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Those two pelhwans (Indian wrestlers) are standing at the entrance of the little akhara (gymnasia) which is lost in the fields near Sakalhida, a village in the Indian state of Uttar Pradesh.
It was in winter, early in the morning before sunrise.
"After exercising, a wrestler rubs his body with the earth of the akhara to dry his perspiration.
This prevents his body from cooling too rapidly, and thus guards against illness.
While resting, he is rubbed down.
As the earth dries on his skin it is scraped off by other wrestlers.
By the time the earth is scraped, the body is cool enough for the wrestler to bathe.
It is vitally important that a person not bathe while still hot, for this will inevitably enrage the body and cause serious illness.
A wrestler must urinate before bathing in order to relieve the body’s inner heat".
("The Wrestler's Body: Identity and Ideology in North India" by Joseph S. Alter)
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Please do not use any photographs without permission (even for private use).
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So much history in one painting, allow the museum that Gertrude Vanderbilt Whitney founded to articulate;
Gertrude Vanderbilt Whitney, founder of the Whitney Museum, commissioned this portrait in 1916 from Robert Henri, leader of the urban realist painters who had shocked the New York art world barely a decade earlier with their images of ordinary people and commonplace city life. By 1916, Mrs. Whitney, a professional sculptor, had founded the Whitney Studio in Greenwich Village, a lively center for the support and exhibition of new American art. When Henri’s portrait was finished, Mrs. Whitney’s husband, Harry Payne Whitney, refused to allow her to hang it in their opulent Fifth Avenue town house. He didn’t want his friends to see a picture of his wife, as he put it, "in pants." Mrs. Whitney’s attire and self-possessed demeanor were highly unusual for a well-bred woman of her day. In this painting, Henri transformed the traditional genre of a recumbent female—usually a nude courtesan or the goddess Venus—into a portrait of the quintessential "modern" woman. The portrait hung in Whitney’s West 8th Street studio, which in 1931 became the first home of the Whitney Museum.
I do love that painting.
...and how she looked
revealed too little too late;
unspoken laments now stripped bare.
A coffee, cigarette and pumpkin soup,
and still no messenger to shoot?
© Kate Gluskie
"i fully intend on writing a book someday" she said
"really?" i said
"yes, and i think you just may be the chapter that makes it sell"
i smiled.
"The oldest living city in the world".
Those three sarees are drying at the upper terrace nearby the Bivi Razaia Masjid, a small mosque located in the chawk of Varanasi (Benaras).
It was two days ago at sunset, a few hours before Mumbai’s tragedy.
Everything seemed to be so peaceful then, it was a moment frozen in eternity with those three poems in silk, light like chiffon.
Each tells a different story with it’s weaven motives and colours.
Mister Kamaludin Khan, the colour magician, was asking some of his workers to fold them; I just had the time to take a few pictures and to enjoy those shades of blue and purple which were flying like butterflies...
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© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
you have to walk carefully in the beginning of love; the running across fields into your lover's arms can only come later when you're sure they won't laugh if you trip.
Jonathan Carroll
"Delicious autumn! My very soul is wedded to it, and if I were a bird I would fly about the earth seeking the successive autumns."
~ George Eliot ~
My favourite moments are spent tucked into the corner of a bus between cities, alone in the dark without your shoulder to lean on, because there is startling clarity in the aching of my heart then, and I am finally able to articulate why you feel like home.
(forty)
If you are the amber mare
I am the road of blood
If you are the first snow
I am he who lights the hearth of dawn
If you are the tower of night
I am the spike burning in your mind
If you are the morning tide
I am the first bird's cry
If you are the basket of oranges
I am the knife of the sun
If you are the stone altar
I am the sacrilegious hand
If you are the sleeping land
I am the green cane
If you are the wind's leap
I am the buried fire
If you are the water's mouth
I am the mouth of moss
If you are the forest of the clouds
I am the axe that parts it
If you are the profaned city
I am the rain of consecration
If you are the yellow mountain
I am the red arms of lichen
If you are the rising sun
I am the road of blood
Octavio Paz
Legs done, knees do articulate like the MG models!
Looking for tips on smoothing it out a bit, its quite difficult.
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
"Before anyone will lend you a hand, you must touch their heart.
Be like the sun: the sun gives all it can give.
But in return, all of the flowers, the trees and the plants grow toward it".
(“Daily Inspiration” by Robin Sharma)
When I am stuck in the traffic and I am not driving I always enjoy to take a few pictures of what is around me.
One evening in delhi, I was on my way home in a rickshaw and I could see people in a bus who seemed to be bored and fed up.
It was a few weeks ago and it was still cold, this guy saw me taking a few shots, he was also looking at everyone from the window, he was certainly tired of his day.
I have other pictures where he smiled at me once he realized he was my subject.
