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The Art Nouveau is the style of natural harmony. Its committed goal is the establishment of the concord of the beauty and function without compromise. This is the last comprehensive European style enriching the European culture in the applied art, the fine art and construction design. The art of the Hungarian masters enriched the unique idiom of the Art Nouveau. Being a rich resource of the trasures of this style, the Hungarian Art Nouveau is a worthy competiror of the heritages of the French, German, Belgian and Aystrian Art Nouveau. The permanent exhibition consists of paintings, furniture, ornaments and interiors. It provides and authentic sight of the atmosphere of the civic life of the “peacetime” of Budapest for the visitors. A cafe of friendly atmosphere and shop of original silver jewelries and ceramic copies waith the visitors.
Opening hours 10-17, closed on Sunday.
1054 Budaoest, Honved u 3. Hungary
guideme.hu/place/house-of-hungarian-art-nouveau/
The building, designed by Emil Vidor, reflects the influence of Belgian and French architecture. At the same time, the facade of the building also incorporates Hungarian patterns, like the Zsolnay ceramics patterns. Not long ago, the building was entirely renovated. Besides the private museum operating in the establishment and displaying furniture, porcelain, ironwork and paintings, visitors can sit into a lovely café, too.
In 1907 the periodical Hungarian Competition (Magyar Pályázat) presents a description of the building in the Architectonic Chronicle section (Építőművészeti Krónika) with the title: Mr. Bedő Béla's Honvéd Street Palace. The designer, Emil Vidor, took good care of the building’s interior space as well, in the spirit of Gesamtkunstwerk (all objects in the same style).
This powerful unity of the arts and crafts in 1903 was a groundbreaking event in Hungary. The Bedő House was built only six years after the Belgian Victor Horta made his first fully Art Nouveau house, and in the same time with the Scottish architect, Mackintosh's famous arts house.
Even a contemporary description mentions the planned use of specially designed murals, the richly applied stained and ground glass, and generally the special design furnishing of the whole building.
On PBS Masterpiece Theatre “Vienna Blood” prodution the location was used and the Dr’s apartment was within this fine building.
The house was built by Emil Vidor in 1903, for the Bedő‘ family. The contemporary furniture, decorative objects, paintings and instruments displayed on more than 600 square meters faithfully evoke the beginning of the twentieth century. In this way, the museum gives insight to the visitor into the “peace-times”, the atmosphere of bourgeois life of Budapest.
First image in the series of Bedo Haz/House
PP work in Luminar Neo HDR filters.
All art works on this website are fully protected by Canadian and international copyright laws, all rights reserved. The images may not be copied, reproduced, manipulated or used in any way, without written permission from the artist. Link to copyright registration:
www.canada.ca > Intellectual property and copyright
Committed to Ilford FP4+ using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to teaching the little ones how to filter the surface of the water in search of nutrients, and doing it in low swampy waters, to avoid the attack of predatory fish, first of all the pike.
Cuore di mamma
Impegnata ad insegnare ai piccoli come filtrare la superficie dell' acqua in cerca di nutrienti, e facendolo in acque paludose basse, per evitare l'attacco di pesci predatori, in primo luogo il luccio .
Exif:
Canon Eos 80D
EF100-400mm f/4.5-5.6L IS II USM +1.4x III
f/8.0 560.0 mm 1/250 ISO 400
All rights reserved © Nick Outdoor Photography
Committed to Fomapan 200 using a Hasselblad 500C and 100 mm lens with a 56 mm extension ring. Developed using Ars-Imago R9 (rodinal) 1:25 as per the Massive Dev chart (though I think the listed times are too short and will be adding at least a minute to them in the future) and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning, sharpening and final contrast in Photoshop.
Sometimes a panoramic view better conveys the atmosphere of the moment.
Committed to expired Ilford HP5+ using a Hasselblad XPan and 45 mm lens. Developed using Ars-Imago FD 1:39, dev. time as per the massive dev chart, and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning and final contrast in Photoshop.
Committed to Film Ferrania P30 using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
I shared two stories in my latest 'podcast' episode. This, the second one, is bizarre not so much in what happened, but in how it was covered by the press.
