View allAll Photos Tagged chess_game
"?!" is a sign on chess game and it has meanings!
LOMO is a term of photography that based on these characteristics :
1. inspiration base - click the button when ever you feel that if you miss it you will be feel sorry for the rest of life
2. no rules - forget about those technical thing like this lens is portrait len. using macro lens for flowers. etc.
3. imperfect is perfect - never think of perfection. nothing is perfect.
4. sureal feel - if is is realistic it will become photojournalism I think :D
5. unpredictable - so LOMO shot is always films and low tech camera and never digital cause you can see the picture before shoot in digital.
6. post process is not prefered - if you try to precess it, you try to make it perfect and not your inspriration.
7. it is all about photographer - just click for the one who click. It show what you are than what you are shooting. It may very thoughtful or very non sense. Depend on the one who click not have to be always non sense.
these are LOMO shot for me, just a very personal think and unacculated. But if any shot fall into these 7 rules, I personally call it the LOMO shot!
Oh Deer! Celestial Collection (phone, chess table, celectial ball, tea cup, Kettle, chess game) - Anthem
Bricolage Brando Sofa_Adult
Bricolage Henri Rousseau - Virgin Forest c 1910
Bricolage Musa Tropicana, Light
The guy in the left was set up to play chess with anyone for donations.
52 in 2016 Challenge - #50 Game
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Phillip had always won every chess game the two had played. Marble figured he had superb visual spatial skills. What she hadn't realized was that he had mastered the art of stealth like movements which could be completed in the blink of an eye or at least the length of time it took Marble to blink!
A very long and thoughtful game of chess where a player has to get up and open another bottle of red wine....
Conil de la frontera, Andalucia, Spain, winter.
For the 114 in 2014 group - #32 Head on
I wanted to use the drama of a chess game, so I carefully plotted out the positions of a famous game (in the first comment field). But it all fell apart when I looked through the camera lens! I wanted the knights to be head to head, as they are the only pieces with eyes! - and OK they would not be challenging each other in the actual game! So I gradually removed pieces and finally just placed them for visual effect! I think I'd better save up for an Isle of Lewis chess set! ;o))
Hopefully the final result is not a complete wash out!!
My 114 in 2014 set is here: www.flickr.com/photos/e_liddell/sets/72157639380892645/
Here is a chess quote for you that will help you to win some games of chess and win a chance to build some more pressure on your opponents.
Here I have told you to play aggressively and try to build a strong attack over the opponents.
If You are down a piece, then you can't build pressure by playing defensive as there your opponent have a chance to sacrifice a piece just to invade your territory or to build attack and pressure on you.
That's why playing aggressively is not only a good option for chess players but also a necessity for them.
You Can also try some more ways and can also contact me if you want any chess book.
#chessrulers #chess #chess_game #chessquote #quoteoftheday
After the squirrel ran past the hawk on the limb it ran around the tree to avoid the hawk. But the hawk could see him as he came around. The chess game continues...
The Immortal Game was a chess game played by Adolf Anderssen and Lionel Kieseritzky on 21 June 1851 in London, during a break of the first international tournament. The bold sacrifices made by Anderssen to secure victory have made it one of the most famous chess games of all time. Anderssen gave up both rooks and a bishop, then his queen, checkmating his opponent with his three remaining minor pieces. The game has been called an achievement "perhaps unparalleled in chess literature"
في يدكـ .... قلعتين ..
خيل ..والجند لكـ ..
ياذكيه تراها ..كلها نقلتين ...
انقلي ذي بدل ذي ...
واصرخي ..
كش ملـــــــــكـ
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Men play a game of Chinese chess on a street of Kunming in China's Yunnan Province May 3, 2009. Photo by Tim Chong
Alice and the Red Queen, In camera double exposure; © 2025, T. P. Hazard
Shot with Fuji X Weekly’s Ilford HP5 Plus film simulation recipe; SOOC
The props: John Tenniel’s illustration of Alice and the Red Queen from Through the Looking Glass and a 1995 Kasparov SensorXL electronic chess game setup with the opening moves of the Through the Looking Glass chess match.
A nighttime chess game in Times Square.
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In Havana, Cuban man sat watching chess game being played in local market. I loved the colours of his hat. Like all young Cuban men he was immaculately groomed and manicured.
Over the summer four giant chessboards were set up on Sainte-Catherine, between Clark street and Saint-Laurent Boulevard. Come and play, or just observe. Montreal is a fun town!
Vintage Italian postcard. Fotocelere, Torino.