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"Την πόρτα ανοίγω το βράδυ
την λάμπα κρατώ ψηλά
να δούνε της γης οι θλιμμένοι
να 'ρθουνε να βρουν συντροφιά
Να βρούνε στρωμένο τραπέζι
σταμνί για να πιει ο καημός
κι ανάμεσά μας θα στέκει
ο πόνος του κόσμου αδερφός
Να βρούνε γωνιά ν' ακουμπήσουν
σκαμνί για να κάτσει ο τυφλός
κι εκεί καθώς θα μιλάμε
θα 'ρθει συντροφιά κι ο Χριστός."
At night I open the door
I hold the lamp high up
For the saddened of this earth to see
And come in our company
And find a table set
The chagrin will find a pot to drink from
And the pain of this world
Will be like a brother among us
There will be a place for all to lean on
There will be a stool for the blind to sit on
And as we will be talking
Christ will also come and join us."
Music by Mikis Theodorakis
Lyrics by Tassos Livaditis, translated by yours truly.
www.youtube.com/watch?v=gI1FCbwIhw0
"Explored" on May 21, 2008.
There was a political meeting for pre-election advertisement by local Congress leaders which is “hamari pyaari beham Sonia Ghandi’s party” ( “the party of our loving sister Sonia Ghandi”...lol...!!!) in front of the Jallianwala Bagh Memorial in Amritsar (Punjab).
A man started shouting in a microphone for a few minutes and little by little an huge crowd was there listening to his speech and the traffic was jamed.
When it ended this group of Sardar-jis were in the middle of the street, I liked this swirl of turbans with several colours that I could see from the window of where I was standing.
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
Sardar (Persian: سردار ) is a title of Persian origin, used for military or political leaders.
The word's cognate in Persian, Sirdar, means commander.
Literally sar means "head" while dar means "holder" in Persian.
Thus, the term Sardar may also mean a military or political leader, comparable to the English chieftain.
In India/Pakistan, in Punjabi, Hindi and other Indian languages, the word often refers to a male follower of the Sikh faith.
Often, the -ji is added to the word to denote respect, resulting in the word "Sardarji".
The word may convey several meanings, often associated with military authority.
In Sikhism, sardar refers to a man who has a beard, hair and covers their hair with a turban and Sikhs often use Sardar as prefix to their name instead of Mister, e.g. Sardar Surjit Singh.
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Please do not use any photographs without permission (even for private use).
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Relaunch Party for Northampton's Baby Cafe...saved by a fantastic bunch of 'tyrannical articulates'!
How did he come here? Who gave him the key?
Slipped in his hand so secretly
Who put the colour like lines on his face
And brought him here to a pagan place?
Who shot the arrow? How high did it fly?
When he tipped it with poison
Did he even know why?
What unseen hand brought him
Face to face to face to face with all this and more
In a pagan place?
Come into my parlour, sail in at my shore
Drink my soul dry there is always more
There is always more after
Now fly on my carpet look into my face
And see the Heart of Man
In a Pagan, in a Pagan, in a Pagan...
Pagan....
St Peter, Stutton, Suffolk
The Ipswich to Manningtree road cuts off a long tongue of land from the rest of Suffolk. As the great Rivers Orwell and Stour roll towards the sea, the edge inexorably closer to each other, until at Shotley gate they meet before emptying into the North Sea. This huge natural harbour is now home to England's largest container port, but you wouldn't think anything of the kind could be so close in the gentle woods and lanes of the Peninsula, except for the cranes which occasionally peep above the treetops, of course. The setting of St Peter is idyllic: you head down through Holbrook, and then into the woods. It sits in a close with several awesomely grand houses for company, and the Stour estuary is below, wild Essex beyond.
The appearance of the church is a little unusual, and requires some investigation. This is one of the south towers found commonly in the Ipswich area. No south aisle was ever built beside it as at neighbouring Holbrook, but several successive Victorian restorations saw the addition of a long south transept which contains an organ chamber and a vestry which is largely invisible from inside the church, and the rebuilding of the chancel with the addition of a north aisle and transept. But the original tracery of the chancel east window was moved into the chancel aisle, which explains why such an overwhelmingly 19th century extension has a medieval window.
None of the restorations were the work of a major local architect. There seems to have been a rolling programme of refurbishment throughout the 1840s and 1850s, probably at the behest of a Tractarian-minded Rector. The two major restorations came in the 1860s and 1870s, and although Richard Phipson, as Norwich Diocesan Architect, certainly oversaw the work, the combination of, first, Hawkins of London, and then the firm of Francis, has left something unusual and interesting.
Stepping inside, this is an almost-entirely early Victorian interior of some high quality. The furnishings are the work of the great Ipswich woodcarver Henry Ringham, who, despite going bankrupt after overspending on his infamous Gothic House, was still sufficiently highly thought of some decades after his death to have an Ipswich road named after him. If they really date from 1842 then they are the major example of his early work.
