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I had so much fun decorating this house for an amazing and understanding client. Christmas came early because this house was a gift
Liara set me a task with her system head...and I am glad she did..can only give me more experience :)
Taking Clients for pics!
My move is almost completely over *thank God* and I've had a some asking if I'm taking clients... So thought I'd go ahead and open a list and post this.
Please be patient and expect 2 days for me to edit as I really want to allow enough time for you to get the best out of my work.
tysm!! karma (jada Tigerpaw in world)
Local: CTA em São José dos Campos
Evento: Prova de km lançado (quebra de records de velocidade)
Cliente: Revista Maxi Tuning
Evento bem legal, cerca de 12 carros estavam presentes no evento para conquista o titulo de carro mais rápido do Brasil.
Apesar do dia ter começado com chuva.. logo o sol apareceu e o evento ocorreu sem problemas com o tempo, e agora to parecendo um camarão e td ardido :P
só fiquei chateado pq ia fazer um ensaio com um porshe mas ele quebrou...ai tentei fazer com esse supra mas o dono não queria matéria em revista... a locação era linda, a luz, o céu e o carro....td perfeito... pena que não rolou..ai essa foto ficou só pra ver o que perdi..hehe
This picture was done during a workshop in Arles with french photographer Denis Rouvre (www.rouvre.com) during “Les rencontres d’Arles 2007”. We had to make a project on one week: I chose to work on hotels. I shot all kind of people: directors, waiter, clients…in different locations in Arles.
Client: DV&LM
© 2017 www.rudgr.com
Check out my book on 20 years of dance music photography!
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Client : Farzana Shakil
Model : Kaynat
Styling : Shahrukh Amin
Wardrobe : Almira
Makeover : Farzana Shakil
Facebook : www.facebook.com/mortuzaalamphotography
© "All rights are reserved" worldwide by Mortuza Alam and Farzana Shakil. Please do not use the
More from the boudoir party the other day. Loved the glamorous hair! Thanks to Dawn Robison for the wonderful hairstyle!
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
FERIA 16 DE JULIO
Desde un alfiler hasta un auto de lujo
En El Alto, un gran mercado toma varias avenidas de la ciudad todos los jueves y domingos. Un universo de productos —entre usados, robados, rotos y nuevos— espera a los compradores.
Texto: Inés Ruiz del Árbol • Fotos: Nicolás Quinteros / David Guzmán
Puedo encontrar armas de fuego en la feria?” Ante la pregunta, todas las miradas se vuelven esquivas. Nadie quiere descubrir uno de los grandes secretos del comercio clandestino del mercado. Sin embargo, entre el rumor de los que no quieren convertirse en delatores, se oye un susurro. “Si usted las busca, las encuentra. Sólo tiene que fijarse”.
En las calles estrechas o en las grandes avenidas de El Alto, con un radiante sol o bajo una lluvia torrencial, la feria 16 de Julio nunca pierde su carácter único. Caminando entre sus puestos, se puede encontrar desde una aguja hasta la pieza de un avión de la Segunda Guerra Mundial, pasando por helados de cerveza, sándwich de chorizo o muñecas que sobreviven desde la década de los 80. De ello se enorgullecen los vendedores que, sin querer, han generado una enorme familia de comerciantes.
Son 338 las hectáreas que abarcan casi todo el territorio de El Alto y que convierten a esta feria, la de la avenida 16 de Julio, en la más grande de Bolivia. El fervor mercantil comienza con las primeras luces del día, cuando los comerciantes recogen fardos de mercancía en enormes sacos y los acomodan en sus puestos, mientras se preparan para afrontar una jornada de incesante actividad.
Miles de personas se agolpan por las calles, buscando objetos inimaginables o con la simple curiosidad de encontrar algo que estimule sus sentidos. Quizá una blusa de colores, una lámpara para leer o un sofisticado bolso de cuero. Es el caso de Miriam Fernández, una joven hispano-francesa que vive en La Paz y que ha encontrado en estos bolsos una buena fuente de ingresos. “No sé cómo se me ocurrió, pero me di cuenta de que los bolsos que hay en el mercado de El Alto iban a gustar mucho en mi país”. Y así comenzó a colgar estos productos en páginas de subasta de internet. “Un bolso que en el mercado de El Alto cuesta de 15 a 30 bolivianos, se puede llegar a vender por 150 euros en Francia”. Y es que los productos de estilo “retro” de la feria, en los que poca gente repara, se han convertido en una auténtica revolución en el antiguo continente.
Productos de todo tipo
El titánico mercado se divide en varias secciones, dependiendo de los productos que allí se vendan. Sin embargo, cuando se está inmerso en la enorme encrucijada, resulta difícil orientarse sin perder el rumbo, pues son miles los puestos que se superponen formando estructuras caóticas. El murmullo de los vendedores, las cumbias trasnochadas que salen de las tiendas o los rugidos de los minibuses cercanos, conforman el carácter del mercado, un lugar donde hasta lo imposible se puede encontrar.
Entre los puestos de ropa, frazadas o toallas, se descubren coloridos comedores populares, donde la gente se repone con un suculento charquecán o un pique macho de las fatigas que produce la captura de objetos bajo el intenso sol. El olor de hamburguesas y salchipapas asalta de imprevisto al comprador, en cualquier esquina. Normalmente, las caseras elaboran las ensaladas y las salsas en su casa a primeras horas de la mañana y fríen las salchichas y la carne que acompañan sus platillos según van llegando los clientes.
