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.

At the We Like'em Short Film Festival at Churchill School in Baker City Oregon

 

The We Like ‘Em Short Film Festival is committed to celebrating the art of the short film, and providing a platform for independent filmmakers to showcase their talent. This festival seeks original and entertaining animated and comedy shorts from around the world.

 

The We Like ‘Em Short Film Festival was started in 2009 as a very small local festival featuring local filmmakers. In 2012 the festival decided to seek entries online, which has led them to becoming an international film festival with films now being submitted from around the world. In 2014 festival decided to pare the festival down a bit, seeking only the films that staff and audiences had consistently found to be the most entertaining, creative and engaging: animated and comedy shorts.

 

In 2014 the We Like'em Short Film Festival was named Oregon's Best Fine Arts Festival by the Oregon Festivals and Events Association.

 

Churchill school includes a sound studio, a working woodshop, metal fabrication studio gallery space and multiple artist studio spaces and the cafeteria has become a new music venue regularly hosting musical artists from throughout the PNW

 

For more information about Churchill School including upcoming classes exhibits, and events, visit their website at www.churchillbaker.com/index.html

 

For more information about the We Like'em Short Film Festival or other Baker County cultural and art events, visit Baker County Tourism's website at www.travelbakercounty.com

   

Havana, Cuba. 2017

We are looking for committed Bloggers with a sense of style. Your blog needs to be at least 3 months old with a minimum of 1000 followers.

 

marketplace.secondlife.com/stores/178277

 

Join via Blogotex located at LM below:

 

maps.secondlife.com/secondlife/Sylvhara/45/150/3802

 

Thank you,

Azizaone

Blogger Manager

We're Just In A Committed Relationship

Committed to Kodak Ektar 100 using a Hasselblad 503 CX, with Zeiss 100 mm f3.5 lens and 55 mm extension ring. Developed with a C-41 kit from Ars-Imago and scanned using an Epson V850 using Silverfast. Positive conversion and levels done with Negative Lab Pro.

[Once again I’m writing this for the committed photographer.]

 

Review: David Ulrich, “Zen Camera: Creative Awakening with a Daily Practice in Photography” (Watson-Guptill, 2018) 217 pages. creativeguide.com/zen-camera/

 

I do hope that Jim Williams from Canada www.flickr.com/photos/55920888@N08/ doesn’t mind my quoting a recent message from him:

“The way I shoot is very deliberate - almost a Zen exercise.”

 

I responded that this is exactly the way I like to work too and that indeed photography is my therapy. So I said that I would write a brief review of a book I still find a source of much inspiration.

 

“Zen Camera employs the camera for its most noble purpose: to learn to see what is.” (p.3)

 

David Ulrich teaches photography at the Pacific New Media Foundation in Honolulu, Hawai’i. This book is both an inspiration and a practical workbook. Ulrich believes that discipline is required in mastering the craft of photography. The principal discipline in this workbook is to photograph every day. Real progress is only possible he believes by taking 100 to 200 photographs a week following this advice:

“Give yourself the space and luxury of the pure enjoyment of taking pictures for their own sake. Refinement and completion come in their own time. Do not edit. Do not judge. Merely watch with interest what images arise.” (p.17)

 

Ulrich provides the reader with plenty of his own examples, but the work of many other historic and contemporary photographers is featured as well. He is a Zen Buddhist practitioner by conviction, but everyone can learn from his method. Ulrich has a lovely shot of the Tibetan Buddhist monk Matthieu Ricard taken in Hong Kong. Ricard (a former leading French scientist and son of the famous French philosopher Jean-François Revel) also practices photography as a meditative discipline. www.matthieuricard.org/en/photographies

 

LESSON ONE: OBSERVATION

 

“The camera is an instrument that teaches people how to see without a camera.” – Dorothea Lange (1895-1965).

 

I love that quote. Lange of course gave us some of the most powerful images of The Great Depression. She learned to see things that most other people couldn’t, and that is the essence of great photography. So we must begin by looking.

 

LESSON TWO: AWARENESS

 

Mindfulness and heightened awareness of the world around us are the two key elements of this lesson. Training our minds to be like a camera sensor soaking in the light (both real and metaphorical). Once again Ulrich quotes one of my favourite photographers Henri Cartier-Bresson (1908-2004):

 

“I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us which can mold us, but which can also be affected by us. A balance must be established between these two worlds – the one inside us and the one outside us. As the result of a constant reciprocal process, both these worlds come to form a single one. And it is this world that we must communicate.” - From “The Decisive Moment” – one of the most important books ever published on photography.

 

LESSON THREE: IDENTITY

 

“Know thyself.” – Socrates.

 

Here Ulrich deals with two important elements: Personal style and Authenticity. In order to communicate effectively we must find our own voice. But, it’s one voice within a community of voices (so history and context matters).

 

LESSON FOUR: PRACTICE

 

This is the central chapter of the book. All forms of success in art flow from its practice. Ulrich cites Malcolm Gladwell’s research that it takes about 10,000 hours of deliberate practice to gain mastery in a field. Nothing comes easily and one must pay their dues. This is not a popular message in a world of instant gratification. But then, that’s why our photographs are so quickly forgotten.

 

LESSON FIVE: MASTERY

 

“Freedom flourishes in a climate of discipline.” – David Ulrich.

 

It may seem counterintuitive, but true freedom always works within boundaries. The true “master of a discipline” can only push the boundaries once the fundamentals have been established. Two of my examples here: (1) Before ever Picasso became the master of Cubism, he had already mastered classical portraiture, and (2) Jazz musicians can only ever succeed in improvisation when they understand the rudiments of musical form.

 

LESSON SIX: PRESENCE

 

This is by far the most challenging chapter philosophically. I won’t go into detail here, but a few summary thoughts. Ulrich contrasts “spectacle” with “presence”. What do we mean by photographs with presence? We see plenty of spectacle in social media; in earlier days these sorts of pictures were referred to as “chocolate box”, but today they are probably over-processed spectacular sunsets with more than a little post-production fakery. They are made photographs to attract attention (something essential for social media success).

 

But “real presence”, that’s something much more difficult to achieve. It is central for instance to the Christian concept of a sacrament. Here the photograph is a representation of something ineffable behind it. You can’t quite define a photograph with presence, but you know when you see it. Try any number of Ansel Adams’ photographs. A mere landscape is somehow transformed into a meditation on the glories of nature with a minimum of darkroom fuss. The scene is spectacular, but only because the photograph reveals the TRUTH about the scene. We are brought face to face with the essence of Nature. The same with a great portrait: It reveals a truth about the character and personality of the sitter, in a way that a selfie doesn’t.

Annie Leibovitz www.youtube.com/watch?v=kQtXoseZMuo

 

For David Ulrich one of the keys to achieving “presence” in photography is to learn to pay attention. And this takes us back to mindfulness practice. Being awake, alive, attentive, observant, present!

 

It’s a great book with plenty of practical suggestions for exercises in moving beyond the snapshot to mastering the discipline of photography.

 

* Cover photos taken with the Leica D-Lux 7.

 

Committed to long expired Kodak Ektar 25 using a Konica Autoreflex T3 and 50 mm f1.4 lens. Developed using a C-41 kit from Ars-Imago and scanned using an Epson V850 using Silverfast. Positive conversion, colour and levels done with Negative Lab Pro.

Committed to 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.

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.

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.

View Large On Black to have a much better view...

 

Part 5 of the New Frontier series

As the title of this series suggests, I will use this series as my public playground for experimenting with new techniques and concepts trying to push my own limits...

Recurring subject will be long exposures.

 

Another experiment here. No not the colours, I have done some before and I have committed myself to post one colourphoto every week. But what happens if you expose the sun to its own light, for 30 seconds...

 

Technical info:

10 stops ND filter

f/11

ISO100

30s

Software:

Lightroom 2.0

PS CS3 - Color Efex Pro

Explore #135 April 2 2009

----------------------------------------------------------------------------------------------------------------------

 

-----------------------------------------------------------------

 

click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

or…. press L to enlarge;

 

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi L per ingrandire l'immagine;

 

Qi Bo's photos on Fluidr

  

Qi Bo's photos on Flickriver

  

www.worldphoto.org/sony-world-photography-awards/winners-...

  

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

 

……………………………………………………………………….

 

The cemetery of Taormina has something singular, it contains stories that you do not imagine, when I go to visit my dear departed, I invariably extend the tour "of visits" to the old part, with the various niches located on a long "outdoor tunnel" with tombstones arranged on two wings facing each other, narrow and high, where people, entire families, stories of lives suddenly broken ... because many of these people-families perished under the bombing of Allies of Taormina on 9 July 1943 (the day of the Patron Saint San Pancrazio, who, for not having prevented such bombings on his feast day, was punished for many years, and was no longer celebrated; only recently the recurrence as patron saint has returned); I then go to find the grave of the German photographer Baron Wilhelm von Gloeden, who lies not far from his studio assistant, the photographer Gaetano D’Agata, who was also my great-grandfather; but ... almost as if it were an act of devotion ... I always go, invariably to lay a bouquet of flowers on the tomb of a Jewish family (I also take my children there, they must know and remember): there lies a mother with his three children, they, at the end of the ultimatum of the racial laws in the fascist period, decided to take their own lives all together, closely tied with a rope between them ... in the waters of Taormina, in that of Mazzarò beach.

