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Found outside Fish Creek park in Calgary - lots of bones washed up on a sandbar left from the recent devastating flood, almost a whole skeleton. Deer? Cow?
Comic-Con 2008, Friday, July 25: Panelists include cast members David Boreanaz, Emily Deschanel, Michaela Conlin, Tamara Taylor, John Francis Daley and creators Hart Hanson and Barry Josephson.
Our Great Pyrenean enjoying a decent sized bone. Flash gun with low setting off to the left and level with dogs eyes.
Found this on the beach at Mingulay. Just submitted it to London NHM Identification service, who think it's a porpoise or dolphin humerus, not a human toe.
This is from the upcoming film The Lovely Bones, directed by Peter Jackson and shot by long time Jackson collaborator Andrew Lesnie. Andrew Lesnie is one the best cinematographers out there now, and is the go to cinematographer for large, expansive, green screen incorporated films. I love these four shots here. The one in the top left, with Stanley Tucci in his car is a beautiful shot. The problem that I can't stand with looking at still screencaptures for films is that it completely destroys the purpose of the moving image. For example, with the still shot here of Tucci in the car, you can see the beauty of the lighting, but the real beauty of the shot comes from the camera focusing from the background, on the character of Lindsay, to Tucci, sitting in the car. The framing is beautiful and the focus is pulled off perfectly; you can see it in the trailer. The shot in the upper right, of Saoirse Ronan and Tucci, is lit beautifully; Lesnie frequently uses beams of light defined by mist, like he has done in The Lord of the RIngs films, especially The Fellowship of the Ring. The shot in the lower left hand corner, of Saoirse again, is classical Lesnie with the beam of lights and mist again. I'm assuming that everyone knows the plot of this film, so I'll say that this sequence here is part of the transition to Heaven Saoirse's character Susie goes through after her death, so it was vital to give these scenes a characteristic of their own (the upper right scene is also part of the transition she goes through to Heaven). It's cool too, because with both these shots, especially the one in the lower left, you can really get a sense of creepiness, darkness and an overall unfamiliarity. The shot in the lower right, of Mark Wahlberg, demonstrates great practical lighting with the lamps on the work desk and the lamp in the background, through the doorway; this shot actually looks to be lit only with these two lights.
This film will be very different for Lesnie, but it will be greatly different for Peter Jackson. Jackson has always been a director who uses CG in his films, or some kind of special effects sequences and these sequences have always had unique shots that are expansive and capture so much. The thing that's different about The Lovely Bones is that it has these types of sequences, which are in Heaven, but this film also has sequences that don't require CG, which are the sequences on Earth. The Earthly sequences are with Susie's family, Tucci's character and the police investigation into the case. These sequences are shot in a way that is so uncharacteristic of Jackson. I'm not talking about the lighting, rather the camera movement and shot capturings. There is a ton of steadicam work, tons and tons of it, as well as handheld work, which is very different for Jackson as well. If you watch the trailer, just compare the Heavenly shots with the shots of the Earthly sequences; you can see a huge difference. If anything, the Earthly shots are more visually interesting and diverse than the grandeur, wide Heavenly shots.
One shot seems like a return to Jackson's crazy, visual style of his earlier films, like Heavenly Creatures: it is of Stanley Tucci rushing through his house, trying to apprehend Susie's sister Lindsey after she has broken into his home. The camera is right in his face, even to the point where it seems Tucci is actually somehow rigged to it and holding it. There are also numerous shots in the Earthly sequences that are static, medium zoomed in, and over the shoulder of an actor (I'll put these shots below). One example is when Lindsey is confronting the detective when she tells him "Why won't you listen to him (her father)?"; the camera is looking over Wahlberg's shoulder. Another such shot is when Lindsey is talking with Tucci, and he says "You're the Salmon girl"; the camera is over Lindsey's shoulder. The steadicam work in the Earthly sequences are also unique. One example is the shot in the lower right hand corner here, of Wahlberg. The angle choice, as well as the lens used, gives there shots a very beautiful look. Another such example is when Wahlberg smashes a glass bottle in the trailer--it's a steadicam, with a certain lens (I'll add this shot below). These types of shots are, if this makes any sense, short feeling, small, and condensed. There are also beautiful handheld shots, which are zoomed in, and erratic, which are two great words that give handheld shots there emotional drive, and it's interesting to see Jackson using these shots. There are also beautiful dolly shots into actors (I'll put two below also). One is of Wahlberg, that's a very zoomed in shot and another is when the detective is confronting Wahlberg, and the camera dollies from behind Wahlberg, to his right and up to the detective. The Earthly shots in this film give a sense of claustrophobia, franticness, and chaos. The Heavenly shots give a sense of freedom, expansiveness and are beautiful. This visual diversity, characterizing two plot lines in the film, demonstrates the genius that Peter Jackson used when creating this film's atmosphere; an atmosphere that Andrew Lesnie has beautifully captured as well. I've been waiting for this film for 2 1/2 years, ever since Jackson signed on and I made a promise that I am going to see this film when it comes out at midnight, even if that means going on Christmas Day. I still think that Jackson is going to be a frontrunner for director and he could even win it; this film will definitely be up for everything, including Lesnie scoring another nod for cinematography. I can't wait for this beautiful film.