An outstanding feature of the west end is Stutton's millennium window. These were installed in many churches at the turn of the century, and are too often kitschy and dull. No such charge could possibly levelled against Stutton's. The window is absolutely outstanding of its kind, at once enthralling, theologically articulate and inclusive. The artist was Thomas Denny, whose work is more familiar in the west of England. The upper part depicts a passage from Isaiah: And a man shall be as an hiding place from the wind and a covert from the tempest; as rovers of water in a dry place, as the shadow of a great rock in a weary land. And the eyes of them that see shall not be dim and the ears of them that hear shall hearken. The lower part depicts the counterpoint passage from the book of Revelation: And he shewed me a pure river of water of life, clear as crystal, proceeding out of the throne of the Lamb. In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations.
Either side of the west end are memorials to 17th century Jermys. These are rather striking - they were moved here at the time the chancel was rebuilt, and depict Sir Isaac and Lady Jane Jermy on the south wall, with their son Sir John and Lady Mary Jermy opposite. The verses are well worth a second glance for an insight into 17th Century eloquence.
A remarkable memorial from more than a century earlier is at first sight rather unexciting. It is under the carpet at the east end of the nave, commemorating John Smythe of Stutton Hall, who died in 1534. It is a brass plaque in English, reading O(f your charity pray for the soule) of John Smythe, Knight. John deceased the XIIIIth day of August in the year of Our Lord MCCCCCXXXIIII O(n his soul)e Jesus have mercy. There is no figure, no heraldic devices, no trimmings at all. So what makes it so interesting? Well, at some stage, probably in the late 1540s, possibly in the early 1640s, or perhaps at some time between or shortly afterwards, all the parts of the inscription that reflect Catholic theology and doctrine have been viciously raked out, with either a sword-tip or chisel. So, we have lost f your charity pray for the soul and, at the end, n his soul. A fascinating document of the protestant intolerance of early modern England.
The chancel has been reordered in a curious manner. The rood screen is almost certainly also by Henry Ringham, making it a work of some significance, and was installed here before the chancel arch was rebuilt in 1862. It has been set further east, with the altar brought forward, and now provides an elegant backdrop to the sanctuary.
All the 19th Century glass is worth a look, being a record of work through the decades of the 19th century. Some is the 1840s work of Charles Clutterbuck, which as Pevsner points out makes them rare survivals in Suffolk. As often on the peninsula, the church suffered blast damage during the last War and several windows are lost, but these losses are recorded in their replacements. The Ward & Hughes-style window of St Helen and St Peter appears to date from the 1850s, and if so it is a remarkably early example of such a thing in Suffolk, where such papistry would have been controversial until well into the 1860s. Powell's glass of the post-Resurrection Christ greeting his Disciples on the shores of Galilee of a couple of decades later must have struck a chord of familiarity in this coastal parish, and remains a good example of the workshop's early work in Suffolk.
There is more good work in the north transept and chapel, but unfortunately this is now used as a meeting room, and is kept locked. You can see it through the glass partition, but it is impossible to photograph. Otherwise, this is a interesting and welcoming church, with a beautiful setting and a strong sense of continuity.
Utata Iron Photographer 246
1 - something plaid
2 - something tied with string
3 - weird post-processing
I took 30 images. I couldn't decide how to wrap myself up. The string was on the left hand and then the right hand and I thought about wrapping up my head but I had already been there done that with IP192
www.flickr.com/photos/treehuggerdcg/13017747025/in/dateta...
Then there were the 6 iterations in post-processing with a final photoshop extravaganza that had me using 8 layers and umpteen filters and masks and whatzits. Although I probably could have (and probably should have) used some formulaic preset or online doohicky; it was just one of those days that seemed to benefit from not doing the many other household chores that are on my to-do list.
"If I try to articulate every little detail in a drawing, it would be like missing the forest for the trees, so it's just about getting the outline of the forest." - Jeff Koons
52in2017 24 Self Portrait
This image was shot on the bank of river Ganga at Scindia ghat in Varanasi (Benaras).
At dusk I often meet seniors nearby the holy waters of the oldest living city in the world, I try to pierce their souls with my camera but I can hardly find anything as they are wrapped with their reflections.
Sometimes they look at the holy waters, just like this man and I come close.
Then I can feel their breath on their lives and in a way I can say that it gives power to my life.
I understood that this source of power is to see those elders aging in grace and dignity.
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Please do not use any photographs without permission (even for private use).
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While studying photography in Pathshala, I developed new technical and aesthetic skills at an academic level and gained a fresh perspective on seeing the world around me. However, I still felt that something was missing. That missing piece was the ability to articulate aesthetics through language and to experience aesthetics with the basis of life itself.
During this time, I developed a deep desire to understand philosophy. Within a few months, I decided to pursue academic studies in philosophy. There were two main reasons behind this decision: first, to gain knowledge of philosophy, and second, to reshape my photographic view point through a philosophical angle—essentially, to integrate aesthetics with philosophy.
As I delved into this complex subject, I found myself particularly influenced by three philosophical ideologies: the philosophy of Nihilism, Engels and Marx’s materialism, and Gautama Buddha’s theory of Functionalism. These perspectives began shaping my understanding of life, humanity, society, and aesthetics. My way of seeing the world started to transform.