You can listen to the full version of the stories anywhere you find podcasts. Just search for Conspiracy of Cartographers.
Susan Cargill's death in 1883 might not have been important enough for local paper, the St. Paul, Nebraska Phonograph, but she her loss certainly had an affect on her family.
Susan and Robert had ten children together, all of whom were still alive when she passed on at the young age of 43.
In 1902, her daughter Margaret died by suicide. The April 9, 1902 issue of the newspaper told all. She had "committed suicide yesterday afternoon by shooting herself through the head with a 22-calibre rife. The deed was done during the absence of her family and was evidently the result of deliberately laid plans."
Margaret had two young children, and sent them "to a neighbor's with instructions not to return for an hour and a half." It's unsaid, but presumed that it was her children who found her body.
The paper printed the note she left her husband, explained where she aimed the gun, and what she was wearing. "No motive for the rash deed is known," concluded the paper, she "had always enjoyed fairly good health."
Margaret's brother, Lewis, took the news the hardest. At 33, he was unmarried and living alone. According to the headline in the May 18th issue of the same newspaper: Louis Cargill Insane.
"It seems that nothing could be done to remove the effect of the sad termination of his sister's life," read the article. He was taken to an insane asylum in Lincoln.
He died on May 26, 1902. A June issue related the news, telling that "his health had failed rapidly as a result of his mental affliction and death came quickly to his relief."
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'The Deed Was Done'
Camera: Chamonix 45F-2
Lens: Steinheil Rapid Antiplanet 6,5; 27cm
Film: Agfa CP-BU M X-Ray Film; 25iso
Exposure: f/12; 4sec
Process: Rodinal; 1+100; 5ish mins
Nebraska
July 2023
Committed to Fomapan 200 using a Hasselblad 500C and 100 mm lens with a 56 mm extension ring. Developed using Ars-Imago R9 (rodinal) 1:25 as per the Massive Dev chart (though I think the listed times are too short and will be adding at least a minute to them in the future) and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning, sharpening and final contrast in Photoshop.
Committed to Ilford HP5+ using a Leica M3 and 50 mm Summilux ASPH lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Had a couple ideas (and committed a few thefts), so I threw these together.
Back row:
Sinestro: Pretty sure I stole this one from ole Jonathan Wong
Grodd: An older model now, but I like him.
Grundy: Mostly stolen from Colby
Bizarro: 100% stolen from Andrew from his instagram.
Bottom row:
Riddler: A weirder take. Wanted to utilize that racer torso.
Giganta: Well, her hands are.
Toyman: Thought this head simulated a wood mask well.
Manta is Manta cause he's the only Manta I got.
Luthor: Wanted to go a different angle than the power armor, so here's Utilitarian, jumpsuit Luthor.
Brainiac: Some minor changes to another older fig. Head's from Onlinesailin.
Cheetah: Pretty self-explanatory.
Captain Cold: Wanted a more super-friends-y look, this is what I came up with. Thought about using the Frozone parts but that blue was just too Aqua.
Scarecrow: Still the same.
Lemme know what you think!
Shchusev was not a committed Constructivist theorist, and is best known for his design of the Lenin Mausoleum. This building, however, is a particularly well preseved example from the Constructivist era, although the depth of Constructivist principles here is limited.
The Narkomsem is located on the Sadovaya Ring in a neighborhood that was redesigned according to the general plan for Moscow by Shchussev. Although the urban planning proposals were never executed in full, the Narkomsem is still one of the most distinctive buildings in this district and is located adjacent to Le Corbusier’s Tsentrosoyus building, two buildings that were built simultaneously.
Some of the most striking features are the cylindrical corner tower, the overall asymmetry, the ribbon windows (particularly on the top floor), and the corner details, where the glazing is continuous around both internal and external corners.
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Minolta 17-35
Committed to Ilford HP5+ using a Hasselblad X-Pan and 45 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning in Photoshop.