For several years now, on the occasion of the anniversary for "the day of remembrance" of January 27, I recall on Flickr the tragedy that struck this unfortunate family; until recently I knew nothing about them, except the facts that led to their death: they took all four of them rowing on a boat, until they reached the bay of Mazzarò, they all tied themselves together, they stones in the pockets to weigh themselves down, and thus tied, were thrown into the deep waters near a rock off the coast called "Scogghia Longa" (translated from the Sicilian, High Rock).

Finally, after much research, I was able to find traces of their past lives, it was enlightening to find an online article of the site

"NewSicilia.it", which I report here (in addition to the link), also reporting some discrepancies that appeared in the article on the names and surnames, because it would be necessary to understand who made the mistake, if in transcribing the article, or who recorded the names on the tombstone, for example on the tomb one reads "Lindenfeld Elconorr", while the article talks about "Lindelfeld Eleonor", even the surname is slightly different, where is the mistake?

here the article, the Autor is Aurora Circià:

"Taormina, racial laws and suicide at sea: the story of the Kuerschner family"

TAORMINA - The extreme choice of suicide to escape those who wanted to have the will to decide their death. This is what the Kuerschner family did 81 years ago.

It was March 11, 1939 when 73-year-old Eleonor Lindelfeld and her three children Arthur, Eugene and Renèe, rented a rowboat in Mazzarò to get away from the shore and, offshore, put an end to their lives. They did this by throwing themselves into the water together, weighing their clothes with stones to make sure they wouldn't come back to the surface.

The "fault" of the Kuerschner family? Being Jewish.

For a few weeks, mother and children had been guests in the Flora hotel in Taormina. They tried to escape the racial laws and escape the cruelty of the Nazi and Fascist regimes. Right in their room, following the discovery of the tragic act made by the four, the police at the time claimed to have found a letter according to which the mother and children would have chosen suicide because they were tired of life because they were alone and without friends. A version denied by the letter dated 2 March 1939, which Arthur, a radio journalist expelled from Nazi Germany, had sent to a dear friend, to whom he had entrusted the real reasons for the painful decision taken by the family: "Today the time has come: we all four we will die voluntarily-involuntarily. The deep sea will welcome us more kindly than all the high governments of the countries around us. We will fill our pockets with stones, so as not to return to the surface. Our decision was made half a year ago. It was made easier for us by the awareness of having always led an honest life and happy to work, sometimes crowned with successes and never having done any harm to anyone ”.

The Kuerschners had moved to Germany after the end of the First World War, which Arthur had fought with the rank of captain on the Italian front: a feat that had earned him decorations and medals. In Berlin, having become a German citizen, Arthur had held an official role in the government radio station for 15 years. His life and that of his whole family were, however, turned upside down by the arrival of Adolf Hitler. Racial hatred, in fact, forced them to move to Austria, where they obtained citizenship. In 1938, however, the Austrian country also came under the aegis of the Nazi leader. It was at that point that the Hungarian Jewish family retreated to Italy, where Eugene had already found a job, active in the world of German cinema until the advent of Hitler.

In Italy, Eugene worked as a producer and supervisor on two films: “But it's not a serious thing” (1936), directed by Mario Camerini and the screenplay by Ercole Pattie and Mario Soldati, with Assia Noris and Vittorio De Sica; and “È tornato carnevale” (1937) directed by Raffaello Materazzo, with Armando Falconi and Mario Pisu.

Not even in Italy, however, the Kuerschner family was safe: the decree law of 7 September 1938 n.1381, in fact, provided that the foreign Jews present in the national territory would leave the country by 12 March 1939. It was thus that, on the eve of that ultimatum, mother and children put an end to their lives. The news of their tragic death was reported in the New York Times edition of March 23, 1939 by the Rome correspondent of the American newspaper.

Eleonor Lindelfeld, Arthur, Eugene and Renèe Kuerschner are buried in the non-Catholic section of the Taormina cemetery. On the plaque placed for their memory is engraved: “Under the rose garden we rest, we were placed there when the sad days correan for us poor Jews. We were welcomed to this golden island, we left our future at home. Tremendous is for the mother to choose death for himself and for her. The four of us went by boat, then one after the other we dived into the water. When they found us, the ropes still encircled the body ”.

post Scriptum

- the photo with the inscription "6,000,000 were few" I saw it made many years ago with a black spray can, next to the street name "alley of the Jews" of Taormina, when I was a 16 year old boy, the writing was from me made in post-production, to bring back what I saw in the image;

- see the story by Massimo Gramellini, Italian journalist, writer and TV presenter, who tells of what happens a few kilometers from the borders of Italy, of which I report the link (At 01:20:09 - on a total of the broadcast lasting 01:24:35 - Gramellini in memory of the "day of remembrance of January 27", to remember the victims of the Shoa: Gramellini tells of a tragic event (an event that is a symbol of who knows what unknown tragedies) 400 km from the border Italian, happened to "Ali the crazy".

  

……………………………………………………………………………………..

 

Il cimitero di Taormina ha qualcosa di singolare, vi sono racchiuse al suo interno storie che non ti immagini, quando vado a trovare i miei cari defunti, immancabilmente allargo il giro “delle visite” alla parte vecchia, coi vari loculi situati su di un lungo "tunnel all'aperto" con le lapidi disposte su due ali tra loro affacciate, strette ed alte, ove giacciono persone, intere famiglie, storie di vite spezzate all'improvviso...perchè moltissime di queste persone-famiglie perirono sotto i bombardamenti avvenuti a Taormina, da parte degli aerei Alleati, il 9 luglio 1943 (giorno del Santo Patrono San Pancrazio, il quale santo, per non aver impedito, proprio il giorno della sua festa tali bombardamenti, per tantissimi anni fu messo in castigo, e non fu più festeggiato; solo da poco si è tornati a celebrarne la ricorrenza come Santo Patrono); vado poi a trovare la tomba del fotografo tedesco, il barone Wilhelm von Gloeden, che giace a poca distanza dalla tomba del suo aiutante di studio, il fotografo siciliano Gaetano D’Agata, il quale era pure il mio bisnonno; ma…quasi fosse un atto di devozione...vado sempre, immancabilmente a deporre un mazzolino di fiori sulla tomba di una famiglia di ebrei (ci porto anche i miei figli, loro devono sapere, e ricordare): li giace una madre insieme ai suoi tre figli, essi, allo scadere dell'ultimatum delle leggi razziali nel periodo fascista, decisero di togliersi la vita tutti insieme, strettamente legati con una corda tra loro... nelle acque di Taormina, in quel di Mazzarò.

Sono diversi anni che, in occasione della ricorrenza per “il giorno della memoria” del 27 gennaio, rievoco su Flickr la tragedia che colpì questa sventurata famiglia; fino a poco tempo fa nulla sapevo di loro, tranne i fatti che portarono alla loro morte: si portarono tutti e quattro remando su di una barca, fino a giungere al largo della baia di Mazzarò, si legarono tutti tra di loro, si misero delle pietre nelle tasche per appesantirsi, e così legati, si gettarono nelle profonde acque in prossimità di uno scoglio al largo detto "Scogghia Longa" (trad. dal siciliano, Scoglio Alto).

Finalmente, dopo tante ricerche, sono riuscito a trovare traccia delle loro vite passate, illuminante è stato trovare un articolo online del sito "NewSicilia.it", che qui riporto integralmente (oltre al link), riportando anche alcune discrepanze apparse sull'articolo sui nomi e cognomi, perchè sarebbe da capire chi ha commesso l'errore, se nel trascrivere l'articolo, o chi ha inciso i nomi sulla lapide, ad esempio sulla tomba si legge "Lindenfeld Elconorr", mentre nell'articolo si parla di "Lindelfeld Eleonor", anche il cognome dei figli è lievemente differente, dove sta l'errore?

qui l'articolo, la cui Autrice è Aurora Circià :

“Taormina, le leggi razziali e il suicidio in mare: la storia della famiglia Kuerschner”

TAORMINA – La scelta estrema del suicidio per sottrarsi a chi voleva avere l’arbitrio di decidere della loro morte. È quella che 81 anni fa fece la famiglia Kuerschner.

Era l’11 marzo del 1939 quando la 73enne Eleonor Lindelfeld e i tre figli Arthur, Eugene e Renèe, affittarono una barca a remi a Mazzarò per allontanarsi dalla riva e, al largo, porre fine alle loro vite. Lo fecero gettandosi in acqua insieme, appesantendo i propri vestiti con delle pietre per assicurarsi che non sarebbero tornati in superficie.

La “colpa” della famiglia Kuerschner? Essere ebrea.