Nihilism and materialist philosophy argue that humans are not a special species. According to Buddha, life itself is full of suffering. Since humans are not inherently special and life has no predetermined purpose, people often experience restlessness. My photographs reflect this idea through landscapes, where excessive negative space in the frame symbolizes despair, purposelessness, and solitude in human life. Most people live under the illusion that they are unique compared to the surroundings. This belief prevents them from feeling truly connected to nature.
Lalon once said, "He and Lalon exist together, yet they are separated by infinite distance." Even though humans exist within nature, they somehow remain detached from it. In my frames, vast negative spaces with tiny human figures symbolize this very detachment. Here, nature is immense, and humans are small—serving as a reminder that humanity is not any superior to nature.
The mist in my photographs enhances the minimalist effect, further detaching people from their surroundings. The presence of human-made structures in the background represents our ongoing struggle to prove our superiority. However, the blurred, barely visible architecture behind the fog reflects the failure of this pursuit. Humanity is trapped in this endless contradiction, deepening its existential despair. Meanwhile, the fog thickens, and the distance between humans and nature continues to grow.
وجهك اللي قد حبسته داخلي في غمضة عيوني
واللي ياما قد رسمته .. من عبث طيشي وجنوني
وجهك اللي دوم يظهر .. لما ألقى نشوة الفكرة الجديدة داهمتني
لما القى .. انكساراتي قصيدة واكتبتني
وجهك اللي دوم يظهر .. في اعاصيري وسكوني
في الجبال الشاهقة .. في أجمل خيالي
في السفوح الخافقة .. بين نبضي وانفعالي
وجهك اللي قد نحته .. في عظامي والجوارح
وجهك اللي قد حفظته .. وبتفاصيل الملاح
Mashalla tbark alla =)
babi lolo
i shouldn't have to show you this to prove that my mom is the coolest. but just in case anyone ever had any doubts...
she's the flippin' coolest.
(for lack of a more articulate word. one that a wordsmith like her would know.)
as i get older, and realize that this woman--a single-parent who managed to not only work in a crazy newsroom and put up with my brother's guns-n-roses "paradise city" being blasted at 7 am before school--somehow kept me fed and took me to art festivals and ballets and toted me to and from piano lessons, that i didn't practice for, and gymnastics classes and ballet and tap classes and pottery classes and a week at the beach every summer and walks in the neighborhood "following our noses" to the wisteria vines and makes me vegetarian lasagna and took me on a trip to the rainforest because i wanted to go before they disappeared,
when i think about how few hours i have in the day, as an adult, which i only recently conceded to becoming, i can't understand how she did it
really
it's almost superhero-ish
she is the ubermom
let's raise a toast to a mom who can jam on an african drum, say a prayer in tibetan, write award-winning short stories, make ends meet, dance the tango, and still find the time to spoon-feed you love til you feel like you're going to overflow
and i'll tell you a secret, whenever i would wait for her to pick me up from daycare after she'd been away on a trip or i'd really missed her that day i would sit there and plan out a huge dash to the gate once i caught sight of her
and run into her arms
so here's to running to your mommy's open arms
and appreciating her super hero qualities
and never taking a mom who'll dance in the sand dunes for granted
cuz, like i said, she's the coolest.
would it be weird to say my mom is the best thing that ever happened to me? since i happened to her?
well, i'll stick by it anyway.
happy mother's day, mom.
i promise to wear sunblock next time.
"The oldest living city in the world".
Anand, the mahji was driving us along the Ganges since a wile, we stopped near main ghat as we were looking for some drinks for all of us.
I stayed on the boat and saw this happy family coming for ablutions.
They were Rajasthanis and they came to Benares to take a dip in the holy waters of river Ganga in the hope to purify the body and washes away the sin.
They saw me taking pictures and were smiling at me.
I remember this young lady wearing a yellow sari, she was pretending to be afraid of walking in the river and she was making funny faces in order to catch my attention.
It was a nice moment and I believe that this family will always keep in their heart that day in Varanasi (Benaras).
As water washes away physical dirt, Hindus give it symbolic value as a cleanser of souls...
Join the photographer at www.facebook.com/laurent.goldstein.photography
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
Prem Rawat, widely known as Maharaji, articulates a message of hope in a time of rapid change and turmoil. Through Words of Peace he points to the possibility that each individual can find peace within, whatever is going on around them. Below is an excerpt from one of his addresses where he talks about his message of peace.
Read more: Words of Peace Global
By chance I saw this Chinese buddha holding a Rudraksha in his hands jusr like the mala I always wear as a necklace.
Rudraksh is formed by association of two words, 'RUDRA' and 'AKSHA'.
Rudra is the name of Lord Shiva and Aksha means 'tear'.
It is said that the plant of Rudraksh is originated from the tear drops of Lord Shiva.
