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In the ASTRA National Museum Complex, Sibiu, Romania
The Romanian cultural association ASTRA decided in 1897 to establish a museum of Romanian civilization as a "shelter for keeping the past". The "ASTRA" Museum of Traditional Folk Civilization (Romanian: Muzeul Civilizaţiei Populare Tradiţionale "ASTRA") is located in the Dumbrava Forest, 3 km south of Sibiu. Occupying an area of 0.96 square kilometers, it is the largest open-air museum in Romania and one of the largest in Central and Eastern Europe. It contains houses and workshops of the traditional Romanian folk culture from the pre-industrial era. Over 300 houses and other buildings are situated in the forest around two artificial lakes with over 10 km of walkways between them.
The exhibits are organized into six thematic groups: food production and animal husbandry; production of raw materials; means of transportation; manufacture of household objects; public buildings; an exposition of monumental sculpture. (Wikipedia)
Siem Reap - Ankor Wat Temple - Sunrise @ lotus pond
CAM7497.F
Many thanks for your visits, comments, faves and invitations.
Take care and stay healthy!
Angkor Wat is a temple complex in Cambodia and the largest religious monument in the world with the site measuring 162.6 hectares (1,626,000 m2). It was originally constructed as a Hindu temple of god Vishnu for the Khmer Empire, gradually transforming into a Buddhist temple toward the end of the 12th century. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum. Breaking from the Shaiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors.
This vantage point gave me an opportunity to see multiple large shopping malls in their entirety, as well as the numerous commercial or office buildings that surround them.
A picture of a large shopping complex, consisting of multiple shopping malls that are interconnected with each other, as well as a few office buildings that surround it.
Karl-Marx-Hof is a municipal residential complex with 1382 apartments in Heiligenstadt, a neighbourhood of the 19th district of Vienna, Döbling. It was built in the years 1927-30.
Karl-Marx-Hof is a so-called Gemeindebau, which is the German word for "municipality building" (pl. Gemeindebauten). It`s one of the best-known Gemeindebauten in Vienna.
"Gemeindebauten have become an important part of the architecture and culture of Vienna since the 1920s. Up to 1918, the housing conditions of Vienna's growing working class were appalling by modern standards. When the Social Democratic Party of Austria gained control of the municipal administration during Austria's First Republic (1918-1934) (so called "Red Vienna"), it began the project of improving living conditions for workers. A large number of Gemeindebauten, usually large residential estates, were built during that time. Including those buildings that were finished after the events of February 1934, 64,000 apartments where completed, which created housing space for about 220,000 people. Apartments were assigned on the basis of a point system favoring families and less affluent citizens.
The classic interwar Gemeindebauten typically have a main entrance with a large gate, through which one enters into a yard. Inside, there are trees and some greenery, where children can play without having to go out on the street. Apartments are accessed from the inside.
This fortress-like structure made the buildings adaptable to military use. Several Gemeindebauten in Vienna, most notably the Karl-Marx-Hof, were sites of fighting during the Austrian Civil War of February 1934, when they were defended as Social Democratic Party strongholds." en.wikipedia.org/wiki/Gemeindebau
de.wikipedia.org/wiki/Karl-Marx-Hof de.wikipedia.org/wiki/Rotes_Wien
The Shwe Inthein Stupa Complex is in the Inle Lake region of Myanmar. A total of 1054 slender-spired Shan zedis (stupas) are packed into an enclosure above Inthein. Most date from the 17th and 18th centuries, but the ones in this image are newer and some have been restored.
My Sony kit lens broke on this trip and most of my Armenia photos were taken with my iPhone.
Kecharis, is a medieval Armenain monastic complex dating back to the 11th to 13th centuries, located 60 km from Yerevan, in the ski resort town of Tsakhkadzor in Armenia.
Guggenheim Museum is a gallery of modern and contemporary art in Bilbao, Spain, designed by architect Frank Gehry. The architecture of this building is out of this world. It seems almost organic and fluid in nature.
The museum looks different form every angle and it changes in appearance with every single change of perspective. It is not just the angle that changes, the building really transforms before your eyes and no doubt its design has a lot to do with that perception. It is one giant random generator of shapes and textures.
More about this photo on my Blog and Facebook page.
From Portal, AZ, with Nikon D750 (Ha modified) and Nikkor 300mm f/2.8 lens. May 2020. 5 hours of 2 minute exposures, processed via PixInsight.