Da qualche settimana madre e figli erano ospiti nell’albergo taorminese Flora. Cercavano di sfuggire alle leggi razziali e sottrarsi alla crudeltà dei regimi nazista e fascista. Proprio nella loro stanza, in seguito alla scoperta del tragico gesto compiuto dai quattro, la polizia all’epoca sostenne di aver trovato una lettera secondo la quale la madre e figli avrebbero scelto il suicidio in quanto stanchi della vita perché soli e senza amici. Una versione smentita dalla lettera datata 2 marzo 1939, che Arthur, giornalista radiofonico espulso dalla Germania nazista, aveva inviato a un caro amico, al quale aveva affidato i reali motivi della dolorosa decisione presa dalla famiglia: “Oggi è arrivato il momento: noi tutti quattro moriremo volontariamente-involontariamente. Il mare profondo ci accoglierà in maniera più gentile che tutti gli alti governi dei paesi che ci circondano. Riempiremo le nostre tasche con pietre, per non ritornare più a galla. La nostra decisione è stata presa già mezzo anno fa. Ci è stata resa più semplice dalla coscienza di aver fatto una vita sempre onesta e contenti di lavorare, a volte coronata anche da successi e di non aver mai fatto a nessuno del male”.

I Kuerschner si erano trasferiti in Germania dopo la fine della Prima Guerra Mondiale, che Arthur aveva combattuto col grado di capitano sul fronte italiano: un’impresa che gli era valsa decorazioni e medaglie. A Berlino, diventato cittadino tedesco, Arthur aveva ricoperto per 15 anni un ruolo ufficiale nella stazione radiofonica governativa. La sua vita e quella di tutta la sua famiglia venne, però, stravolta dall’arrivo al potere di Adolf Hitler. L’odio razziale, infatti, li costrinse a trasferirsi in Austria, dove ottennero la cittadinanza. Nel 1938, però, anche il Paese austriaco finì sotto l’egida del capo nazista. Fu a quel punto che la famiglia ebrea ungherese ripiegò in Italia, dove aveva già trovato lavoro Eugene, attivo nel mondo del cinema tedesco fino all’avvento di Hitler.

Nel Bel Paese Eugene lavorò come produttore e supervisore a due film: “Ma non è una cosa seria” (1936), per la regia di Mario Camerini e la sceneggiatura di Ercole Pattie e Mario Soldati, con Assia Noris e Vittorio De Sica; ed “È tornato carnevale” (1937) diretto da Raffaello Materazzo, con Armando Falconi e Mario Pisu.

Nemmeno in Italia, però, la famiglia Kuerschner era al sicuro: il decreto legge del 7 settembre 1938 n.1381, infatti, prevedeva che gli ebrei stranieri presenti sul territorio nazionale abbandonassero il Paese entro il 12 marzo 1939. Fu così che, alla vigilia di quell’ultimatum, madre e figli misero fine alle loro vite. La notizia del loro tragico decesso venne riportata nell’edizione del New York Times del 23 marzo 1939 dal corrispondente da Roma del giornale americano.

Eleonor Lindelfeld, Arthur, Eugene e Renèe Kuerschner sono sepolti nella sezione acattolica del cimitero di Taormina. Sulla lapide posta per la loro memoria è inciso: “Sotto il roseto noi riposiamo, posti vi fummo quando i giorni tristi correan per noi miseri ebrei. Fummo accolti in quest’isola dorata, lasciammo in patria il nostro avvenire. Tremendo è per la madre sceglier la morte per sé e per i figli. In barca tutti e quattro andammo, poi uno dietro l’altro in acqua ci tuffammo. Quando ci ritrovarono, le corde ancora il corpo ci cingevano”.

Post Scriptum:

- la foto con la scritta "6.000.000 sono stati pochi" io la vidi molti anni fa, realizzata con una bomboletta spray nera, accanto il nome della via "vico ebrei" di Taormina, quando ero un ragazzino forse di 16 anni, la scritta è stata da me realizzata in post-produzione, per riportare in immagine quello che io vidi;

- vedi il racconto di Massimo Gramellini, giornalista, scrittore e conduttore televisivo italiano, che racconta di ciò che avviene a pochi chilometri dalle frontiere dell'Italia, del quale riporto il link (alla ora 01:20:09 - su di un totale della trasmissione della durata di 01:24:35 - Gramellini in ricordo della “giornata della memoria del 27 gennaio”, per ricordare le vittime della Shoa: Gramellini racconta un tragico evento (avvenimento simbolo di chissà quali tragedie non conosciute) a 400 km dal confine Italiano, accaduto ad “Alì il pazzo”.

 

-------------------------------------------------------------

 

below a series of links, which refer to what I reported in the caption:

 

Massimo Gramellini: Le parole della settimana

Puntata del 23/01/2021 (da Rai Play):

 

www.raiplay.it/video/2021/01/Le-parole-della-settimana---...

 

- the journalist, writer, Massimo Gramellini tells of Ali il Pazzo's attempted escape to Italy, he will die from the wickedness suffered:

 

www.raiplay.it/video/2021/01/Le-parole-della-settimana---...

 

- the article, finally illuminating for me, searched for years without results, which shed light on who was the Jewish family that committed suicide in Taormina (autor, Aurora Circià):

newsicilia.it/messina/cultura/taormina-le-leggi-razziali-...

 

www.academia.edu/41751608/Taormina_le_Anti-Jewish_Reading...

 

www.prefettura.it/FILES/AllegatiPag/1157/pannelli_mostra.pdf

 

www.vaitaormina.com/taormina-longo-classe-1923-bombardame...

 

……………………………………………………..

 

qui sotto una serie di link, che fanno riferimento a quanto riportato da me in didascalia:

 

Massimo Gramellini: Le parole della settimana

Puntata del 23/01/2021 (da Rai Play):

 

www.raiplay.it/video/2021/01/Le-parole-della-settimana---...

 

www.raiplay.it/video/2021/01/Le-parole-della-settimana---...

 

- il giornalista, scrittore, Massimo Gramellini racconta del tentativo di fuga in Italia di Alì il Pazzo, morirà per le cattiverie subite:

  

Massimo Gramellini, Le parole della settimana

Puntata del 23/01/2021

  

- l'articolo, finalmente per me illuminante, ricercato per anni senza risultati, che ha fatto chiarezza su chi fosse la famiglia ebrea che si suicidò a Taormina (autrice, la giornalista Aurora Circià):

newsicilia.it/messina/cultura/taormina-le-leggi-razziali-...

 

www.academia.edu/41751608/Taormina_le_Leggi_antiebraiche_...

 

www.prefettura.it/FILES/AllegatiPag/1157/pannelli_mostra.pdf

 

www.vaitaormina.com/taormina-longo-classe-1923-bombardame...

  

----------------------------------------------------------

 

Eugenen Kurschner worked as a producer and supervisor on two films, one is the film “But it's not a serious thing or "But It's Nothing Serious” (1936), here a link of clip of the film,

 

But It's Nothing Serious (Ma non è una cosa seria):

 

youtu.be/wSD34PruWTs

 

-------------------------------------------------------------

 

youtu.be/BQ6cOFYkabk

 

" My name is Penny Oliver and I am committed to creating artwork that will inspire and reinvigorate you in your practice of medicine.

By interpreting and translating anatomic, histologic and diagnostic images, I seek to create art that is both beautiful to the layperson and meaningful to the medical professional.

Contact me to see how your work and passion can be transformed into a stunning piece of original art. "

 

Diagnosis ART, Custom Paintings for the Medical Professional

Copyright Diagnosis Art - All rights reserved - Blog - Facebook - Linkedin - Twitter

 

by Penny Oliver - all our posts about cancer - womens' health.

Watch DES videos, read more about Diethylstilbestrol - DES Daughters - DES Sons

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.

Nikon D3300 - Nikkor AF-S DX 18-200mm f3.5-5.6 G ED

Returned home to find that my monitor had committed suicide, presumably because of the unbearable heat. While I'm waiting for a replacement, I'm making due with an ancient 19' monitor that had been banished to the basement.

 

Summer vacation this year was a two-night trip to the Fujigoko area around Mt. Fuji. Given Tokyo's traffic, I always figured traveling by car would be a nightmare, but with the navigation system it was very easy to get around without worrying about bus and train schedules. We managed to get everywhere we wanted with nary a traffic jam.

 

The weather in Tokyo had been awful leading into our departure, and I was worried that we might arrive and not be able to see Mt. Fuji. On Monday there was no hint of Mt Fuji behind the heavy, low clouds. Happily, the clouds (but not the haze) cleared up a bit on Tuesday and quite a bit more on Wednesday. We were up at 4:00 a.m. on both days, hoping to get a beautiful sunrise. It was totally overcast on Tuesday morning so we went back to bed, but you could see a ghostly outline on Wednesday morning. We hopped in the car and drove to the other side of Lake Kawaguchi and spent an hour and a half watching the morning develop. It was a lovely, quiet, peaceful way to begin the day.

Committed to 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.

Committed to Rollei RPX 25 using a Mamiya 645 1000S and 80 mm f1.9 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.

Whopper Swan - Iceland April 2015

 

My appreciation and thanks to all of you for you comments awards and faves.

 

Whopper Swans are a common and elegant sight in the marshes and waterways of the Snaefellsnes Peninsular.