As per the vedic scriptures Rudraksh can nullify the effects of malefic planets to a great extent.
Shastras say Rudraksh of any mukhis can never do any harm to the wearer unlike Navratnas, which have to be carefully chosen.
No other necklace or bead is so auspicious and powerful as Rudraksh.
Each bead has a different effect on its holder, depending on the number of mukhis it has.
Each Rudraksh is very individualistic and has to be carefully matched with one's horoscope for it to be beneficial.
The seed of Rudraksh has been given a very special place and it is credited with mystical and divine properties.
The botanical name of the Rudraksh plant is "ELAEOCARPUS GANITRUS", it is a large evergreen broad-leaved tree that grows in the area from the Gangetic Plain to the foothills of the Himalayas, Rudraksha trees are also found in middle areas of Nepal.
It is said that the seed of Rudraksh contains the secrets of entire evolution of the cosmos within it.
It is believed that one who wear Rudraksh on their bodies, cannot be affected by sins.
Even if, one wears Rudraksh on his body, without doing worship and saying the sacred mantra, does no get near any sinful deed or thought.
The Rudraksh are worn for their specific benefits.
These are much more powerful and can help achieve wonders, if energized and empowered the right way.
Rudraksha mālā are worn by many Hindus.
Rudraksha is also used for treatment of various diseases in traditional Indian medicine.
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
in all history of Humanity...in Mankind's search for eternal life...as to be remembered and glorified through material things...but there we found immortality...in the simplicity of wisdom...found in our love, peace, and joy with one another...that no matter who we are and wherever we may be...but our love becomes rather heartfelt by all throughout our family, friends, and future generations forever...
Adam was but human--this explains it all. He did not want the apple for the apple's sake, he wanted it only because it was forbidden.
-Mark Twain
in the arithmetic of love, one plus one equals everything, and two minus one equals nothing
mignon mcLaughlin
“Do you believe
In what you see
Motionless wheel
Nothing is real
Wasting my time
In the waiting line
Do you believe in
What you see”
(Lyrics from “In The Waiting Line” by Zero 7)
With this image I am still playing with the viewer's perception, is this a close-up of a Greek sculpture from Le Louvre museum in Paris or is this a picture of a pehlwan (Indian wrestler) taken in Varanasi (Benaras)?
Zero 7 sings “In The Waiting Line”:
www.youtube.com/watch?v=Jj6yXxVc21Y
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
This was shot during the monsoon, at the moment of the year when very few people come to Agra in order to visit the Taj Mahal (ताज महल).
Near the last pool, I met a group of Rajasthani villagers who were very happy to see the mausoleum built by Mughal Emperor Shah Jahan in memory of his favorite wife, Mumtaz Mahal.
They asked me to take a few pictures of them.
The light was perfect as it stopped raining for a while.
I have always been impressed by the elegance and the beauty of Rajasthani women, they walk like fashion models, wearing amazing garments and jewels even when they have to work in the fields or whenever they are keeping animals.
They might be villagers, they look like queens, wrapped in dignity and pride.
That morning they allowed me to show the Taj in a different way, this unique view was so unexpected, like this lady who is smiling above the expected...
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I was driving early in the morning before sunrise on the road from Varanasi to Bodh Gaya and at a few miles before the border of Bihar I saw a little akhara lost in the fields near Sakalhida, a village in the Indian state of Uttar Pradesh.
An akhara is a place where Indian wrestlers practice their training (gymnasia).
"Although the majority of wrestlers tend to be in their early to mid-teens, the term pahalwan designates an identity that is by no means limited to the teenage wrestler.
In fact, the term pahalwan includes men who were disciplined wrestlers in their youth and who, as married adults, continue to subscribe to the ideals, if not the strict regimen, of a wrestling way of life.
These men are employed, support families, and are integrated members of their communities in every sense.
However, their whole identity derives from the complex discipline of wrestling exercise and values.
A wrestling identity, then, is not restricted to the context of an akhara; it is an attitude toward life in general."
("The Wrestler's Body: Identity and Ideology in North India" by Joseph S. Alter)
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
it's real early morning
no-one is awake
i'm back at my cliff
still throwing things off
i listen to the sounds they make
on their way down
i follow with my eyes 'til they crash ...
This picture was shot one evening at my friend Durga's workshop which is facing the Ganges in Varanasi (Benaras).
Durga Charan Das is a young painter living in the "City of Lights".
When he was 4 years old he became famous after painting the feet of Goddess Durga's statue in a temple nearby his family house in a village located in the Indian state of Uttar Pradesh.
Ever since he is considered to be the Mozart of Indian contemporary painting.
This reputation allowed him to become a successful Art student in the prestigious "Banaras Hindu University" (B.H.U.) of Varanasi.
The biggest university in Asia has a program led by some of the best Art teachers among modern India.
His training gave him a knowledge of classic Indian and European paintings while allowing him to carry on his own style.
He is painting amazing bodies making love or sometimes alone but always with sensuality and strength, with something special that reminds a lot of Eugene Delacroix's work...