we've added 6 new cuff bracelets designs to our Cell Cycle collection of 3d-printed jewelry
blog post: n-e-r-v-o-u-s.com/blog/?p=1512
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Camera: Leica M6
Lens: Summicron 50 Type 3
Filter: Leitz Yellow
Film: Kodak TRI-X
Developer: T-Max 1+7 in 20*c
Software: Scanned in Vuescan as raw, Converted with Colorperfect
Three layer composition.
Han Edwards Photography | Facebook
Copyright © Hannah Edwards 2013. All rights reserved.
The bone church is located in Kutna Hora, a few miles outside of Prague, in the Czech Republic. Officially called the Sedlec Ossuary, it is often just referred to as “the bone church” and contains over 40,000 bones arranged to decorate this Roman Catholic Church.
40,000 dead form morbidly fascinating sculptures and artwork; skeletons meticulously fashioned in 1870 by a wood carver. This is Sedlec’s Church; All Saints ossuary in the Czech Republic
Pile upon pile of bones carefully stacked with a hollowed centre
2014.gada 19.decembris.
Saeimas priekšsēdētāja Ināra Mūrniece oficiālās vizītes Igaunijā laikā apmeklē Latvijas vēstniecību Igaunijā un tiekas ar latviešu diasporas pārstāvjiem.
Foto: Reinis Inkēns, Saeimas Kanceleja
Izmantošanas noteikumi: saeima.lv/lv/autortiesibas
Nicole Clouston
Untitled (deer bones)
Aluminum cast from wood carving (2011)
Fourth-year student Nicole Clouston’s 'Prospects and Perils' is an exhibition of sculptural works dealing with society’s current and future relationship to technology and how it alters our understanding of mortality.
"AK-47" and two works-in-progress, "Gun" and "Grenade", are realistic sculptures fabricated from steel and fixed using a tap and die system. The artist’s intent is to make weapons feel dangerous again and to highlight the power dynamic that surrounds them.
Taking inspiration from Greek mythology, Clouston’s "Chimera" sculpture is a creature with the head of a lion, the hind legs of a goat and a snake tail. This term is also used to describe genetically engineered creatures and diseases. The work explores the threats of genetic engineering as the three materials Clouston uses for the head, legs and tail are all breaking down and destroying one another.
In contrast, her works "Feathers" and "Untitled" (deer bones) use organic shapes that contrast with the mechanical nature of the rest of the works in the exhibit, bringing up questions of how technology can define our relationship to nature.
At the Gales Gallery Oct 8 to 19, 2012
Hours: Monday - Friday, 10:30am -4:00pm
Admission is free. All welcome.
Unidentified bone tool from the Aniakchak Archaeology Project. This artifact dates to approximately AD 500. I have no idea as to its function, but it clearly was part of a complex tool.
The Bone Caves are a series of natural caves set into a high limestone cliff called Creag nan Uamh (Crag of the Caves). The caves are named for the large numbers of animal bones found during excavations.
There are four main cave openings in the cliffs, formed before the last ice age by water dissolving limestone in cracks in the surrounding rock. Subsequent glacial action and erosion of the glen by water left the caves hundreds of feet above the valley floor.
There is no indication that the caves were ever used as human habitat, but two separate human burials have been discovered within the caves.
In total, over 1000 pieces of reindeer antler have been found in the Bone Caves, with dates ranging from 47,000 to 8,300 years ago.
One rare find was the skull of a Northern lynx, dated to 1,770 years ago. This is the only Northern lynx ever found in Scotland. Other intriguing remains include a possible polar bear, arctic fox, wolf, and brown bear.
Finds from the caves are kept at the Royal Museum of Scotland in Edinburgh. (Above Information Off Google)
The bone church is located in Kutna Hora, a few miles outside of Prague, in the Czech Republic. Officially called the Sedlec Ossuary, it is often just referred to as “the bone church” and contains over 40,000 bones arranged to decorate this Roman Catholic Church.
40,000 dead form morbidly fascinating sculptures and artwork; skeletons meticulously fashioned in 1870 by a wood carver. This is Sedlec’s Church; All Saints ossuary in the Czech Republic
Pile upon pile of bones carefully stacked with a hollowed centre
Bone-working debris from a late 18th/early 19th century prisoner of war camp in Cambridgeshire. Excavated by Time Team.
More information: www.wessexarch.co.uk/blogs/time-team/2011/04/18/time-team...
A few of the Bone Wind Generators are seen in the distance south-east of Idaho Falls. hdr from raw image.