Committed to Ferrania P30 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.

“Stay committed to your decisions, but stay flexible in your approach. It’s the end you’re after.” – Anthony Robbins

Committed the photographers cardinal sin today, I forgot to check that I had a memory card in my camera! It was quiet in the city centre this morning and I quite liked the reflection from the O2 mobile phone shop window onto the wet pavement and so the next best camera at hand was my iPhone. I played with the perspective setting in snapseed a bit and adjusted glamour glow and pop colour adjustment settings. I like the coolness in the blues and the warmth of the yellow.

🇫🇷 L'église d'Agios Gerasimos, datant du XIXᵉ siècle, s'intègre parfaitement au style architectural cycladique de Santorin.

L'entrée principale consiste en un portique à trois arcs blanchis à la chaux.

St. Gérasimos est né en 1502 dans le petit village de Trikala Corinthos, dans le Péloponnèse

Il a étudié les écritures sacrées et s'est engagé dans une vie monastique. Il est resté 5 années au Mont Athos puis est parti en Terre Sainte où il a vécu 12 ans.

Il a également visité le Mont Sinai, l'Égypte et la Crète où il est resté dans une grotte pendant environ cinq ans

A 50 ans il a trouvé une grotte en Cephalonie (vie d'ermite)puis a restauré une vieille église auprès de laquelle , Il a cré un monastère. Il est décédé le15 août 1579

 

🇬🇧 The church of Agios Gerasimos, dating from the XIX century, fits perfectly into the Cycladic architectural style of Santorini.

The main entrance consists of a portico with three whitewashed arches.

St Gerasimos was born in 1502 in the small village of Trikala Corinthos in the Peloponnese.

He studied the scriptures and committed himself to a monastic life. He spent 5 years on Mount Athos and then went to the Holy Land, where he lived for 12 years.

He also visited Mount Sinai, Egypt and Crete, where he lived in a cave for about five years.

At the age of 50, he found a cave in Cephalonia (hermit life) and then restored an old church near which he founded a monastery. He died on 15 August 1579.

 

🇬🇷 Η εκκλησία του Αγίου Γερασίμου, που χρονολογείται από τον XIXᵉ αιώνα, ταιριάζει απόλυτα με το κυκλαδίτικο αρχιτεκτονικό στυλ της Σαντορίνης.

Η κύρια είσοδος αποτελείται από μια στοά με τρεις ασβεστωμένες καμάρες.

Ο Άγιος Γεράσιμος γεννήθηκε το 1502 στο μικρό χωριό Τρίκαλα Κορινθίας, στην Πελοπόννησο.

Μελέτησε τις ιερές γραφές και αφοσιώθηκε στη μοναστική ζωή. Πέρασε 5 χρόνια στο Άγιο Όρος και στη συνέχεια έφυγε για τους Αγίους Τόπους, όπου έζησε για 12 χρόνια.

Επισκέφθηκε επίσης το όρος Σινά, την Αίγυπτο και την Κρήτη, όπου έμεινε σε μια σπηλιά για περίπου πέντε χρόνια.

Σε ηλικία 50 ετών βρήκε ένα σπήλαιο στην Κεφαλλονιά (ερημική ζωή) και στη συνέχεια αναπαλαίωσε μια παλιά εκκλησία κοντά στην οποία ίδρυσε μοναστήρι. Πέθανε στις 15 Αυγούστου 1579.

 

🇩🇪 Die Kirche Agios Gerasimos aus dem 19. Jahrhundert fügt sich nahtlos in den kykladischen Baustil Santorins ein.

Der Haupteingang besteht aus einem Portikus mit drei weiß getünchten Bögen.

Der Heilige Gerasimos wurde 1502 in dem kleinen Dorf Trikala Korinthos auf dem Peloponnes geboren.

Er studierte die Heilige Schrift und widmete sich dem monastischen Leben. Er verbrachte fünf Jahre auf dem Berg Athos und reiste dann ins Heilige Land, wo er zwölf Jahre lebte.

Er besuchte auch den Berg Sinai, Ägypten und Kreta, wo er etwa fünf Jahre in einer Höhle verbrachte.

Im Alter von 50 Jahren fand er eine Höhle in Kefalonia (Einsiedlerleben) und restaurierte eine alte Kirche, in deren Nähe er ein Kloster gründete. Er starb am 15. August 1579.

 

🇪🇸 La iglesia de Agios Gerasimos, del siglo XIX, se integra a la perfección en el estilo arquitectónico cicládico de Santorini.

La entrada principal es un pórtico con tres arcos encalados.

San Guerásimo nació en 1502 en la pequeña aldea de Trikala, en el Peloponeso.

Estudió las Sagradas Escrituras y se consagró a la vida monástica. Pasó cinco años en el monte Athos y luego se marchó a Tierra Santa, donde vivió doce años.

También visitó el monte Sinaí, Egipto y Creta, donde pasó unos cinco años en una cueva.

A los cincuenta años, encontró una cueva en Cefalonia para llevar una vida eremítica y luego restauró una antigua iglesia cerca de la cual estableció un monasterio. Murió el 15 de agosto de 1579.

 

🇮🇹 La chiesa di Agios Gerasimos, risalente al XIX secolo, si inserisce perfettamente nello stile architettonico cicladico di Santorini.

L'ingresso principale è costituito da un portico con tre archi imbiancati a calce.

San Gerasimo nacque nel 1502 nel piccolo villaggio di Trikala, nella regione del Peloponneso.

Studiò le sacre scritture e si dedicò alla vita monastica. Trascorse cinque anni sul Monte Athos e poi partì per la Terra Santa, dove rimase per 12 anni.

Visitò anche il Monte Sinai, l'Egitto e Creta, dove rimase in una grotta per circa cinque anni.

All'età di 50 anni, trovò una grotta a Cefalonia, dove iniziò la sua vita da eremita, e poi restaurò una vecchia chiesa vicino alla quale fondò un monastero. Morì il 15 agosto 1579.

"Black Winter At French Cross."

 

In an edition of the Halifax Herald, dated January 25, 1889, an unknown historian gave an account of the "Black Winter Among the Acadians at French Cross." The accounting impressed Arthur Wentworth Eaton sufficiently enough for him to set it out in full in his work, History of the County of Kings. I do likewise. For those are not familiar with the surrounding events of 1755, I refer to The Deportation of the Acadians.

 

"As is well known the southern shore of the Bay of Fundy is overlooked by a frowning, beetling cliff, extending all the way from Cape Split to Digby Neck. Against this wall of solid trap, from time immemorial, the thundering waves, like battering-rams, have hurled themselves in vain. At certain points, however, there are breaks in this high bluff, making access to the Bay easy, and affording harbours for vessels. One of these places is found opposite the Aylesford St. Mary's Church. The ancients called it the 'French Cross', the moderns call it 'Morden'.

 

"Long before either English or French speech was heard along the shores of the Bay of Fundy, the Micmacs had their highways of travel over land and water, as well established and as well known as are the railways, coach roads, and steamer routes, of the present day. The country around the head of the Bay, all the way from the Petitcodiac to Advocate, was favourite ground for the savages of olden times. Equally desirable was the district along the banks of the Annapolis river. The abundance of fish, fowl, and wild beasts made these parts of the country desirable dwelling places for the red men. And there was necessarily much travelling from place to place. In choosing their highways the Indians, like the modern railway men, looked for routes securing the greatest possible advantage. From any point at the head of the Bay, outside of Minas Basin.. canoes would soon glide across to French Cross. Am easy portage of about four miles would bring them to the Annapolis river, near where St. Mary's Church in Aylesford now stands. Here the canoes, would be launched, and down the river to Digby it was mere music. and poetry to travel. The gentle current would bear them along the sinuosities of the river, where there were always mink, otter, beaver, rabbits, partridges, ducks and geese for their swift-winged arrows and their traps and snares; and salmon and shad in plenty for their deft spears. High pleasure and glorious sport it was for the. red men to drift down this stream, and not less was the fun to their papooses and squaws. Silently they would float along, surprising game at every turn of the stream. As soon as the French came into possession of the lands at Annapolis, and around the head of the Bay, and had made friends with the Micmacs, they naturally adopted the Indian routes by land and water.

 

"In the early autumn of 1755 a canoe, well manned with Indians, might have been seen gliding up the Cornwallis river, and then being taken rapidly over the portage between Berwick and the Caribou bog. Here being again launched, it swept along the Annapolis river, impelled both by the current and the Indians' paddles. Its occupants stopped neither to shoot fowl nor to spear fish. On and on they went till they arrived at the point a little above the Paradise railway station. Here they came upon the eastern end of the Acadian settlement. They were the bearers of startling news. Gloom was on their faces, and alarm in their actions and words. The intelligence they gave brought consternation to the hearts of the Acadians, for the latter now learned from their Micmac friends that their compatriots at Grand Pré and Canard were prisoners in the Grand Pré parish church, and surrounded by armed red coats; and that ships were anchored at the mouth of the Gaspereau, ready ta bear them away from their homes to lands strange and unknown.