Complex simplification
Man I’ve struggled to write this text. It’s felt like digging a hole from England to Australia. The first few spades full were effortless as I enthusiastically threw them over my shoulder, but the hole quickly became very deep and then I hit ROCK. Now the task of finishing the job has become very daunting and if I’m to continue, it’s going to be slow and arduous. So…I’m going to start this with a paradoxical conclusion, then offer some alternative perspectives on digging …but first the conclusion, “simplicity turns out to be rather bloody complex!”
My messy mind
When photographing in a location, I’ve often observed how my ‘state of mind’ influences the way I see world and engage with it. Now this is a massive topic and I’d be foolish to attempt to cover it here, (man it looks very dark in the bottom of that hole). But more recently, I have observed whilst in the most peaceful locations, ‘self imposed artistic ideals’ creep into and distort my particular view of that reality. These thoughts can be very productive when wanted, but sometimes have become irritants when not, placing unattainable expectations of ‘perfection’ of light subject and composition over what is essentially reality.
To experience a ‘beautiful’ location in ‘perfect’ light is indeed, very special but, ‘the very act of photographing’ the location is further introducing complications on how one engage with any given scene. Often, (even without the camera), instead of enjoying the view, I have a sometimes (self diagnosed), irritating tendency to scout for locations, attempt to second-guess the weather, seek out detail, light and foreground interest. When I do have the camera (if I’m honest most of the time when in these locations) and feel inspired to take the tripod off my back, I’m often racing the fast moving conditions, setting up equipment and looking at the world through the viewfinder.
So why is this a problem you ask? Isn’t it your intention to seek out these locations and try to convey some of the feelings you have in a photographic representation? Well yes, but it’s those very ‘feelings’, that are being distorted by the process, that I want to experience as ‘pure’ in order to attempt to convey. I’ve noticed that often I actually ‘see’ and ‘feel’ more for a location when viewing the ‘image’ some time after its making, when I’ve have had time to reflect, things have slowed down and I’ve allowed my mind to dig deeper into the image and location. Unusually I see and feel things that I didn’t when I was making the image, which is bizarre, as you would think that being there in the flesh enables you to see more, but the opposite seems to be true. I would speculate that on location, our senses can become overloaded and the previously mentioned reasons, all influence the unique filtrated perception of the location.
I do believe that we in fact absorbed the overlooked information, somewhere deep in the subconscious mind, but it is only when reflecting on the imagery later that we begin to process the mechanical representations disentangling the thoughts, laden them with significance, and produce feelings. The photograph then seems not only to be historical record of the place we were. But actively catalyzing the emotions surrounding the experience, digging not only into the very place we were making the image, but deep into the recesses of our memory and dragging out past seemingly tenuously connected feelings.
Now all this mental clutter isn’t necessarily a problem, I suppose it depends on how you choose to look at why you were there in the first place. I do however wonder why we naturally filter out that information? I wonder if we simplify it because we cannot possibly process it all to satisfactory levels whilst there (it that just me?) maybe I need a few more slots of ram, or a better fan on my processor.
But seriously I feel analysis of the seemingly natural way our brains simplify any given experience into manageable chunks, offers us some incite as to a method of improving the ‘power’ in our photography.
A compositional tool that distills meaningful elements
The world is a complex place and the act of photographing it has a tendency to simplify our view on it. By choosing to narrow down the subjects, condensing the third and fourth dimension into two and directing the viewers attention onto a particular representation, is offering us an illusion on reality. A distorted view that has been manipulated by the photographer’s actions and thoughts, in a vague representation on a perceived, often overlooked reality. There is a common misinformed perception that photography is truth, but I digress.
If you use landscape painting as a convenient comparison and I’m thinking of artist such as (turner), the simplification of any given perception on reality, enables the artist an ability to distil the multitude of sensory data coming into the mind and focus on presenting only the ones that communicate the desired message/feelings they want to convey. The very act of rejecting elements is in fact paradoxically focusing deeper ones attention on the remaining.
When a shot is simplified, to clear compositional elements, the smallest details can possess greater power. A simple curve can become an overriding factor in the way your eye moves around the presented landscape. The shape and flow of that line, then has to be of impeccable clarity to retain its power. We as viewers linger longer on smaller elements, expecting and actually extracting more from them. The accomplished photographer, then, has primed the work for the viewer, without them even noticing. The ability for a photographer to expose us to the simplified view is then showing us that they are able to creatively distil the elements; it revels to us that we are looking at a skilled practitioner.
