View allAll Photos Tagged completed
File name: 08_02_000140
Box label: Bridges & tunnels
Title: Completed tunnel looking west sta. 18+0
Alternative title:
Creator/Contributor:
Date issued:
Date created: 1932-06-03
Physical description: 1 photographic print ; 8 1/2 x 11 in.
Genre: Photographic prints
Subjects: Tunnels; Construction; Construction equipment
Notes: Additional information from image caption: Silas Mason Co., Inc. Section A. Boston Traffic Tunnel. No. 43
Provenance: Gift of Mrs. Anne Dunn in memory of Joseph A. Dunn.
Statement of responsibility:
Location: Boston Public Library, Print Department
Rights: Rights status not evaluated.
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It's been a while since I've taken a picture. I needed a break, but today I was really feeling the need to get back to it.
I'm working on my Halloween costume right now. I have most of the supplies, and this is one of the components (a Radio Shack 7-color LED) to really make it cool. I hooked it all up to make sure it's working, and here you have it.
Once the costume is done, there will be pictures a-plenty, but I'm keeping it under wraps until then.
No visit to Cambodia is complete without attending at least one traditional Khmer dance performance, often referred to as 'Apsara Dance' after one of the most popular Classical dance pieces. Traditional Khmer dance is better described as 'dance-drama' in that the dances are not merely dance but are also meant to convey a story or message. There are four main modern genres of traditional Khmer dance: 1) Classical Dance, also known as Court or Palatine Dance (lakhon preah reach troap or lakhon luong); 2) Shadow theater (sbeik thom and sbeik toot); 3) Lakhon Khol (all-male masked dance-drama.); 4) Folk Dance (Ceremonial and Theatrical).
As evidenced in part by the innumerable apsaras (celestial dancers) that adorn the walls of Angkorian and pre-Angkorian temples, dance has been part of Khmer culture for well more than a millennium, though there have been ruptures in the tradition over the centuries, making it impossible to precisely trace the source of the tradition. Much of traditional dance (especially Classical) is inspired by Angkorian-era art and themes, but the tradition has not been passed unbroken from the age of Angkor. Most traditional dances seen today were developed in the 18th through 20th centuries, beginning in earnest with a mid-19th century revival championed by King Ang Duong (reigned 1841-1869). Subsequent Kings and other Khmer Royals also strongly supported the arts and dance, most particularly Queen Sisowath Kossamak Nearireach (retired King Norodom Sihanouk's mother) in the mid-20th century, who not only fostered a resurgence in the study and development of Khmer traditional dance, but also helped move it out of the Palace and popularize it. Queen Sisowath Kossamak trained her grand daughter Princess Bopha Devi in the art of traditional dance from early childhood, who went on to become the face of Khmer traditional dance in the 1950s and 60s both in Cambodia and around the world. Many traditional dances that are seen in performances today were developed and refined between the 1940s and 1960s under the guidance and patronage of Queen Sisowath Kossamak at the Conservatory of Performing Arts and the Royal University of Fine Arts in Phnom Penh. Almost all of the Theatrical Folk dances that are presented in modern performances were developed during this period. Like so much of Cambodian art and culture, traditional dance was almost lost under the brutal repression of the Khmer Rouge regime of the late 1970s, only to be revived and reconstructed in the 1980s and 90s due, in large part, to the extraordinary efforts of Princess Bopha Devi.
Classical dance, including the famous 'Apsara dance,' has a grounded, subtle, even restrained, yet feather-light, ethereal appearance. Distinct in its ornate costuming, taut posture, arched back and feet, fingers flexed backwards, codified facial expressions, slow, close, deliberate but flowing movements, Classical dance is uniquely Khmer. It presents themes and stories inspired primarily by the Reamker (the Cambodian version of the Indian classic, the Ramayana) and the Age of Angkor.
Folk Dance come in two forms: ceremonial and theatrical. As a general rule, only Theatrical Folk Dance is presented in public performances, with Ceremonial Folk Dances reserved for particular rituals, celebrations and holidays. Theatrical Folk Dances such as the popular Good Harvest Dance and the romantic Fishing Dance are usually adaptations of dances found in the countryside or inspired by rural life and practices. Most of the Theatrical Folk Dances that are seen in performances today were developed at the Royal University of Fine Arts in Phnom Penh in the 1960s as part of an effort to preserve and perpetuate Khmer culture and arts.
Shadow theatre comes in two forms: Sbeik Thom (big puppets that are actually panels depicting certain characters from the story) and Sbeik Toot (small articulated puppets). The black leather puppets are held in front of a light source, either in front or behind a screen, creating a shadow or silhouette effect. Sbeik Thom is the more uniquely Cambodian, more formal of the two types, restricting itself to stories from the Reamker. The performance is accompanied by a pin peat orchestra and narration, and the puppeteers are silent, moving the panels with dance-like movements. Sbeik Toot has a far lighter feel, presenting popular stories of heroes, adventures, love and battles, with or without orchestra and with the puppeteers often doing the narration.
Lakhon Khol is all male masked theatre presenting exclusively stories from the Reamker.
Most dance performances in Siem Reap offer a mixture of Classical and Theatrical Folk dances. A few venues offer Shadow Theater. Many of the dance performances in Siem Reap consist of 4-6 individual dances, often opening with an Apsara Dance, followed by two other Classical dances and two or three Theatrical Folk dances. The Apsara Dance is a Classical dance inspired by the apsara carvings and sculptures of Angkor and developed in the late 1940s by Queen Sisowath Kossamak. Her grand daughter and protégé, Princess Bopha Devi, was the first star of the Apsara Dance. The central character of the dance, the apsara Mera, leads her coterie of apsaras through a flower garden where they partake of the beauty of the garden. The movements of the dance are distinctly Classical yet, as the dance was developed for theatrical presentation, it is shorter and a bit more relaxed and flowing than most Classical dances, making it both an excellent example of the movements, manner and spirit of Classical dance and at the same time particularly accessible to a modern audience unaccustomed to the style and stories of Khmer dance-drama.
