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Puca: Vermelho
Pucara: Fortaleza
Ou ao contrário, sei lá!
Só sei que recebe o nome de Fortaleza Vermelha por causa da cor da terra da região.
Era outra construcçäo militar. Era elo de comunicação entre Tambomachay e Cuzco.
Probably the scariest shop I have ever seen. It was full with hardware so that there was no way through.
Gregarious Gregorian New Year
📆 “A Function: New Year’s Eve” at “Double‐Headed Disco” at Nowhere, 322 East 14 Street, East Village, 31 December 2008–1 January 2009. (Photograph by Elyaqim Mosheh Adam.)
Published in “Gregarious Gregorian New Year,” Blogger, 9 Feb. 2009.
CIMG1760.JPG, taken with Casio Exilim EX‒S3.
Vincent van Gogh (1853-1890)
The Church in Auvers-sur-Oise, View from the Chevet
June 1890
Oil on canvas
H. 94; W. 74 cm
L'église d'Auvers-sur-Oise, vue du chevet [The Church in Auvers-sur-Oise, View from the Chevet]
After staying in the south of France, in Arles, and then at the psychiatric hospital in Saint-Rémy de Provence, Vincent Van Gogh settled in Auvers-sur-Oise, a village in the outskirts of Paris. His brother Théo, concerned with his health, incited him to see the Doctor Gachet, himself a painter and a friend of numerous artists, who accepted to treat him. During the two months separating his arrival, on May 21, 1890 and his death on July 29, the artist made about seventy paintings, over one per day, not to mention a large number of drawings. This is the only painting representing in full the church in Auvers that may sometimes be distinguished in the background of views of the whole village. This church, built in the 13th century in the early Gothic style, flanked by two Romanesque chapels, became under the painter's brush a flamboyant monument on the verge of dislocating itself from the ground and from the two paths that seem to be clasping it like torrents of lava or mud. If one compares this painting with Claude Monet's paintings of the cathedral in Rouen, painted shortly afterwards, one can measure how different Van Gogh's approach was from that of the impressionists. Unlike Monet, he did not try to render the impression of the play of light on the monument. Even though the church remains recognisable, the painting does not so much offer the spectator a faithful image of reality than a form of "expression" of a church. The artistic means used by Van Gogh anticipate the work of the fauvists and expressionist painters.
second shot on #6.
120fps
The video player on flickr is a little jerky, to see/download these smoothly click here: media.camronflanders.com/bayhill_videos/4458402468.mov
The Shell Project - Originally started as an exercise to test some of the features of my new Casio point and shoot camera but turned into an extended study of a single abalone shell. The series shows the results of photographing that shell at different focusing modes and lighting conditions.
The video player on flickr is a little jerky, to see/download these smoothly click here: media.camronflanders.com/bayhill_videos/4458545989.mov
November 8th 2006:
E-Werk, Cologne
Cove & Justin (Saosin) filled in for Fred (TBS) who had to fly home.
Birthi is a small hamlet just before Kalamuni top on the approach road to Munsiyari. It boasts of a newly constructed GMVN. Although the hotel does not have electricity so far, it is quite well made with a magnificient waterfall right behind it.
Paul Cézanne (1839-1906)
Gustave Geffroy
Between 1895 and 1896
Oil on canvas
H. 110; W. 89 cm/
During 1894, Gustave Geffroy wrote several articles
praising Cézanne's painting. To show his gratitude, Cézanne offered to paint the critic's portrait in the spring of 1895. The writer taken as a model by a painter he was supporting was an established genre. There is the portrait of Zola by Manet (1868, Musée d'Orsay), and that of Duranty by Degas (1879, Glasgow, The Burrell Collection), where a similar motif of bookshelves can be seen. But unlike these two examples, it is clear in this case that Cézanne and Geffroy were not well acquainted.
The figure of Geffroy forms a strong triangle in the centre of the painting. The setting – books, inkwell, rose, Rodin statuette – identifies the activities and tastes of the subject, without any feeling of complicity. Moreover, Cézanne's gratitude gradually gave way to irritation with his subject whom he found too eclectic in his artistic tastes and too disrespectful of religion. This irritation quickly turned into outright hostility, if one is to believe the account of Joachim Gasquet who spoke of "the sort of inexplicable hatred that Cézanne bore Gustave Geffroy, in spite of his articles and the wonderful picture he promoted of Cézanne - a dislike he often expressed to me, either by letter or in conversation".
Cézanne delayed painting the face and hands to the last moment, and finished by leaving them incomplete. The result is an image of an opaque, mysterious, even threatening character. The fact that it is not finished makes the image unusually striking.