When looking at a successfully simplified photograph, I often get some sense of my eye moving over the scene in a controlled manor. It’s almost slowing the viewing process down and highlighting subtle nuances. The experience forces me to really LOOK at the image and draws my attention to normally overlooked elements. Playing with the juxtaposition of these simplified elements has in it hints of ambiguous purity, and when successfully accomplished it’s a powerful viewing experience.
It is also catalyzing a meditative state
We all seem to lead busy lives these days, attempting to squeeze multitudes of tasks and experiences in. Don’t get me wrong I’m the first to admit cramming my free time full of the things I want to do, places I want to photograph, (doesn’t the weekend wiz by), but are we not missing something along the way? It seems to me trying to reach out to wider and wider locations doesn’t necessarily mean greater rewards, as the essence of each place is being overpowered by its very complexity. Slowing down, concentrating on the elemental, gives the experience more depth. Letting your senses see, taste, smell, feel what it is that you’re doing enriches the experience. (For me that is).
Please don’t make the assumption that I’m arrogantly stating this is the only way to enjoy photography, because extracting pleasure in whatever form, is a respectable goal. But it is my intention, no, ‘need’ to dig deep, push my mind into new and uncharted territory, because I thrive on the unpredictable, and looking into oneself through the implementation and reflection of my photography, it’s definitely not simple but incredibly rewarding.
an HDR image of Arjuna Temple Complex at Dieng on Banjarnegara regency in province of Central Java, Indonesia.
"Thank you very much for all your faves and stay healthy" 😃
This cloud to ground (CG) discharge was the last of a 15 minute period of strikes that saw just one lightning strike per minute on average. This frame was only 0.25s at f/5.6, iso 500, with focal length of 35mm cropped sensor. Fujifilm X-T3, 16-55mm f/2.8 lens in movie mode (4fps). This image was also cropped from original.
Whilst admiring the stunning mountain scenery at Glencoe, Scotland, I was naturally drawn to the arboreal views that presented themselves to me. I didn't see cameras being pointed at this wonderful structure and is a textural treat for the eyes. I loved the earthy colours contrasting against the thin pale branches.
The Qutb complex is considered to be the first foundation of Delhi. On the ruins of Delhi's first mosque - built after the Muslim conquest of the city (around 1200).
The portico of the Quwwat-ul-Islam mosque framing the courtyard consists of columns/pillars from destroyed Hindu and Jain temples.
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Der Qutb-Komplex wird als erste Stadtgründung Dehlis gezählt. Gelände auf den Ruinen der ersten – nach der muslimischen Eroberung der Stadt erbauten – Moschee Delhis (um 1200).
Der die Hoffläche rahmende Säulengang der Quwwat-ul-Islam-Moschee besteht aus Säulen/Pfeilern von zerstörten Hindu- und Jain-Tempeln.
© Bruce Couch & Bodie Group inc | all rights
Don't be a dick, do not use or blog, without my permission. All my images are registered with the US Copyright Office and protected internationally through the Berne Convention.
The 2021 fire season included two large wildfires (both started by the same lightning storm in early September) that burned into a large number of giant sequoia groves.
In total 27 sequoia groves are fully or partially within the fire perimeters of the KNP Complex Fire and the Windy Fire.
16 groves burned in the KNP Complex Fire.
11 groves burned in the Windy Fire.
For both fires combined, 6,109 acres of giant sequoia groves were burned
This picture was not an easy one to make, because of difficulties with light and composition. Many tries went into it, with a variety of gear.
Benozzo Gozzoli (Benozzo di Lese di Sandro (Scandicci, circa 1420 - Pistoia, October 4, 1497) - Saint Matthew - Chapel of San Girolamo (1452) - frescoes - Museum complex of San Francesco - Montefalco
La Cappella di San Girolamo è situata sulla parete destra, in prossimità dell’ingresso Gli affreschi di questa cappella furono gli ultimi eseguiti a Montefalco da Benozzo Gozzoli (1452). Il committente fu forse il notaio montefalchese Girolamo di Ser Giovanni Battista de Filippis.
Gran parte della decorazione pittorica con le storie della vita di san Girolamo, si è persa in seguito all’abbattimento del muro di sinistra e all’apertura dell’ingresso laterale della chiesa sul lato destro della cappella.
The Chapel of San Girolamo is located on the right-hand wall, near the entrance. The frescoes in this chapel were the last to be painted in Montefalco by Benozzo Gozzoli (1452). The client was perhaps the notary of Montefalco Girolamo di Ser Giovanni Battista de Filippis.
Great part of the pictorial decoration with the histories of the life of san Girolamo, has been lost following the demolition of the left wall and the opening of the lateral entry of the church on the right side of the chapel.