Teresa Aranda es una de las trabajadoras más madrugadoras de la feria. Con las primeras luces va a recoger los fardos que llegan desde Estados Unidos y los dispone a la entrada del mercado, en su lugar de siempre desde hace más de 15 años. Teresa ofrece peluches de todo color y tamaño, medias de primera y segunda mano y bolsos de cuero, de plástico o de tejidos desconocidos. “El día que más saco, puedo conseguir hasta 1.200 bolivianos, pero los días que vendo menos sólo consigo unos 400”.
Un poco más adelante, cerca de la venta de artilugios para la cocina, está el comercio de Esther Tórrez. Es uno de los preferidos por las niñas, pues allá, entre carros destartalados y helados de frutas, se encuentra una enorme colección de muñecas. “Las hay desde ocho pesos hasta 130, dependiendo de su calidad y su tamaño”. Fuera del comercio, amontonadas, hay cientos de Barbies desnudas, con el cabello alborotado y elásticas piernas. Sin embargo, dentro de la tienda se encuentran las muñecas más elaboradas, dentro de una caja de plástico, con batería, control remoto y las características más innovadoras del mercado. Estas muñecas, como otros objetos del mercado, provienen de Iquique, Chile, y son recogidas por los vendedores en Oruro. “Lo que hacemos nosotras en la fábrica es elaborar los accesorios y los trajes para estas muñecas”, añade Esther.
“Lo que más me gusta de la feria es que conoces a gente de todo tipo”, explica el señor Colque desde el asiento delantero de uno de los minibuses que vende en El Alto. Se le ve satisfecho, rodeado de una veintena de autos de todas las clases. “Éstos vienen de Japón”, dice señalando una larga fila de carros de varios colores. Sin embargo, sabe que el negocio no va del todo bien. “Si hay suerte puedo vender uno o dos al mes, pero normalmente no hay tanta suerte. La crisis afecta a todos”. Eso sí, su cara se ilumina cuando recuerda uno de sus golpes de buena suerte. “Aquella semana vendí tres autos, fue algo increíble dentro de la feria”.
La cosmovisión andina
La feria 16 de Julio es mucho más que comercio. Asomarse a ella es adentrarse en la cosmovisión andina, donde se vive la ritualidad de las actividades comerciales del mundo aymara. Por las calles, es común escuchar el “rebajame, aumentame”, formas centenarias de entrar en este espacio particular y que de ninguna manera se manejan en un supermercado u otros espacios. La feria 16 de Julio es una recreación de los “Colqa” o tambos de la época colonial, que eran una especie de almacenes de alimentos por donde circulaban gran cantidad de productos.
Sin embargo, el verdadero origen de este mercado se remonta a los años 60, cuando las calles que hoy se ven repletas tenían escasos puestos, que casi se podían contar con los dedos de las manos. El auge comenzó más tarde, durante la década de los 80, cuando una fuerte crisis económica asoló el país y hubo un despido general de mineros y empleados públicos. La gente tuvo que buscar sustentos donde se podía. Fue entonces cuando muchos vieron en el mercado una buena forma de salir adelante.
Jaime Argueta era uno de ellos. Trabajó durante 10 años con su mujer en una fábrica de joyería. Cuando ésta cerró comenzaron a vender CD en una de las calles céntricas del mercado. “Con lo que sacamos nos da para ir tirando”, explica Jaime, mientras de fondo suena un bolero. Desde aquellos años son muchos los que, como Jaime, se han adueñado de las calles que, a pesar de las crisis, marchas o bloqueos, nunca ha dejado de crecer. Este mosaico de objetos sin aparente orden forman parte, en realidad, de organizaciones sindicales y de confederaciones de gremialistas de todos los sectores, donde hasta el último de los vendedores de botas usadas es libre de expresar sus quejas y defender los derechos de su oficio.
Todos parecen tener un espacio natural en el rompecabezas que conforma el gran mercado de El Alto. Sin embargo, un denominador común aqueja a la mayoría de los vendedores: el vandalismo y los robos, que hacen que sus ganancias y ventas no sean tan exitosas. A pesar de estos inconvenientes, la feria de El Alto es una de las más importantes fuentes de ingresos de la ciudad, y son muchos los que recurren a ella para buscar objetos perdidos, hacer sus compras cotidianas o inspirarse para un regalo. Por ello, la Dirección de Turismo quiere hacer de esta feria uno de los principales atractivos de El Alto. Con este objetivo se van a habilitar vistosos carteles indicativos e informativos en diversos lugares del mercado, así como los puntos de seguridad policial, para evitar los robos a turistas.
Con estas nuevas ideas, la feria se puede convertir en un punto de encuentro comercial para turistas nacionales y extranjeros. Como fuere, el mercado va a seguir manteniendo su esencia de antaño, donde los códigos propios y los espacios imposibles se mantendrán con el paso de los años, siempre que exista algo que vender.
Client : Le Reve
Model : Toya
Wardrobe : Le Reve
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© "All rights are reserved" worldwide by Mortuza Alam and Le Reve. Please do not use the picture without permission
Photo uploaded with the permission of the client.
Client : Farzana Shakil
Farzana Shakil's Facial
Model : Hridi
Styling : Shahrukh Amin
Makeover : Farzana Shakil
Facebook : www.facebook.com/mortuzaalamphotography
© "All rights are reserved" worldwide by Mortuza Alam and Farzana Shakil. Please do not use the picture without permission