Durga has already won several prestigious awards in India and now exhibitions of his work are starting in Europe.
This is a link in order to see his portrait:
www.flickr.com/photos/designldg/2190256216/in/set-7215760...
© All photographs are copyrighted and all rights reserved.
Please do not use any photographs without permission (even for private use).
The use of any work without consent of the artist is PROHIBITED and will lead automatically to consequences.
Making further progress on my support/repair ship, the USS Portland. I made the arm articulate more, and I find it folds up quite nicely now. Added a control tower for operating the arm. Added lots of little greeble bits. Added some small pulse cannons to the front. I figure any ship cruising around interstellar space probably needs some minimum armament to defend itself. :D
I'm thinking it may need something on the underside. Perhaps some big claw/clamp things for towing ships back to the yard?
What make a Linhof camera a Technika… simply it is the presence of a lockable articulating rear standard on a Linhof field camera. This can easily be identified by the presence of 4 lock knobs protruding from the side at the rear.
(Note: The Aero Technika 45 and subsequent model Aero Technika 45 EL do not have the “Technika” rear standard but originated from the Technika 5x7 with slipstream housing and kept the Technika label…
Also (as Bob reminded me) the monorail Kardan 45 and successor Color Kardan were basically Technika's on a stick with the same articulating back as the Technika - but never given the Technika name so I did not include them)
Timeline
1934 - Prototype Ur-Technika
The prototype that would become the Linhof Technika. Looking like it was cobbled together from the spare parts bin this camera appears to have both Linhof and Perka camera parts. According to lore Nikolaus Karpf invented this shortly after taking over the company and had a grand vision of a bright future for Linhof with the Technika camera as its centerpiece.
1934 - Modell 34
Surprisingly the first Technika camera was not named a Technika. It was a Linhof Modell 34 with an articulating back.
The Linhof Modell 34 was the top of the line camera made by Linhof Prazisions Kamera Werk in Munich, Germany. Several ads, reviews, press releases, and other marketing material heralded the arrival of the Modell 34, with sales commencing conveniently enough in early 1934.
The first of the model 34 cameras did not have an articulating back. They were similar to the preceding model camera Linhof had called the Prazisionskamera. Near the end of 1934 the articulating back was added to the Modell 34 of 9x12 and larger.
So why not change the name of this camera with the new feature?
Perhaps the advertising budget for the year was already spent? or perhaps the Model 34 was always intended to have the back but it was somehow delayed?
It is very likely nobody alive today knows the answer.
By 1935 Linhof was no longer marketing the camera as the Modell 34, it is clear they were trying to rebrand it. It was marketed as Prazisions Modell Camera and the Spezial Modell Camera.
One ad called it the: Linhof Original Universal-Prazisions-Camera Spezialmodell… in an attempt to cover all the bases at once.
A version still made without the articulating back was named the Standard Modell.
In 1936 the Technika name appeared and has stuck for over 85 years! I did not include the camera here as the first Technika badged cameras were identical to the Model 34 of 1934.
1938 - Technika
The Technika saw many incremental design and functional changes from 1936 until 1945. Mostly centered around design changes and improvements to the front standard.
Minor changes were constantly happening and the style shown here- with two front posts but no pull handle- dates to 1938
Lensboard size changes in 1939.
1942 - Wartime Technika
Beginning as early as 1941 and continuing throughout WWII chrome lensboard locking clips are added to the front standard and the sports finder is changed to a wire crosshair type.
1945 - Technika II
This camera style likely first appears at the very end of the war c1945.
Following the end of WWII the current version of the Technika was renamed the Technika II.
The 1945 Technika II label designated postwar made cameras available only in 9x12 or 13x18.
The term Technika II had been mentioned in sales info as far back as 1937 but at the time it only differentiated between models with or without a hinged door on the film back.
The post war Technika II was a continuation of the wartime Technika cameras which could easily be identified by the 2 chrome lensboard clips at the top of the front standard. The post war Technika II cameras and wartime Technika cameras are the same except for one stylistic difference. The edge of the bed and the front edge of the body have a silver accent on the Technika II. It seems likely this style began just prior to the end of the war. Wartime Technika’s had black leather or paint along this edge.
The post war 9x12 Technika II was very short lived, a year or less, and was quickly replaced by the new Technika III 9x12 in 1946. The 13x18 Technika II continued to be made until 1950.
1946 - Technika III (Early)
In the fall of 1946 Linhof introduced a brand new 9x12/4x5 camera. The Technika III was a major design and style change. Slightly larger and more robust than the earlier models the exterior is no longer completely wrapped in black leather but instead a it is a satin chrome with black leather panels. It is streamlined in chrome and polished aluminum, while the Art Deco lensboard, interior, and bed, are black paint..
The major technical feat of the Technika III is the addition of a rangefinder with quick change cams capable of accepting the entire line of lenses available. The first version rangefinder housing is a simple square block and the cams are short and double sided with the 90mm and 50mm on opposite sides.