Another extremely popular dance included in most traditional dance performances in Siem Reap is the Theatrical Folk Dance known as the 'Fishing Dance.' The Fishing Dance is a playful, energetic folk dance with a strong, easy-to-follow story line. It was developed in the 1960s at the Royal University of Fine Arts in Phnom Penh and was inspired by the developer's interpretation of certain rather idealized and stereotyped aspects aspects of rural life and young love. Clad in rural attire, a group of young men and women fish with rattan baskets and scoops, dividing their attention between work and flirtatious glances. Women are portrayed as hardworking, shy, demurring and coy, whereas the young men are strong, unrestrained, roguish and assertive. As the dance continues a couple is separated from the group allowing the flirtations between them to intensify, only to be spoiled by the male character playing a bit too rough, leading to her coy rejection. He pokes and plays trying to win her back, bringing only further rejection. Eventually he gently apologizes on bended knee and after some effort, draws a smile and her attention once again. Just as they move together, the group returns, startling the couple and evoking embarrassment as they both rush to their 'proper' roles once again. The men and women exit at opposite sides of the stage, leaving the couple almost alone, but under pressure of the groups, they separate, leaving in opposite directions, yet with index finger placed to mouth, hint of a secret promise to meet again. (In an interesting side note, placing one's index finger to the lips to denote quiet or secrecy is not, generally speaking, a gesture found in Cambodia, but is common in the West. Its employment in the dance probably indicates a certain amount of 'foreign influence' amongst the Cambodian choreographers when the dance was developed in the 1960s.)
Source: Canby Publications Co., Ltd.
This is the complete setup. It is a C8 with a 0.63X reducer, so effective focal length is ~ 1310 mm F/6.3. Canon T4i, heated dew shield. All of this on a Vixen SXD mount that had its servo motors replaced with Vexta NEMA11 steppers with an 18:1 gear head. The electronics were replaced with STM32 OnStep.
For more on OnStep STM32 go here
I finally have a strong feeling that Kristine is complete: in her look and as a character. Such a pleasant feeling! I'm her fan-girl, lol! *o*
Probably the coolest thing (in my girl's opinion) I've sewn in a long time: a furry vest (lined with Liberty).
It's been worn almost daily. I can confirm, it washes very well ;)
Henry VIII and his six wives, in chronological order L to R.
A life-size tableau in allegedly authentic costume at Sudeley castle.
This is the only place within the castle itself where you're allowed to take pictures. However the lighting is not good.
The Hillary Trail completes and links up existing tracks in the Waitakere Forest Park. Close to Auckland City, but a world away.
Just needs a coat of varnish...
I shot a macro self portrait of sprinkles on my lips and pop realism painter Robert Townsend is transforming the image into a 36x36 oil painting for his show at Sue Greenwood Gallery in Laguna Beach on June 2nd. This is what the process looks like, starting with the sepia base coat. You can see more of his work at: www.freecolortv.com :)
*FAIRWEATHER* CX complete bike
BLUE LUG custom
SPEC
Frame: *FAIRWEATHER* CX frame BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Stem: *FAIRWEATHER* UI-7 integrated stem (silver)
Wheels: *WHITE INDUSTRIES* eno hub × *VELOCITY* a23 rim
Tire: *CONTINENTAL* gatorskin tire 700x32c (black)
Brake lever:*PAUL* love lever (black)
Crankset: *WHITE INDUSTRIES* eno single speed crank (black)
Saddle: *SELLE ITALIA* flite1990 saddle
Brake: *PAUL* mini moto
Handle: *NITTO* b352 all rounder bar (silver)
Grips: *PDW* *PDW* speed metal grips (silver)
Headset:*CHRIS KING* nothreadset 1 1/8" (pink)
Freewheel: *WHITE INDUSTRIES* eno single freewheel
Pedal: *MKS* lambda
*AFFINITY* lo pro complete bike
BLUE LUG custom
SPEC
Frame: *AFFINITY* lo pro (army green)
Wheels: *H PLUS SON* super lite rim × *GRAN COMPE* small track hub
Headset:*CANE CREEK* forty
Crankset: *AFFINITY CYCLES* original crankset (black)
Brake lever:*DIA-COMPE* mx122
Stem:*THOMSON* elite stem (25.4mm/5°/black)
Handle: *NITTO* rb001aa BL special (black)
Saddle: *SELLE SAN MARCO* dirty squod saddle (black)
*AFFINITY CYCLES* lo pro complete
BLUE LUG custom
SPEC
Frame: *AFFINITY CYCLES* lo pro track frame (matt black)
Headset:*CHRIS KING* nothreadset 1" (black)
Front Wheel: *MAVIC* ellipse
Rear Wheel: *MICHE* pistard rear wheel
Tire: *MICHELIN*lithion 700×23Ｃ　*VITTORIA* randonneur tire 700×28Ｃ
Crankset: *FSA* carbon track crankset
cog: *EURO ASIA*delux steel track cog
Brake: *CAMPAGNOLO*veloce
Pedal: *ODYSSEY* twisted pc pedal (black)
Stem: *THOMSON* elite stem
Handle:*NITTO* riser bar (black)
Grip: *OURY * mountain grip (black)
Seatpost: *THOMSON* elite seatpost (black)
Saddle:*TIOGA* ｓpider saddle