 

"The news flew down the river and over the marshes on the wings of the wind, and spread on either side till it reached the home of every habitant. The hearts of the people quailed before an impending calamity so dire, a fate so terrible. In Upper Granville, that is from below Bridgetown to Paradise, a meeting of the people. was hastily called. Of course, the pressing, burning question was, what under the circumstances should be done. Already their 1wiests and delegates were prisoners in Halifax, and they were face to face with the black sequel. Some said: 'Make no resistance, surrender to the English and trust Providence'. Others said, 'Nay; of all evils before us this is the worst to choose!' The result was a, permanent division of opinion. About sixty resolved on instant flight up the river. But the risk was too great to travel either by stream, or by the old French road. In either course they might meet the English soldiers. Their route must be north of the river, north of the road.

 

Loading themselves to the full measure of their burden bearing powers with provisions and camp life conveniences, they a wailing farewell of their companions, who had resolved to remain and started on their wearisome journey. Slowly and cautiously they moved up the country, till they came to a point about a mile east of Kingston railway station. There these fugitive men, women, and children encamped. Their Micmac friends acted as pickets and spies. On these sand dunes they heard from time to time of the progress of the deportation at Annapolis, Grand Pré Cumberland. Their bread lasted but a short time, and this forced them to a diet to berries, fish, and venison. Dysentery, common at that season, broke out among them. Death began its work. No priest was there to minister to the soul, no physician to care for the body. Fear aggravated the malady. With sad hearts they dug their friends' graves in the soft sands of the Aylesford plains. With an agony such as only these social, simple-hearted Acadians were capable of, they buried their dead in these graves, and their wailings resounded among the trim, straight trunks of the ancient pines.

 

"All Aylesford has heard of the 'French Burying Ground'. In it the money diggers have found bones, but no money. The mineral rods in the hands of the experts have pointed unerringly to the chest of gold. Digging must be done in the night. Spectres and ghosts were ever on guard, and at any moment might be encountered. Again and again these supernatural visitors have appeared, striking terror into the hearts of the gold-seekers. More than once the crow-bar, thrust deep into the soft soil, has struck the iron ~chest containing the gold; but incautious lips have uttered some sudden exclamation, and away has gone the enchanted chest to another place, driven through the sand by the might of the presiding ghost. Baffled and chagrined by their own folly, the diggers have then gone home empty-handed, denouncing their impulsive comrade, and resolved to be more cautious the next time. Not a man of three score years in all Aylesford, but remembers these adventures of olden times.

 

"The tragedy of the expulsion dragged its cruel length along through the autumn and into the early winter. The intelligence brought to the camp by the faithful Micmacs convinced the Acadians that they were so hemmed in by dangers that their safest course was to take the trail to French Cross and remain there until spring, and then cross the Bay and wander on to Quebec. This plan, desperate though it was, was executed. Under the shadow of the primeval forest, close by the shore, where a brook still empties itself into the waters of the Bay, about six miles from their camp in the valley they erected their rude winter huts. Before leaving the plains they bedewed with tears the graves of their companions, and then wearily made their way over the leve4 wooded country, up the slopes of the mountain, and down to the shore of the Bay. From the place chosen for their winter home they could see across to the opposite shore. The English vessels were continually passing up and down the Bay, and even should they get safely to the other side it would :not be possible for them to go to Quebec, for not only grim forests, but deep snows would effectually bar their way. Until spring, therefore, they must stay there as contentedly as they could. During all this bitter experience their Micmac friends stood faithfully by them. Though there were many moose and caribou in the woods it was not always easy to capture them, yet they managed to get a good deal of venison, and to 'vary their diet they found an almost inexhaustible quantity of mussels clinging to the rocks.

 

"The winter passed slowly away. Above them, through the rigid, leafless branches of the giant forest, howled the storm. But around their huts were always the sympathetic spruce and fir trees, kindly and green. In December, they saw the last of the transports pass down the Bay, bearing away their compatriots to unknown shores. As they gazed upon them, appearing, passing, and disappearing in the west, borne on to shores and destiny all unknown, they envied them their lot. The last tidings brought them late in tho autumn was that all the Acadian homes had been burned. No hope or shelter appeared in that direction, so there they remained, the winter through, in their huts by the sea. Disease dogged their steps, from the sand dunes to their cold camps on the shore. Death claimed more victims. The weak among them, both old and young, succumbed, and another cemetery was made. Close by the.shore, opposite their camps, was an open space, green till covered by the snow. There they dug more graves for their fallen companions.

 

"At length spring came. Indians helped them flay the birches and construct enough canoes to take the survivors to the New Brunswick shores. When all was ready the fugitives loaded their canoes, wept over the graves of their dead, took a farewell look at their rude huts and the heaps of bones of moose, partridges, and caribou, and the shells of mussels, and committed themselves to the tender mercies of the Bay of Fundy, whose calms and storms they had watched through all that black winter. As the shore receded from their gaze their tear-dimmed eyes rested upon one object which stirred their deepest feelings. It was the wooden cross they had erected to protect the graves of their dead brothers, sisters, fathers, mothers, and children. No priest had been present to absolve the dying or to say solemn service for the dead, but they left this symbol of their religion to hold their sepulchres sacred in the eyes of all who might visit the place in after years.

 

"On the opposite side of the Bay they found some of their countrymen, who, like themselves, had endured the sufferings of camp life throughout that rigorous winter with Micmac friends. Patience, fortitude, and hope, characteristic of the Acadian, did not forsake them. They knew their homes were in ashes, but a blind belief possessed them that they should return to them, and again see in spring their green fields, bursting forests, and blossoming apple trees; again hear the sweet call of their church bells to mass and vespers; and again around their bright fires, drink their cider, smoke their pipes, and enjoy life as they had done in bygone days."

   

Morden, Bay of Fundy, Nova Scotia

Mosby winery is committed to producing award-winning Cal-Italian wines. Bill and Jeri Mosby purchased the old de la Vega land in the early 1970s, and the first thing Bill did was plant vines. The Mosby’s first commercial wines were bottled under the Vega label, named after the old Spanish California land grant. Bill’s wine began to gain industry attention, and a following of Mosby wine enthusiasts continued to develop. In 1986, at his family’s insistence, Bill changed the Vega label to reflect the Mosby name and winemaking philosophy.

Located in the Santa Barbara County AVA, the vines are planted in various microclimates found on the estate with care taken to match the grape type with the most suitable conditions. This results in wines with the distinctive varietal character Bill Mosby demands. Bill’s experienced palate and careful, ongoing search for interesting new varietals have resulted in vintage after vintage of award-winning Pinot Grigio, Sangiovese, Dolcetto, Teroldego, and more. His latest addition is the first domestically-produced Sagrantino released in this country.

 

----------------------------------------------------------------------------------------

 

Thanks to all for 12,000.000+ views and kind comments ... !

Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved

  

;-) Texto en castellano mas abajo ;-)

 

Excuse me the many mistakes that sure I have committed in the translation, I hope that it is understood regardless!

 

Development of the trilogy blog – pride – persons.

The second part of this trilogy that I dedicate to explain, and to explain myself, because I use the captions (feet) of my photos as if they were my personal blog. This time I will comment because I feel proud, basing on my concept of person that I exposed in the first photo of the trilogy.

 

I am a heterosexual crossdresser girl. It is a fact … but, what does it means? If I you tell the truth, I don´t know it with certainty. It seems as if every crossdresser girl had her own definition … probably because there are many branches inside the crossdress … but this it is another theme. I suppose that to the others happen like to me, I am ashamed instinctively of this facet of my life, it is something cultural, the image of the "transvestite" is at least ridiculous, laughable, even I fall down in it without thinking it. It is like if it was so unnatural, so out of place, so incomprehensibly … why a sane man, that considers himself as man, would try to pass off as a woman?... And this it is the nice image, also there is the vicious image, in which you are a disgusting pervert which who know how many more barbarities will do. It is not to feel very proud … not. But the reason wins to the instinct, I am a person, and as such I have reasoning and feelings, and they say to me that this it is not the reality, it is not my reality. Maybe it is a parafilia, as some people say, or maybe it is the aptitude to overcome the assigned role and experiencing positive sensations that are denied to us without reason. I do not have answers, disease or quality, I don´t know, but I know that I do not have motives for which to be ashamed. I am a person, with multiple characteristics, but none of them defines me lonely and to be a crossdresser girl is not the exception, only it is a small part of me. Globally I am not discontented with me, do not understand me badly, I should improve very much as person, but if tomorrow I would die and I would have to give account for my life and for what I am, I believe that I would go out in peace, and it is a motive of pride. The global pride like person, to feel yourself well with total honesty is what really matters. And the pride for the different characteristics that I have? It is a different pride, with different purposes, bad some as arrogance, and other more positive as the reaffirmation. The pride that I feel for be a crossdress girl is of this type. If the things were as they should be, surely I would not feel proud for it, would be another characteristic more as to have small foot or the dark eyes. But unfortunately the things are not like that, and some groups have had to use pride as method of defense, as reaffirmation against discriminations and injustices.The example most clear is the homosexuality. I am hetero and it allows me to see the situation from out, impartially, and I believe that they do very well in feeling proud, because understandable better or worse, what harm do it?, why to make to feel badly to a person for a quality that goes implicit in that person?... My crossdress does not harm anybody either and though I can give up practising it, it is not anything that could make disappear of me, as I cannot change my liking or my way of being, it is a part of my intimate self. So, if I see it good for the others, why not for me?