3 distinct versions of the 4x5 Technika III exist: Early, Mid, & Late. Within these 3 categories individual models can be separated out possessing slight cosmetic and minor functional changes. The early models reflect the first Technika cameras while the late models foreshadow all the Technika's that have come since.
1950 - Super Technika III (Mid)
In 1950 Linhof restyled the 4x5” Technika III. A new RF cam design is introduced and the camera appears more smooth and far less boxy.
The rangefinder housing is now geometrically shaped and streamlined as is the clip at the top of the lensboard. Controls along the front standard and bedrail that were once black anodized buttons are now thin aluminum levers. The leather handle on the side of the camera is removed and a thick strap held on with a long chrome plate lies nearly flush along the side, attached with 2 screws with low-profile oversized screw-heads. The black lensboard with white trim of the early III is replaced with a new polished aluminum board with the Linhof script logo across the top in red.
The crown jewel of the 1950 refresh is the new shutter and lens design. The dial set compur shutter is literally given a facelift. While still the same inside, the exterior of the shutter is now a streamlined gleaming chrome cone, emblazoned LINHOF in bold red block letters. To fill the new Linhof shutters Schneider, Voigtlander, and Zeiss are commissioned by Linhof to make special lenses to complete the camera. Some of the most iconic LF lenses ever made resulted. Each lens is made in matching chrome to the shutter and engraved with the Linhof logo script in red.
In the North American market Kling has become the official dealer and the new Technika III models with rangefinder are christened the Super Technika.
The Technika III is also the first Linhof camera to have a choice of color! Following the design refresh of 1950 a “burgundy red” or “forest green” version was available, covering the leather, bellows, and interior, completely eliminating the black.
1954 - Super Technika III (Late)
The late model Technika III’s foreshadowed what was to come. The new style door with the geometric shape and 2 focus wheels has continued on Technika’s through to today.
This new door shape allowed newer larger lenses like the Schneider Xenotar and Zeiss Planar to remain in the camera when closed up for travel.
The Linhof shield logo also appears on the upper right side of the lensboards for the first time.
1956 - Technika Slipstream Housing
The origins of the Aero Technika go back to the late 1950's and began as a slipstream housing that covered the front of a 13x18 Technika camera. This housing shielded the bellows from the wind and provided protection to the front of the camera. Apparently as the Aero Technika evolved from this it kept the name but not the function of the Technika...
1957 - Super Technika IV
The 4x5 Super Technika IV was truly a completely Super camera! Evolved from the original Technika of 1934 it was a reimagining of the Technika III. Nearly every mechanical feature of the III was redesigned to be more robust as well as to improve function.
In a radical re-style the Technika IV cameras eliminated the black paint interior and black leather exterior. The interior color was either Sierra Tan, Pearl Grey, or Brown and the exterior leather was Tan. A new style lensboard in tan or grey crinkle paint was available only during the time-period which the Technika IV was sold.
To ensure the Super status of their beloved hand crafted cameras Linhof contracted the top German optics companies to make special lenses to complete the Super camera. Some of the most iconic LF lenses ever made resulted. The Schneider 150mm 2.8 Xenotar, Voigtlander 150 & 210mm APO Lanthar, and the Zeiss 75mm Biogon, 135mm Planar, & 250mm Sonnar were all originally designed specifically for the Super Technika IV.
This was the Golden Age for Linhof and the Super Technika title would stand to define the top of the line in professional and high end amateur cameras for the next 60 years.
Amazingly the 1956 Super Technika IV design has lasted nearly 65 years and into the present day! The models that followed, the Super Technika V and Master Technika have only added incremental refinements building upon and perfecting the original design of the Super Technika IV.
The 4x5 Technika IV was made for 8 years from 1956-1963 and there are 3 variations -
Early - Struts attach to bed at single raised point
Mid Production - Struts attached pinched between points
Later - Struts attached pinched and Hawksbill shape on RF housing (better security of RH grip)
1958 - Aero Technika
Evolved from the Technika Slipstream Housing the Aero Technika is a robust aerial camera the minimal functions are encased in an armored housing with a grip on each side. It used the same film back, lensboards, and fantastic lens line-up as the Technika. The articulating back is not made on these cameras.
The camera in this photo is equipped with the Linhof Focal Plane Shutter an accessory shutter that could be used with any 4x5 Technika camera from the III on.
1963 - TechnikaFlex TLR
The Linhof Technikaflex reflex housing attachment turned a Technika camera into a 4x5 TLR (Twin Lens Reflex). Mounted atop the Technika camera it utilized an identical but shutterless lens mounted on a 6x9 board as the viewing lens.
1963 - Super Technika V
Some black paint is back. The lensboard is now black, as is the Linhof shutter. Back locks are black trimmed and the Interior paint is blackish gunmetal grey.
Exterior leather is still tan
4x5 RH strut is not symmetrical and extends closer to bellows than LH side. No other Technika does this so this is unique to the 4x5 V.
