancel - this split ring hammer (A1-1) was proofed - 25 June 1909 - (RF C).
- arrived at - / SOUTH HILL / AU 28 / 11 / B.C. / - split ring backstamp (poor strike) - this split ring hammer (A1-1) was proofed - 15 September 1908 - (RF D).
The South Hill Post Office was established - 1 October 1908 - it became Vancouver Sub Office South Hill - 1 July 1914.
Addressed to: Miss Dora Erlindsson / South Hill / B.C.
Halldóra Maren (nee Erlandsson) Glenzer / (Dora Marie Erlandson)
(b. 22 April 1894 In Winnipeg, Manitoba – d. in Washington, USA)
Her father - Vigfies Erlindsson
(b. 1859 in Iceland – Deceased)
Her mother - Oddbjorg (nee Saemundsdottir) Erlindsson
(b. 1857 in Iceland – Deceased) - they were married - 28 November 1885 in Stokkseyri, Árnessýsla, Suðurland, Iceland.
Her husband - John William Glenzer
(b. 20 February 1882 in Sheboygan, Wisconsin, United States – d. 31 March 1944 at age 62 in Everett, Snohomish, Washington, United States) - they were married - 23 May 1917 in Bella Bella, Central Coast, British Columbia, Canada. Occupation - Mill worker.
An excerpt: "The knowledge of the heart is very important. Without the knowledge of the heart, you cannot reach anywhere for except churches, mosques and temples."
Read the article here: medium.com/@YounusAlGohar/thoughts-on-extra-celestial-sec...
www.buzzfeed.com/gabrielsanchez/photographs-of-candid-rom...
The places where I usually share my photographs - Flickr or 500px - are photo sharing communities where comment and discussion, when they do happen, tend to centre around purely photographic elements such as light, colour and cameras. And so it's been pleasing to read some of the more widely contextualised thoughts and criticisms of my work and the way it has been presented by BuzzFeed, which yesterday published a series of my photographs. Although I know that it's one of the world's top 100 websites by traffic, it didn't really occur to me that the series would be seen by so many people (almost 300,000 in the twelve hours from being posted to the time of writing). Or, if it did, I didn't think through fully the consequences of exposure of that kind.
Given that I know what the comments section of the internet can be like, it's refreshing that discussion has largely been civil, mature and occasionally insightful. Stephen Fry once said - as I'm sure others before him have - that if you believe good reviews of your work, then you must also believe the bad ones. I'm not sure that I fully agree, but I've enjoyed reading both the compliments and the criticisms for more than just narcissistic or masochistic indulgence: it forces me to engage with my work in ways I might not have previously. Occasionally my consciousness is raised to some moral or ethical implications I hadn't considered; occasionally I'm forced to admit that it simply isn't very good.
Discussion of the series has been along three main lines: veracity; appropriateness of the title; diversity. I'd like to - and am glad I'm able to - deal with the first two very quickly, because it's the third one that has given me most pause.
1. Veracity. The claim that "his subjects are unaware and unposed" is one that I made and which BuzzFeed have quoted. To the person who responded to this with the snide "RIIIIIGGGGGGHHHHHT!" I can only say: believe what you want, but it's true in 24 of the 25 images. The exception is of the couple standing before St Paul's Cathedral. I had been commissioned to capture the projection of words onto the dome and, as I was setting up that evening, I saw a couple hugging in front of it. By the time was ready to shoot, they had finished and were walking away, but I approached them and asked them if they would re-stage the moment I had just missed. That is the only time. In the other 24 cases, the subjects might have been aware of my presence because of the confined or empty space in which the image was taken, but none were ever asked to pose, and none ever acknowledged - even implicitly or indirectly - that they were being photographed.
2. Appropriateness of the Title ("25 Pictures That Prove Love Is Real"). As many journalists and photographers know, titles, headings, headlines and subheadlines are often the remit of editors and not the producers or creators of the work contained within. So, while it has been interesting to read about whether or not the photographs depict people who are genuinely in love (whatever that means) or merely the preludes to one night stands, I make no claim either way. Many of these photographs are of strangers, of people whose stories I don't know but for one moment I photographed because I saw something I thought beautiful or real (even if just real lust or real drunken passion). I engaged with their story at that moment, and if by looking at these photographs others do the same, then I'm pleased.
3. Diversity. This criticism is the one that warrants the most consideration on my part because it's true: this series of photographs lacks diversity. "Seeing some girls that weren't only size 5 and under would be nice"; "...all young, thin, white and conventionally attractive"; "Whiter than a damn Klan rally."; "All around the globe? Really?" These are all fair statements ("All around the globe" are the words of an editor, but it's true that a few countries are pictured here.) My explanation for the lack of diversity is that, while they are not representative of the world, or of love, they are representative of my experience. I should be even more specific: they are not representative of my experience as a human being, but they are representative of my experience as a sometime photographer of strangers.
These photographs depict scenes and situations that I did not seek out, but that I happened to see. And while I see minority ethnic and elderly couples together, the occasions on which that coincided with a time when my camera was at the ready and when the photograph I took was considered by me to be good enough to be included in this series appears to be very small. In this series, there is one Chinese woman, admittedly thin and conventionally attractive ( although I suspect older than most of the subjects here) and one Chinese boy, again conventionally attractive. There are also Greek and Italian people depicted here, although less obviously, and a couple of others who I don't think are white but I'm not sure. Then there is the fact that, while I do see older couples and minority ethnic couples, I see them a lot less. The reason for this is that the majority of these photographs were taken while I was in my early to mid 20s, and the majority of them were taken in Scotland, where I live. I spent much of my early mid 20s in bars and nightclubs (still do, I suppose...) and the minority ethnic population of Scotland is a mere 4%. I sit typing this in a fairly busy cafe on a fairly busy street. I look around me, inside the cafe and out, and I count 35 people: 34 are white, 1 is East Asian. In the reflection of my laptop screen, I add one more person to the count: a half-Chinese man.
Intimacy of the kind depicted here - call it love, call it drunken lust, whatever - is far more often seen in bars and nightclubs than on the street, and those who frequent bars and nightclubs tend to be young. Moreover, young people are more comfortable being photographed candidly: the majority of "please remove this photograph" requests I receive are from older people. This is also the case - or I've worried that it's the case - not ethnically but culturally in many of the places I've visited where the majority population is non-white. For example, in my travels to Morocco, Thailand, India or Pakistan, I would be less willing (whether through cultural sensitivity or cultural ignorance) to point my camera at strangers being intimate.
I hope the reasons I've given explain why this series lacks diversity, and writing them has left me with a question for myself: do I have a RESPONSIBILITY to reflect the diversity of the world/ country/city when documenting it? I suspect the answer, as usual, is "it depends". This compilation of images was drawn from my archive: I did not set out to document "lovers from around the globe", which if I had then I believe I would have had a responsibility to reflect the different kinds of people who love (which is every kind of people). But perhaps in compiling the series, it's something I should have borne in mind.
This series of images makes no claims, but I realise now that perhaps it should carry a disclaimer of sorts: these images were taken, by happenstance rather than by design, by a young man who is largely surrounded in his existence by young, middle-class white people.
Thanks for making me think about this.
Glasgow, 2014.
"I read an article that claims studies show people who live in more natural settings live longer and are happier. Simply seeing trees or nature regularly is good for you! It's unnatural to be cooped up inside held hostage by technology or chores, so get outside and live!"
Model: Alysha Nett
Model Mayhem I Facebook I Twitter I Tumblr