View allAll Photos Tagged counting
My idea was to focus on and show the snowflakes in the air. Every one of them.
Good thing I don't have to count them.
See this LARGE here: www.flickr.com/photos/mikeygottawa/52757689752/sizes/k/
My hobby is photography.
CTV Regional Contact gave me 3 minutes on the local CTV News here: www.youtube.com/watch?v=3C2U_01ajdw
CBC Radio 1 gave me almost eight minutes. I added a photo slideshow to my interview. Listen here: www.youtube.com/watch?v=253iqLH82oA
Rogers Cable TV gave me 10 minutes on Camera Talk HERE:
www.youtube.com/watch?v=Z-s4ZpS_t1Y
Mikey G Ottawa's 100 most interesting images as per Flickriver HERE: www.flickriver.com/photos/mikeygottawa/popular-interesting/
See Mikey G Ottawa's most popular Flickr Photo Albums HERE:
www.flickr.com/photos/mikeygottawa/albums
.
One moment winter story.
Lakhta .This small village on the northern shore of the Gulf of Finland, about 15 km northwest of the city, is home to human settlements on the banks of the Neva. It was on the territory of Lakhta that the remains of a man’s parking site of three thousand years ago were found.
In official documents, a settlement named Lakhta dates back to 1500. The name is derived from the Finnish-speaking word lahti - "bay". This is one of the few settlements that has not changed its name throughout its 500-year history. Also known as Laches, Lahes-by, Lahes and was originally inhabited by Izhora. In the last decades of the 15th century, Lakhta was a village (which indicates a significant population) and was the center of the eponymous grand-parish volost, which was part of the Spassko-Gorodensky graveyard of the Orekhovsky district of the Vodskaya Pyatina. In the village, there were 10 courtyards with 20 people (married men). In Lakhta, on average, there were 2 families per yard, and the total population of the village probably reached 75 people.
From the notes on the margins of the Swedish scribe book of the Spassky graveyard of 1640, it follows that the lands along the lower reaches of the Neva River and parts of the Gulf of Finland, including Lakhta Karelskaya, Perekulya (from the Finnish “back village”, probably because of its position relative to Lakhti) and Konduy Lakhtinsky, were royal by letter of honor on January 15, 1638 transferred to the possession of the Stockholm dignitary, Rickschulz general Bernhard Sten von Stenhausen, a Dutchman by birth. On October 31, 1648, the Swedish government granted these lands to the city of Nyuen (Nyenschanz). With the arrival of the Swedes in Prievye, Lakhta was settled by the Finns, who until the middle of the 20th century made up the vast majority of the villagers.
On December 22, 1766, Catherine 2 granted Lakhta Manor, which was then in the Office of the Chancellery from the buildings of palaces and gardens, "in which and in her villages with courtyards 208 souls," her favorite Count Orlov. Not later than 1768, Count J.A. Bruce took over the estate. In 1788, Lakhta Manor was listed behind him with wooden services on a dry land (high place) and the villages Lakhta, Dubki, Lisiy Nos and Konnaya belonging to it also on dry land, in those villages of male peasants 238 souls. On May 1, 1813, Lakhta passed into the possession of the landowners of the Yakovlevs. On October 5, 1844, Count A.I. Stenbok-Fermor entered into the possession of the Lakhtinsky estate, which then had 255 male souls. This clan was the owner of the estate until 1912, when its last representative got into debt and noble custody was established over the estate. On October 4, 1913, in order to pay off his debts, he was forced to go for corporatization, and the Lakhta estate passed into the ownership of the Joint Stock Company “Lakhta” of Count Stenbock-Fermor and Co.
After the revolution, Lakhta was left on its own for a while, here on the former estate of the counts Stenbock-Fermorov on May 19, 1919, the Lakhta excursion station was opened, which existed there until 1932. In the early 1920s, sand mining began on Lakhta beaches, and the abandoned and dilapidated peat plant of the Lakhta estate in 1922 took over the Oblzemotdel and put it into operation after major repairs. In 1963, the village of Lakhta was included in the Zhdanovsky (Primorsky) district of Leningrad (St. Petersburg).