I look around and see so many motives for what the people should be ashamed, so many attitudes, so many actions that cause so much harm … And later I look at me, being ashamed instinctively for wearing a dress or for feeling feminine … Not … I refuse to accept it, it is possible that in the moment I could not avoid the instinct, but I refuse to accept consciously a shame that does not correspond to me, because of it I am proud! This one is not an allegation in order that we all go out to the light and feel us superproud (though it would be very well also I understand that it is very difficult and dangerous), it is for feeling us well with ourselves and we do not torture psychologically ourselves without motive. The crossdress makes me feel good, and when I dress and look at the mirror, there goes out for me a smile of satisfaction and pride. I am proud!!

 

Desarrollo de la trilogía blog-orgullo-personas.

Segunda parte de esta trilogía que dedico a explicar, y a explicarme a mi misma de paso, el porque utilizo los pies de fotos como si fueran mi blog personal. Esta vez os comentaré porqué me siento orgullosa, basándome en mi concepto de persona que expuse en la primera foto de la trilogía.

 

Soy una chica crossdresser heterosexual. Es un hecho… pero, ¿que significa eso? Si os digo la verdad, ni yo misma lo se con seguridad. Parece como si cada chica cd tuviera su propia definición… quizás porque hay muchísimas ramas dentro del crossdress… pero ese es otro tema. Supongo que a las demás os pasará como a mí, me avergüenzo instintivamente de esta faceta de mi vida, es algo cultural, la imagen del “travesti” es como mínimo ridícula, risible, yo misma caigo en eso sin pensarlo. Es como si fuera tan antinatural, tan fuera de lugar, tan incomprensible… ¿por que un hombre cuerdo, que se considera hombre, intentaría pasar por mujer?... Y esa es la imagen amable, también está la imagen viciosa, en la que eres un pervertido asqueroso que ha saber que barbaridades mas hará. No es para sentirse muy orgullosa… no. Pero la razón vence al instinto, soy una persona, y como tal tengo razonamiento y sentimientos, y ellos me dicen que esa no es la realidad, no es mi realidad. Quizás se trate de una parafilia como dicen algunos, o quizás sea la capacidad de superar el rol asignado y experimentar sensaciones positivas que nos son negadas sin razón. No tengo respuestas, enfermedad o cualidad, no lo se, lo que si se es que no tengo motivos por los que avergonzarme. Soy una persona, con múltiples características, pero ninguna de ellas me define por si sola y ser una chica cross no es la excepción, solo es una pequeña parte de mi. Globalmente no estoy descontenta de mi misma, no me entendáis mal, debería de mejorar muchísimo como persona, pero si mañana muriera y tuviera que rendir cuentas sobre mi vida y lo que soy, creo que saldría en paz, y eso es motivo de orgullo. El orgullo global como persona, el sentirse bien con una misma de forma totalmente sincera es lo que realmente importa. ¿Y el orgullo por las diferentes características que tengo? Ese es un orgullo distinto, con distintas finalidades, algunas malas como la soberbia, y otras mas positivas como la reafirmación. El orgullo que siento por ser una chica crossdress es de este tipo. Si las cosas fueran como deberían de ser, seguramente no me sentiría orgullosa por ello, sería otra característica mas como el tener los pies pequeños o los ojos negros. Pero desgraciadamente las cosas no son así, y algunos colectivos han tenido que tirar de orgullo como método de defensa, como reafirmación ante discriminaciones e injusticias. El ejemplo mas claro de esto es la homosexualidad. Yo soy hetero y eso me permite ver la situación desde fuera, imparcialmente, y creo que hacen muy bien en sentirse orgullosos, porque se entienda mejor o peor, ¿que mal hacen a nadie?, ¿por que hacer sentir mal a una persona por una cualidad que va implícita en ella?... Mi crossdress tampoco hace mal a nadie y aunque puedo renunciar a practicarlo, no es algo que pueda hacer desaparecer de mí, al igual que no puedo cambiar mis gustos o mi forma de ser, es parte de mi yo íntimo. Así que si lo veo bien para los demás, ¿por que no para mí?

Miro alrededor y veo tantos motivos por lo que la gente debería avergonzarse, tantas actitudes, tantas acciones que hacen tanto mal… Y después me miro a mí, avergonzándome instintivamente por ponerme un vestido o por sentirme femenina… No… no lo acepto, puede que en el momento no pueda evitar el instinto, pero me niego a aceptar conscientemente una vergüenza que no me corresponde, ¡por eso estoy orgullosa! Este no es un alegato para que salgamos todas a la luz y nos sintamos superorgullosas (aunque eso estaría muy bien también entiendo que es muy difícil y peligroso), sino para que nos sintamos bien con nosotras mismas y no nos martiricemos psicológicamente sin motivo. El crossdress me hace sentir bien, y cuando me visto y me miro al espejo, me sale una sonrisa de satisfacción y orgullo. ¡¡Estoy orgullosa!!

  

PS: Si quieres ver un video con este look (If you want see a video with this look):

www.youtube.com/watch?v=9GHQJ03rBJg

 

Si quieres ver una versión reducida en Flickrs (If you want see a small version in Flickrs):

www.flickr.com/photos/61410455@N08/6319457850/in/photostream

Les Totems de Sylvian Meschia sont au cœur de Saint Bertrand. Ils sont une trentaine de taille et de dimension différentes. Ils symbolisent le bâton du pèlerin. Les hommes sont en marche.

L'exposition de Sylvian Meschia composée de totems d'une hauteur de 2 à 4 m portant chacun un décor unique d'écritures, peintures, photographies réalisés sur le principe du palimpseste.

Cette technique utilisée au Moyen Âge consiste à faire disparaître les inscriptions d’un parchemin déjà utilisé pour pouvoir y écrire de nouveau.

Présentés et rassemblés comme des "bouquets", ces totems appellent le regard comme des points de repères monumentaux.

« Le Conseil départemental voulait donner une âme à Via Garona », confie Didier Cujives, président de Haute-Garonne Tourisme et amoureux de Saint Bertrand. « Via Garona est un chemin engagé qui relie Toulouse à Saint Bertrand, en passant par Rieux Volvestre. 160km au total. Trois cathédrales : Saint Etienne à Toulouse, Sainte Marie à Rieux et à Saint Bertrand.

«Mon cœur de travail est la céramique », indique Sylvian Meschia. « J’ai déjà organisé des expositions, ici, dans ce domaine au musée archéologique départemental. Ce qui est représenté sur ces totems sont des photos d’œuvres réalisées en céramique. Ces photos sont imprimées sur du vinyle, lui-même collé sur les totems. » Chaque bâton porte un décor unique, intégrant des motifs picturaux et photographiques ainsi que des références aux différents sites de la Via Garona.

 

The Totems of Sylvian Meschia are at the heart of Saint Bertrand. They are about thirty different sizes and dimensions. They symbolize the pilgrim's staff. The men are on the move.

The exhibition of Sylvian Meschia composed of totems from a height of 2 to 4 m each carrying a unique decoration of writings, paintings, photographs produced on the principle of the palimpsest.

This technique used in the Middle Ages consists of removing the inscriptions from a parchment that has already been used in order to be able to write on it again.

Presented and gathered like "bouquets", these totems appeal to the eye like monumental landmarks.

"The Departmental Council wanted to give a soul to Via Garona", says Didier Cujives, president of Haute-Garonne Tourisme and lover of Saint Bertrand. “Via Garona is a committed path that connects Toulouse to Saint Bertrand, passing through Rieux Volvestre. 160km in total. Three cathedrals: Saint Etienne in Toulouse, Sainte Marie in Rieux and Saint Bertrand.

“My heart of work is ceramics,” says Sylvian Meschia. “I have already organized exhibitions here in this area at the departmental archaeological museum. What is represented on these totems are photos of works made in ceramics. These photos are printed on vinyl, which is itself glued to the totems. Each stick bears a unique decoration, integrating pictorial and photographic motifs as well as references to the various sites of the Via Garona.

This is a series of photos i used in a music video. Youtube this is the link to the video. Please view it and comment.

Szczęsny committed suicide by immolation on 29th October 2017, in protest against the policies of Poland's ruling Law and Justice party....

Ford Explorer

 

The Town of Clifton Park is committed to ensuring the public safety and protecting the citizens and property of community. In addition to dedicated contract policing by the Saratoga County Sheriff’s Department and the New York State Police {Clifton Park Station} maintains a Town of Clifton Park Security Patrol.