A major improvement over the earlier Technika’s is that the 4x5 Rangefinder Focusing Cams are now interchangeable between bodies and not unique to each specific camera.
The rise knob is now a lever to facilitate the use of wide lenses which sit back in the body and make it hard to use the earlier style knob. Earlier V models have a white and tan plastic lever and later models a black metal one.
1972 - Master Technika
Adding greater wide angle lens function a top flap is cut out of the body. The range of movement of both front and rear standard are increased.
The black leather is back and the style appears similar to the Technika III.
Although the Master Technika it is nearly the same today as it was in 1972 when it replaced the Super Technika V there have been some minor improvements several cosmetic changes and different naming conventions over the last 49 years.
1972 - Master Technika (MT) "Zebra finder" Chrome spring latches on back. A non-RF model was not marketed until the release of the MT2000 in 1995.
(Linhof has always made special order cameras so a no-RF camera could have been special ordered.)
1987 - "Black Finder" introduced but appears it was sold along the "zebra" style until about 1995... there also appears to be a style that was halfway between them with short "zebra stripes"
1989 - Germany reunifies and Linhof drops the West word sometime between 1991-1994.
1991 - Back spring latches now black. I think the whole back section is slightly changed as well. I know at some point the Fresnel is relocated to clip in over the GG, in the earlier MT cameras it fit forward of the GG.
1974 - Aero Technika 45EL
The Aero Technika is now modular.
No longer using the Technika lensboard, each lens is now built into its own interchangeable lens cone. This gives the lens better protection when not attached to the camera.
It can still take Technika backs but it has a new 4x5” rollfilm back! It is a popular camera with militaries and space agencies.
1995 - Master Technika 2000 EMS
MT 2000 released with EMS (electronic RF) or with no RF. The original MT was still available at this time.
The first ever Large Format Electronic Viewfinder and Rangefinder, available as an accessory attachment for the 4x5” Master Technika 2000. “Precision Engineering met Advanced Electronics” and Linhof created the “Large Format System of the Future” - The EMS
It generated very high praise and excitement when it first arrived but perhaps it was ahead of its time. The EMS unit was expensive and not foolproof, especially with longer focal lengths.
Sales were low and eventually rather than trying to maintain the project Linhof offered to buy them back. Most were returned to Linhof but a handful remain in the wild today.
2001 - EMS no longer sold
1995 - Master Technika 2000
A Master Technika without a built in rangefinder. Since the introduction of the rangefinder on the Technika III a model without one was also available. This was continued with the IV and V cameras but the relatively scarcity of these non-rf models in IV or V cameras indicates sales were very low. The Master Technika was only sold with a RF built in until the MT2000.
The MT 2000 does have a new trick, it has a built in close focusing device so now a lens can be focused while remaining on the perch. As it is not able to couple to a RF it has never been added to the MT cameras with RFs.
The MT 2000 has gone through some cosmetic changes over the years including:
2003 - Back lock knobs and focus wheels are now all chrome (they were black paint trimmed chrome before). MT 2000 strap lugs have been relocated to the top from the sides as the EMS is no longer an option. MT 2000 no longer has a cover over the spot where the RF would attach and the leather is now flush along the side with no visible cover.
2005 - Sliding flap lock design changes to all black button. Also cosmetic change to the back change clips.
2001 - Master Technika Classic
The Master Technika is renamed the Master Technika Classic. Presumably this is done to better differentiate between the Master and 2000.
The Master Technika Classic has the same styling and trim as the 2001 MT2000
2006 - Master Technika 3000
Nearly identical to the MT2000 with one exception. The MT 3000 now an external knob to actuate the internal perch focus for wide lenses. - The final version of the 5x7 Technika V also had this feature in 1963.
2008 - MT 3000 / MT Classic. Cosmetic change to back change clips.
2013 - Commemorative & Special Finish Cameras
The Master Technika Classic of 2013 was made in a special white leather to commemorate the 125th anniversary of the Linhof Camera Co.
Throughout its 87 years the Technika has had a number of Special Finish or Commemorative cameras:
1937 - Technika Medizin with special all White Medical Finish. A special order finish available until 1957 when the Technika III ceased production.
1952 - Technika III Burgundy and Forrest Green versions (6x9 4x5 & 5x7). Colored leather bellows, interior paint, and accessories. These colors could be special ordered for any Technika III until 1957.
1955 - For commercial purposes, a transparent 6x9 Super Technika III was built with Rollex cassette, in order to demonstrate the technology of the camera.
1957 - Blue Leather and interior paint Technika III 23
1962 - 75th Company anniversary Gold Super Technika 6×9 with matching Rollex roll film cassette. (Visual appearance of Gold 6x9 is of a Technika III but the date of 1962 puts if firmly in Technika IV production time-period.)
Well thats all I have got to say about that...
If you are still reading this, I salute you! Take a break... go drink a beer... you have earned it!
Cheers!