Committed to Ilford FP4+ using a Hasselblad X-pan and 45 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to Ferrania P30 using a Nikon F3 and 24 mm f2.8 lens. Developed in Adox Silvermax developer and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust removal and further contrast adjustment in Photoshop.
Some have committed to photography and making images for the long haul, but our visual journey is every second, minute, and hour of the here and now. It may be where we stand, walk, or travel. The Southern Alberta gravel roads are wide in generally good condition and seldom much problem through all seasons, but this day while driving along a muddy unmarked fence boundary one rut passage I hadn't seen much of any interest and the clumps were slapping the Jeep fenders. It's going to be an expensive car wash back in the city.
Then further on a horizon an orange dot resembling machinery or abandoned farming equipment was breaking up the flat green landscape. Another sampling of simpler living, with harder conditions and life without air conditioning. Another pristine outdoor museum to piece together the rural past. Please pass that Starbuck's vanilla latte while I ponder a possible composition.
*Please view LARGE for maximum rural detail
**Textures courtesy of skeletal mess and cleanser
***Thank You each and everyone for all your generous comments, group invitations, and visits.
The first committed self-portrait for professor Gualtiero Di Puccio.
The beginning of a visual obsession. During those years of study, I was searching for a way to strip the image bare, to rip the body away from the obviousness of the pose and force it to become a concept. This self-portrait was born from that very urgency: shutting out the superfluous in darkness to verify if the gaze, on its own, was capable of bearing the weight of presence and resisting the indifference of the frame. It was the instinctive yet rigorous attempt to take total control of my identity and to measure, for the first time, the strength of my capabilities.I started this work during my first year at the Academy of Fine Arts of Carrara 1991/92. As soon as Professor Gualtiero Di Puccio discovered that I was the daughter of a photographer, he immediately gave me this specific task. For this, I thank him deeply: although I already knew how to take photos and was already working for my father, he managed to give me something more, opening the way toward an independent and profound vision as an artist.
Committed to Ilford FP4+ using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Unos prestando servicio y otros saliendo a correr, pero todos con un mismo compromiso: ayudar a nuestros héroes heridos en combate.
#YoCreoEnLosHeroes #CarreraPorLosHéroes
#IBelieveInHeroes #RaceForTheHeroes
Committed to Lomography Babylon using a Leica M3 and 50 mm Summicron dual-range lens. Developed using Ars-Imago R9 (rodinal) 1:99 in a semi-stand process for 80 minutes and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to Film Ferrania P30 using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
After seeing the atrocities committed by Blacktron on the crew of the Horus Array, hearing the sound of clanking metal coming from an unknown source, Captain Knight feared the worse.
Opening the door to an adjacent room, blaster at the ready, he was pleased to find a lone red-shirt survivor from the array's crew. Telling security chief Erandis to stand down, Knight walks over to the fellow spaceman.
It's clear the poor fellow is in shock. He keeps rambling, "Blacktron! They, they came! They attacked! We weren't ready! They left it here! AHHHHH!"
Knight tries to assure the man he's safe, (and slightly lying himself) everything will be alright…
To learn more about Nova Team's other adventures visit their album: flic.kr/s/aHskpavQh5
Committed to Ilford HP5+ pushed to 800 using a Leica M6 and 35 mm Summicron v3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to Ilford HP5+ using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
[NEWS FLASH, April 1, 2010: Two days ago, a young man who had graduated high school only last year committed suicide back in the state where we'd both grown up, Michigan. He had attended the same boarding school that I, his father (who was two classes behind me) and his father's cousin (who graduated with me) all had.
A tribute page has emerged on Facebook, replete with words of prayer and sympathy. And school and other photos of a young man seemingly having the time of his life with friends and loved ones while in the prime of his life.....
Zech must have been in pain. Pain that seemed to him to be too much. I find that tragic and nothing to minimize. But there is a horrific irony to his decision to end his pain. He won't be feeling the pain that so many of his young friends feel at burying one of their own. And yes, he will never himself feel the searing pain a father feels when he buries his son And just as sadly, he no longer can look back and TRY to grasp the amount of pain and suffering of others that HE had helped relieve - or give anyone who knew of his struggle time to intensify efforts to return the favor.