 

Town Security Patrols cover town facilities – Buildings, Parks, Recreational / Sport Venues and residential neighbors to insure the public safety, protect public and private property. Town Security is responsible for the following items also –

 

Conducts speed checks on town roadways to ensure general compliance with posted speed limits,

Security Patrols days, evenings, weekends at various hours to meet residential needs and concerns,

Security / Code Enforcement Officers are responsible for the enforcement of all Town Codes and ordinances,

Enforces all Fire Lane and Handicapped Parking Laws,

Provides security and law presence at all Town Board, Committee Meetings, in the Justice Court and general public gatherings in Town Hall and Town Court located at the Town Public Safety Building,

Conducts “Vacation” home security checks to deter unlawful activity, upon written request of the homeowner, while away on vacation. Please See “Online Vacation Form”.

Traffic Control and Crossing Duties -

 

Assists the Shenendehowa Schools with Crossing Guard duties on busy highways,

Provide crossing duties for Town Sponsored events - Day Camp sites, civic events, Sports Tournaments, Parades, and / or town emergencies,

The Town of Clifton Park Security Department consists of 3 - Full Time Security Officers, 4 - Part-time Security Officers, 4 - Guards and 2 – Armed Court Officers and all Full Time, Part-time and Court Officers are New York State Certified Officers and all Public Safety Security Vehicles are fully radio equipped to interact with Saratoga County Sheriff’s Department or the New York State Police.

Source:

www.cliftonpark.org/index.php?option=com_content&view...

 

Photo By Derek J. Ewing

Copyright 2018 - All Rights Reserved

The Town of Clifton Park is committed to ensuring the public safety and protecting the citizens and property of community. In addition to dedicated contract policing by the Saratoga County Sheriff’s Department and the New York State Police {Clifton Park Station} maintains a Town of Clifton Park Security Patrol.

 

Town Security Patrols cover town facilities – Buildings, Parks, Recreational / Sport Venues and residential neighbors to insure the public safety, protect public and private property. Town Security is responsible for the following items also –

 

Conducts speed checks on town roadways to ensure general compliance with posted speed limits,

Security Patrols days, evenings, weekends at various hours to meet residential needs and concerns,

Security / Code Enforcement Officers are responsible for the enforcement of all Town Codes and ordinances,

Enforces all Fire Lane and Handicapped Parking Laws,

Provides security and law presence at all Town Board, Committee Meetings, in the Justice Court and general public gatherings in Town Hall and Town Court located at the Town Public Safety Building,

Conducts “Vacation” home security checks to deter unlawful activity, upon written request of the homeowner, while away on vacation. Please See “Online Vacation Form”.

Traffic Control and Crossing Duties -

 

Assists the Shenendehowa Schools with Crossing Guard duties on busy highways,

Provide crossing duties for Town Sponsored events - Day Camp sites, civic events, Sports Tournaments, Parades, and / or town emergencies,

The Town of Clifton Park Security Department consists of 3 - Full Time Security Officers, 4 - Part-time Security Officers, 4 - Guards and 2 – Armed Court Officers and all Full Time, Part-time and Court Officers are New York State Certified Officers and all Public Safety Security Vehicles are fully radio equipped to interact with Saratoga County Sheriff’s Department or the New York State Police.

Source:

www.cliftonpark.org/index.php?option=com_content&view...

 

Photo By Derek J. Ewing

Copyright 2023 - All Rights Reserved.

Name: Reginald Stains alias Brown

Arrested for: not given

Arrested at: North Shields

Arrested on: 4 December 1915

Tyne and Wear Archives ref: DX1388-1-262-Reginald Stains AKA Brown

 

The Shields Daily News for 15 December 1915 reports:

 

“NORTH SHIELDS FALSE PRETENCES CASE. ACCUSED COMMITTED FOR TRIAL.

 

Reginald Ashley Staines (30), chief steward, of 23 Milton Terrace, was brought up on remand at North Shields today, charged with having obtained by false pretences on the 22nd Nov. from Joseph Randell, the sum of £15 and on the 23rd ult. a further sum of £7 from Joseph Randell and Ed. Perris and on the same date in a like manner, the sum of £5 from William Manson Bews, with intent to cheat and defraud. Mr Frankham of Newcastle defended.

 

Joseph Randell of 40 Drummond Terrace stated that in the early part of November last defendant came to his shop and made reference to some previous groceries and wanted to open an account. On the 22nd October he ordered goods to be sent on board his ship. On the 22nd Nov. he wanted to cash a cheque for £15. He said he had got married and wanted to go to Liverpool and witness gave him the £15. Next day he again came to the shop and asked witness to cash another cheque for £7 and he said he would send his account from Liverpool in settlement for some goods. Witness cashed the cheque. He presented the cheques on the 22nd and 23rd Nov. and they were returned on the 24th and 25th.

 

Mr Frankham: Defendant has had other dealings with you for groceries and provision? – Yes.

Mr Frankham: Have you cashed other cheques for him? One, for £10, which was honoured.

Mr Frankham: If he had asked for the loan of a certain sum, would you have give him it? – No.

Mr Frankham: He never attempted to conceal where he was going to? – No.

Mr Frankham: You made no effort to get in touch with him? – Yes. Mr Perris went to his mother’s and could not get his address.

 

William Manson Bews, a tailor residing in Linskill Terrace, said that on the 23rd October the defendant came to his shop and ordered a frock suit, a jack suit, a double-breasted suit and a cap. He was dressed in a naval uniform and said the things had to be delivered to the Northumberland Arms. On the 22nd November he again came to the shop and asked for his account. He told witness he was a little short of cash. Witness gave him £5 and the defendant made out a cheque for £22 12s, in payment of the clothes and the money. The cheque was presented at Farrow’s Bank, Newcastle on the 24th and returned on the 26th. Witness still had all the clothes with the exception of the uniform.

 

George Graham Campbell of Farrow’s Bank said that no the 24th November the cheque produced, for £15, was presented and returned, marked ‘N.S.’. On that date the defendant only had £3 19s 6d in the bank. On the 25th November cheques for £7 and £22 12s were presented but the defendant only had a balance of £1 19s 6d then.

 

Detective-Sergeant Radcliffe stated that from certain information received he went to Brighton, on the 3rd inst. and took the defendant into custody from the Brighton police. He was brought to North Shields and when questioned replied “The only thing I can say is, the cheque must not have been met”. When charged later he made no reply. The defendant pleaded not guilty.

 

Mr Frankham said the defendant had not the slightest intent to rob anybody of money. He had a banking account and being newly married and unwell, had gone away and given these cheques. He had about £16 on board the ship and the officers were owing him about £30. The defendant gave a cheque for £1 on the 13th November as a donation to the YMCA. He had not tried to cover up any tracks and the officers on board HMS Satellite knew where he was.

 

The defendant, in giving evidence on his own behalf, said he was chief steward on HM Yacht Medusa II. The ship came into port on the 19th November and he had leave granted because he had been ill and he was going to be married. After the marriage he went to Liverpool and was there two days and he then went to London and Brighton. He sent his medical certificate to HMS Satellite. When he got the money from Mr Randell and Mr Bews he understood he had sufficient money in the bank to meet the cheques. Money was owing to him on board the ship but he could not say how much. He had no intention of defrauding the people.

 

The defendant was committed for trial at the Quarter Sessions”.

 

On 6 January 1916 at Northumberland Quarter Sessions Reginald Staines was acquitted on a charge of obtaining money by false pretences from tradesmen at North Shields.

 

These images are taken from an album of photographs of prisoners brought before the North Shields Police Court between 1902 and 1916 (TWAM ref. DX1388/1). This set is our selection of the best mugshots taken during the First World War. They have been chosen because of the sharpness and general quality of the images. The album doesn’t record the details of each prisoner’s crimes, just their names and dates of arrest.

 

In order to discover the stories behind the mugshots, staff from Tyne & Wear Archives & Museums visited North Shields Local Studies Library where they carefully searched through microfilm copies of the ‘Shields Daily News’ looking for newspaper reports of the court cases. The newspaper reports have been transcribed and added below each mugshot.

 

Combining these two separate records gives us a fascinating insight into life on the Home Front during the First World War. These images document the lives of people of different ages and backgrounds, both civilians and soldiers. Our purpose here is not to judge them but simply to reflect the realities of their time.

 

(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.

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.

;-) Texto en castellano mas abajo ;-)

 

Excuse me the many mistakes that sure I have committed in the translation, I hope that it is understood regardless!

 

Conclusion of the trilogy blog – pride – persons.

Third and last part of this trilogy that I dedicate to explain, and to explain myself, because I use the captions (feet) of my photos as if they were my personal blog.