The painting fascinated the future cubists, Braque and Picasso above all, for the structure of the bookcase, geometric and yet with unusual perspectives, and for the bold use of space on the table surface. This work was also one of the most admired paintings at the Retrospective Exhibition of the works of Cézanne at the 1907 Autumn Salon.
Gregarious Gregorian New Year
📆 “A Function: New Year’s Eve” at “Double‐Headed Disco” at Nowhere, 322 East 14 Street, East Village, 31 December 2008–1 January 2009. (Photograph by Elyaqim Mosheh Adam.)
Published in “Gregarious Gregorian New Year,” Blogger, 9 Feb. 2009.
CIMG1756.JPG, taken with Casio Exilim EX‒S3.
... as Cataratas do Iguaçu!
Uma das últimas fotos da minha casinho, já sem LCD (cai em cima da câmera).
Deixei ela lá no Paraguai, em uma assistência técnica.
This was taken in the fantastic gardens of the Sofiero Palace which boast about a thousand million rhododendrums or some other silly large number. Lovely gardens that offer all kinds of attractions from sculpture to flowers.
Time for a straight from the camera shot! If you know my stream, you know why i'm mentioning it ;-)
This is taken at Nova Rock Festival 2008 in Austria, with my small casio exilim. One of many highlights - beside the awesome line up of course :-) Rock on!
(c) Jonny Jelinek
Front view of the camera on its cradle. Probably the last pics I'll ever take with my old Sony digital camera.
Update (3/29/06): Camera was stolen when my car was stolen. Ah well... I got a better camera anyways. In fact, I got TWO cameras and both are better... HAHAHAHA!
third shot on #6.
120fps
The video player on flickr is a little jerky, to see/download these smoothly click here: media.camronflanders.com/bayhill_videos/4458408620.mov
Brasileiros reunidos, logo soubemos que tinha Derby na cidade: The Strongest x Bolívar.
40 bs no ingresso, 10 minutos dentro do estádo e já gritávamos "Tigre!"
Resultado final, 4x2 para o "strongay".
Notem a placa em cima do estádio: 3577 metros de altitude.
E ao lado direito, o Macdonalds boliviano: Pollo Copacabama.
2 de fevereiro de 2007
Em Quenqo, palavra da lingua quíchua que significa "labirinto".
Muito louco esse templo, tem um local onde os historiadores acreditam que os incas faziam mumificacao, e também cirurgias de cranio.
Desculpe a falta de acentos, nao achei todos neste teclado da Bolívia.
Ah, a ferrovia esta alagada, trem soh amanha.
Acho que ate segunda consigo chegar em casa! :)
40 yard pitch on #6. face on, 120fps
The video player on flickr is a little jerky, to see/download these smoothly click here: media.camronflanders.com/bayhill_videos/4458392012.mov
Bom, na foto não tem nada que possa ajudar, muito pelo contrário!
Ela é de uma faculdade, que tem o nome bem parecido com o nome da cidade.
No termômetro mostra uma temperatura de 39 ºC, algo raro nesta Região do Brasil.
A dica que posso dar, é que a cidade natal do atual técnico da Seleção Brasileira!
Paul Cézanne (1839-1906)
The Card Players
Between 1890 and 1895
Oil on canvas
H. 47.5; W. 57 cm.
Cézanne had certainly seen The Cardplayers, attributed to the Le Nain brothers, at the museum in Aix-en-Provence, his home town. During the 1890s, the artist tackled this theme of Caravaggian inspiration on many occasions, and gave an exceptional gravity to the confrontation. Cézanne substitutes subtle gestures and glances with bulky figures and characters in silent concentration.
The bottle, with the light playing on it, forms the central axis of the composition. It separates the space into two symmetrical areas, accentuating the opposition of the players. The latters are allegedly peasants Cézanne used to see at his father's property in Jas de Bouffan, on the outskirts of Aix. The man smoking the pipe has been identified as "père Alexandre", the gardener there.
Of the five paintings on this subject, this is one of the most spare. Here, everything comes together to give a monumental aspect to the composition, helped by the wonderfully harmonised colour range.
The recurrence of the card players in Cézanne's art in his last years has given rise to an interesting interpretation: does the confrontation of the two players symbolise the struggle which the artist had in getting his father to recognise his painting, represented here by the "playing card"?
I had a good time getting these exact purple tones using the sliders in iPhoto.
Arhchitecture that resembles Greco-Roman, or the German, Third-Reich neo-classical fascist architecture that increased the already-monumental scale to one that dwarfed all humanity. I'm not sure what these structures are, but they're in a highly industrial area near shipping and receiving ports and two operational power plants.
The processing was kind of for fun, but these look fantastic as prints, on both glossy and toothy paper.
Hunter's Point, September 24, 2005, San Francisco