My heart aches. I never met Zech; but after spending only 10 minutes on the tribute page for him, I know I would have liked him. His father Mark is dealing with the situation I prayed I would never cause my Dad to endure during his lifetime.
And it has been a very long time since I have felt the message of this song as strongly as I do right now. Because, my God, I know for a fact that a piece of me is gone forever......
The funeral is Saturday. RIP Zech. And may those of us left behind find a different kind of rest and peace as we carry on.]
[Puzzle treatment done using fdtoys]
Our deaths remove pieces from others' lives,
And we don't have much control over that.
That's not always true of course
Especially when we force others to watch us hasten our own demise.
But in most other situations, we constantly face opportunities:
When we realize we've taken something from another, we can - if allowed -
Choose to put it BACK.
Babe, if we can't solve any problems
Why do we lose so many tears?
Oh, so you go again
When the leading man appears
Always the same theme
But can't you see we've got everything
going on and on and on
And every time you go away
You take a piece of me with you
Go on and go free
Maybe you're too close to me
I can feel your body move
But does it mean that much to me
I can't go on singing the same theme
Cause you can't see we've got everything
Baby, even though you know that
Every time you go away
You take a piece of me with you
You just don't care
Written by Daryl Hall
The ONLY version that matters performed by Hall & Oates.
Committed to Ilford HP5+ using a Leica M3 and 50 mm Summilux ASPH lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
I committed to photographing sunrise from Dante’s View in Death Valley National Park one morning earlier this year. Badwater was flooded, and I hoped for an interesting morning. The clouds though, were almost exactly at the height of Dante’s View. Since there was nowhere else to go in time, I stuck it out, hoping to get a glimpse of some magic. And for a brief moment, the very temporary lake at Badwater was revealed through a hold in the roof. Warm sunlight colors can be seen reflecting in the lake’s imperfect surface, providing some insight into what was happening just out of view beneath the clouds. This is also one of the dustiest photos I’ve ever taken, with probably over 100 pieces of sensor dust that had to be removed. Suffice to say I cleaned the sensor thoroughly when I realized this. I hope the lake returns this winter.
Committed to Ferrania P30 using a Leica M6 and 50 mm Noctilux f1 lens. Developed using Ars-Imago FD as standard and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to Ilford FP4+ using a Hasselblad X-pan and 45 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it's the only thing that ever has.
-Margaret Mead
Happy Sliders Sunday!
For Kreative People Treat This Number 173. My Mini-Planet was created from a source image provided by CatnessGrace . All other photographic elements are from my own images.
And for the Mini Planet Challenge at SURREALART
Committed to Fomapan 200 using a Hasselblad 500C and 100 mm lens with a 56 mm extension ring. Developed using Ars-Imago R9 (rodinal) 1:25 as per the Massive Dev chart (though I think the listed times are too short and will be adding at least a minute to them in the future) and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning, sharpening and final contrast in Photoshop.
Listen to my Meet the iPhone Photographer interview here - itunes.apple.com/us/podcast/id993249071
Committed to Cinestill BwXX using a Leica M6 and 35 mm Summicron V3 lens. Developed using Ars-Imago FD as standard and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
since i committed myself to following through with this 52 week photo project, i sucked it up and did a camera toss. to make it nice and safe i did it over my bed and used my monitor as the light source. i put this picture on my monitor for the tosses.
assignment 52 week 14 - camera toss
Committed to Lomography Fantome using a Leica M6 and 35 mm Summicron v3 lens. Developed using Ars-Imago R9 (rodinal) 1:50 as per the suggested times and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust removal and further contrast adjustment in Photoshop.
Committed to Fomapan 200 using a Hasselblad 500C and 100 mm lens with a 56 mm extension ring. Developed using Ars-Imago R9 (rodinal) 1:25 as per the Massive Dev chart (though I think the listed times are too short and will be adding at least a minute to them in the future) and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning, sharpening and final contrast in Photoshop.
Committed to Ilford Delta 400 using a Hasselblad 503 CX and 60 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.