 

Always I have been a crossdresser girl, an innate tendency that thankfully did not produce many concern to me, it was there, but separated from my habitual life. It was dominating my fantasies and dreams, but was not leaving trace in the "real" life. It was appearing in the moment in which one was giving an opportunity and was vanishing without leaving trace, as if it had never happened at all. I was never planning anything, never thinking about it except in my dreams, only… was arising occasionally, sometimes with many frequency, sometimes with long periods of inactivity. Until that came one day in which I wanted more, I started having concern, started having desires and this part of me that was living in my dreams until that moment, started emerging in my reality. It was then when I started investigating the subject, in the easiest and more safe way … Internet. I was lucky, found at the first attempt the suitable sites, far from the topics and the habitual image of the "transvestite" with which I was not identifying. I found heterosexuals crossdressers who understood the subject of similar form to how I was feeling. It was good for me, I could see from out, in other persons a sort of reflection of what I was, or I wanted to be. In this reflection I saw persons and saw pride, not because they wanted to transmit it deliberately, surely they were not thinking it, but it was what I saw, and I liked it. Different and complete persons to who the crossdress factor, was not limiting them and was not determining for entire. Crossdress was alone one more characteristic and they were not left to trap for a hackneyed role that really was not reflecting their true personality, except when wanted to do it. A characteristic that they were taking of natural form, with precaution against the dangers, but with the implicit pride of the one that does not make nothing bad. Yes, I was lucky, if instead of find initially the correct persons I had found the typical image of the transvestism, surely I had stopped searching soon, convinced to be totally atypical. And surely not had changed anything, probably my path would be the same, but I had felt isolated and alone in this. Because of it I would like to contribute to put my two cents in to give the image that I received in that moment. Flickr is the temple of the image, is not the appropriate site to write, but it is, probably, one of the first sites that visits a beginner crossdress girl, or someone interested in it… almost certainly, end up passing through Youtube or Flickr, and if fortuitously find my gallery, I hope that they see a gallery that, though it belongs to a silly and ugly girl with a low level of crossdress, it transmit the values that I liked to find so much. This one is not the reason for which I upload photos and videoes, but it is the principal reason for which I try to transmit my personality in what I do, because of it, even though it is not the suitable place and be so ephemeral as to construct sandcastles, I write whatever I think in every moment, things related to the crossdress and things that not, silly things and deep issues, my tastes and interests, my culture … because it is the gallery of a person … that among other many things, is a crossdresser girl and is proud of it.

 

Conclusión de la trilogía blog-orgullo-personas.

Tercera y última parte de esta trilogía que dedico a explicar, y a explicarme a mi misma de paso, el porque utilizo los pies de fotos como si fueran mi blog personal.

 

Siempre he sido una chica crossdresser, una tendencia innata que por suerte no me produjo muchas inquietudes, estaba ahí, pero separada de mi vida habitual. Dominaba mis fantasías y sueños, pero no dejaba huella en la vida “real”. Se manifestaba en el momento en que se daba una oportunidad y se desvanecía sin dejar huella, como si nunca hubiera pasado nada. Nunca planeaba nada, nunca pensaba en ello excepto en mis sueños, solo… surgía de vez en cuando, a veces con mucha frecuencia, a veces con largos periodos de inactividad. Hasta que llegó un día en que quise más, empecé a tener inquietudes, empecé a tener deseos y esa parte de mí que vivía en mis sueños hasta ese momento, empezó a emerger en mi realidad. Fue entonces cuando empecé a investigar sobre el tema, de la manera más fácil y segura… Internet. Tuve mucha suerte, encontré a la primera los sitios adecuados, lejos de los tópicos y la imagen habitual del “travesti” con la que no me identificaba. Encontré a crossdressers heterosexuales que entendían el tema de forma parecida a la que yo sentía. Eso fue bueno para mi, pude ver desde fuera, en otras personas una especie de reflejo de lo que yo era, o quería ser. En ese reflejo veía personas y veía orgullo, no porque ellas lo quisieran transmitir expresamente así, seguramente ni lo pensaban, pero era lo que yo veía, y me gustaba. Personas distintas y completas a la que el factor crossdress, ni limitaba ni condicionaba por entero. El crossdress era solo una característica más y no se dejaban aprisionar por un rol tópico que realmente no reflejaba su verdadera personalidad, excepto en los momentos que sí que querían hacerlo. Una característica que llevaban de forma natural, con precaución ante los peligros, pero con el orgullo implícito del que no hace nada malo. Sí, tuve suerte, si en vez de dar al principio con las personas correctas, hubiera encontrado la imagen típica del travestismo, seguramente hubiera dejado pronto de buscar, convencida de ser una bicho raro totalmente atípica. Y no es que hubiera cambiado nada, probablemente mi trayectoria sería la misma, pero me hubiera sentido aislada y sola en esto. Por eso me gustaría aportar mi granito de arena en dar la imagen que yo recibí en su momento. Flickr es el templo de la imagen, no es el sitio adecuado para escribir, pero sí es, probablemente, unos de los primeros sitio que visite una chica crossdress principiante, o alguien interesado por el tema… terminas pasando por Youtube o por Flickr casi seguro, y si por casualidad dan con mi galería, espero que vean una galería que, aunque sea de una chica tonta y fea con un nivel bastante bajo de crossdress, transmita los valores que a mi tanto me gustó encontrar. Esta no es la razón por la que subo fotos y videos, pero sí es la razón principal por la que intento transmitir mi personalidad en lo que hago, por eso escribo, aunque no sea el lugar adecuado y sea tan efímero como construir castillos de arena, lo que se me ocurre en cada momento, cosas relacionadas con el crossdress y cosas que no, disparates y temas profundos, mis gustos y aficiones, mi cultura… porque es la galería de una persona… que entre otras muchas cosas, es una chica crossdresser y está orgullosa de ello.

    

PS. Si quieres ver videos con este look (If you want see a videos with this look) :

 

In Youtube (recomendado, se ve mejor / recommended, it looks better):

(black version) www.youtube.com/watch?v=o7ZCsLKcOQs

(blue version) www.youtube.com/watch?v=0lzDtTeAte4

  

In Flickr:

(black version) www.flickr.com/photos/61410455@N08/6884139200/in/photostream

(blue version) www.flickr.com/photos/61410455@N08/7177731536/in/photostream

 

PPS. También disponéis de una versión alternativa de esta foto con un estilo cómics en la siguiente dirección: / Also is available an alternate version of this photo, in a comics style, at the following link:

www.flickr.com/photos/61410455@N08/7308970340/in/photostream

 

Estoy muy orgullosa de esa versión, así como de la original que estáis viendo aquí. / I am very proud of that version and also the original photo you're seeing here ^_^

 

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.

I'm not sure a bird can be anymore stretched out and committed to catching that fish than this massive eagle is. With the talons extended out front and the wings fully in the back position ready to apply as much force as possible to striking and clamping down on that fish, this eagle means business.

www.troymarcyphotography.com

 

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.

committed in the shed over the past week have resulted in much shuffling and much painting :)

 

rambled

Committed to Ferrania P30 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.

We here at Bullseye® are committed to bringing you top quality products to feed your sadistic inner addiction for mindlessly slaughtering people you dislike,

 

The ''Linebacker'' Anti personal rifle is our latest weapon using our patented dual bolt cycling technology, This little beauty fires .308 Sabot rounds at face melting velocity, enough to leave anything with 2 hilariously large holes, The Linebacker is also equipped with our new auto-lock on target tracking scope, so you never miss your target!

 

We here at Bullseye® do not condone the murder of innocent animals or people, we do however find it fucking hilarious!

 

Oh, and did we mention? The Linebacker can be fulfilling your need for mindless violence in 3 easy payments of 7000 credits! And as always, purchasing a Bullseye® gives you the Bullseye® Guarantee!*

 

*If your Bullseye® weapon blows off your arms and leaves you disabled, please send us an email telling us about the faulty weapon and we will repair your weapon for no extra costs*

 

**Bullseye® Home Repair kits now available for only 33 easy payments of 500 Credits!***

 

***Shipping not Included!

  

''Bullseye® Pleasing the sadistic inner child of you since 2012!''

 

Credit to Cami for the shading technique.

Teacher, journalist, committed Christian, and first Secretary General of the African National Congress, Sol Plaatje (1876-1932) cycled around South Africa with a typewriter to document the devastating impact of the 1913 Land Act, which saw Black landowners dispossessed overnight in most of South Africa.

 

He is memorialised here at the Long March to Freedom exhibition at the Cradle of Humankind World Heritage Site in Maropeng, 55 km north west of Johannesburg. The Long March to Freedom consists of almost 100 life-sized bronze statues of people who resisted colonialism and apartheid from the 17th Century to the late 20th Century. It is said to be the largest exhibition of representational bronze sculptures anywhere in the world.

Today I committed to doing a film image. With the rain starting just as I started to shoot I figured the universe was encouraging me to shoot a portrait. The light in Luc’s room is the best in the house. It faces south, has floor to ceiling windows with the bottom half diffused with translucent coroplast. Aubrey was deep into Roblox but Luc was nice enough to give me a bit of time. So up came a piece of black foam core and away we went.

 

I actually missed focus on this frame but I don't mind as this is by far the strongest image of the set. I fudged the error with some liberal sharpening on the eyes in Capture One.

 

Shot with my Mamiya C220 and chrome 80mm f/2.8 lens wide open at 1/60 of a second, developed by hand in the upstairs bathroom and digitized with my Fujifilm X-T3 and old manual focus Nikkor 55 micro... all in the same day.

 

Expired Delta 100 Pro (2014) developed in Ilford DD-X in a Patterson tank for 11:30 minutes. Conversion from negative, spotting and some dodging done in Capture One Pro.

 

I just love the look of medium format film.

 

178/365