Lucio D'Ambra, pseudonym of Renato Eduardo Manganella (Rome, 1 September 1880 - Rome, 31 December 1939), was an Italian writer, director and film producer. According to some sources, his full name was Renato Tommaso Anacleto Manganella, while the date of birth is uncertain. D'Ambra was also a journalist, literary and theatre critic, playwright and artistic director of theatre companies (Ettore Petrolini reduced his play Ambasciatori to one of his shows) as well as a screenwriter for the cinema. An academic of Italy and author of novels (among others, I due modi di avere vent'anni, published by Arnoldo Mondadori in 1934), he had the writer and poet Tullio Colsalvatico as his secretary and was in contact with the philosopher and critic Adriano Tilgher, with whom he polemised at length. D'Ambra was also the animator of a literary salon that allowed him to come into contact with literary figures and personalities from the world of art (he was friends with the writer Arturo Olivieri Sangiacomo, the playwright Tito Marrone and the founder of the Bagutta Prize Marino Parenti, among others). In 1923, he founded the company called Teatro degli Italiani at the Teatro Eliseo in Rome, together with Mario Fumagalli and Santi Severino (which had little luck, however), whose aim was to promote Italian dramaturgy.
While occasionally already writing the script for the 1913 film Il bacio di Cirano by Carmine Gallone and starring Soava Gallone, in 1916 D'Ambra steadily started his film career as screenwriter for the company Medusa Film, first for the delicious Lubitsch-like comedy La signorina Ciclone (Augusto Genina, 1916) with Suzanne Armelle as a dynamic New Yorkese heiress who keeps all of her seven admirers on a leash like dogs but in the end prefers a European who possesses all seven sins the admirers represent individually. D'Ambra also wrote scripts for star vehicles, such as Effetti di luce (Ugo Falena, 1916) with Stacia Napierkowska and La chiamavano 'Cosetta' (Eugenio Perego, 1917) with Soava Gallone, La storia dei tredici (Carmine Gallone, 1917) and Carnevalesca (Amleto Palermi, 1918) both with Lyda Borelli, and so on. D'Ambra also scripted for Medusa Il re, le torri, gli alfieri (Ivo Illuminati, 1920), a now lost film which seems to have had affinities with Italian Futurism. It was based on D'Ambra's own novel. The story was a kind of dramatisation of a chess game, where the characters were dressed as the various pieces and moved around on a chessboard floor. For the company Do-Re-Mi D'Ambra directed in 1918-19 a series of films starring Mary Corwyn/ Maria Corvin: Napoleoncina (1918), Ballerine (1918), La commedia dal mio palco (1918), Passa il dramma a Lilliput (1919), and La valse bleue (1919), in which the actress often was paired with Romano Calò.
In 1919, in collaboration with the Piedmontese entrepreneur Alfredo Fasola, Lucio D'Ambra founded his own production company, D'Ambra-Film, with which directors Carmine Gallone, Augusto Genina and others collaborated, e.g. for Nemesis (Carmine Gallone, 1920) and La peccatrice senza peccato (Augusto Genina, 1922), both starring Soava Gallone. Yet, many films were directed by D'Ambra himself, such as Il girotondo degli undici lancieri (1919) with Mary Corwyn and Romano Calò, and the witty short comedy L'illustre attrice Cicala Formica (1920), with Lia Formia as a wannabe actress who to the frustration of her family pursues with all means to become a diva, but utterly fails. The film clearly mocked the Italian diva and epic films, amateurism in the film world, but also the Italian family. Yet, D'Ambra also directed serious drama, such as the Ugo Foscolo adaptation Le ultime lettere di Jacopo Ortis (1921), on a man's despair about his inability to obtain the woman of his dreams. Until 1922 D'Ambra continued to direct and script various films at his company, often with Lia Formia in the lead, the last one being Tragedia su tre carte (1922). Together with the collapse of the Italian film industry, D'Ambra's film adventures collapsed. From the late 1930s he returned but only as screenwriter, and only for a small amount of films.
On D'Ambra's film career, Italian scholar Gianni Rondolino wrote in the Enciclopedia Treccani: "A largely independent author and director, he was able to deal with themes and topics, situations and characters from the high society, but also from everyday life, with great fluency, in a style that took into account the linguistic peculiarities of cinema, skillfully using close-ups and camera movements, scenic effects and daring narrative solutions. His films, considered forerunners of those of Ernst Lubitsch for the lightness of touch and the environments described, constitute a not inconsiderable chapter in the history of Italian silent films, for their formal innovation, after the more conventional splendour of the previous years, among historical reconstructions, novels of appendices, melodramas and farces."
Sources: Italian Wikipedia, IMDb, Enciclopedia Treccani.