At the beginning of Lakhtinsky Prospekt, on the banks of the Lakhtinsky spill, there was the village of Rakhilax (Rahilax-hof, Rahila, Rokhnovo). Most likely, under this name only one or several courtyards are designated. There is an assumption that the name of the village was formed from the Finnish raahata - “drag, drag,” because there could be a place for transportation through the isthmus of the Lakhtinsky spill (we should not forget that not only the bridge over the channel connecting the spill with the Gulf of Finland was not yet here, the duct itself was many times wider than the current one). The search book of the Spassko-Gorodensky graveyard of 1573, describing the Lakhta lands, mentions that there were 2 lodges in the “Rovgunov” village, from which we can conclude that we are talking about the village of Rohilaks, which the Russian scribes remade into a more understandable to them Rovgunovo. The village was empty in Swedish time and was counted as a wasteland of the village of Lahta.
On the banks of the Lakhtinsky spill, near the confluence of the Yuntolovka River, from the 17th century there existed the village of Bobylka (Bobylskaya), which merged into the village of Olgino only at the beginning of the 20th century, but was found on maps until the 1930s. It is probably the Search Book that mentions it Spassko-Gorodensky churchyard in 1573 as a village "in Lakhta in Perekui", behind which there was 1 obzh. With the arrival of the Swedes by royal letter on January 15, 1638, the village was transferred to the possession of the Stockholm dignitary, Rickshaw General Bernhard Sten von Stenhausen, a Dutchman by birth. On October 31, 1648, the Swedish government granted Lahti lands to the city of Nyuen (Nyenschanz). On the Swedish map of the 1670s, in the place of the village of Bobylsky, the village of Lahakeülä is marked (küla - the village (Fin.)). The village could subsequently be called Bobyl from the Russian word "bobyl."
The owners of Bobylskaya were both Count Orlov, and Count Y. A. Bruce, and the landowners Yakovlev. In 1844, Count A.I. Stenbok-Fermor entered into the possession of the Lakhtinsky estate (which included the village of Bobyl). This family was the owner of the estate until 1913, when the owners, in order to pay off their debts, had to go for corporatization, and the Lakhta estate was transferred to the ownership of the Lakhta Joint-Stock Company of Count Stenbock-Fermor and Co. By the middle of the 20th century, the village merged with the village of Lakhta.
The name Konnaya Lakhta (Konnaya) has been known since the 16th century, although earlier it sounded like Konduya (Konduya Lakhtinskaya) or just Kondu (from the Finnish kontu - courtyard, manor). Subsequently, this name was replaced by the more familiar Russian ear with the word "Horse". In the Search Book of the Spassko-Gorodensky Pogost in 1573, it is mentioned as the village "on Kovdui", where 1 obzh was listed, which indicates that there most likely was one yard. On January 15, 1638, together with neighboring villages, it was transferred to the possession of the Stockholm dignitary, Rickschulz General Bernhard Steen von Stenhausen, of Dutch origin. On October 31, 1648, the Swedish government granted these lands to the city of Nyuen (Nyenschanz). In a deed of gift, Konduya Lakhtinskaya is called a village, which indicates a noticeable increase in its population. Later, on the Swedish map of the 1670s, on the site of the present Horse Lahti, the village of Konda-bai is marked (by - village (sv)).
The owners of Konnaya Lakhta, as well as the villages of Bobylskaya and Lakhta, were in turn Count Orlov, Count Ya. A. Bruce, and the landowners Yakovlev. In 1844, Count A.I. Stenbok-Fermor entered the possession of the Lakhta estate (which included Konnaya Lakhta. This family was the owner of the estate until 1913, when the owners had to go to corporations to pay off their debts, and the Lakhta estate became the property of Lakhta Joint Stock Company of Count Stenbock-Fermor and Co. In 1963, Horse Lahta was included in the Zhdanov (Primorsky) district of Leningrad (St. Petersburg).
As the dacha village of Olgino appeared at the end of the 19th century and initially consisted of both Olgin itself and the villages of Vladimirovka (now part of Lisiy Nos) and Aleksandrovka. In the first half of the 18th century, this territory was part of the Verpelev palace estate, which in the second half of the 18th century was granted to Count G. G. Orlov, then it was owned by the family of landowners the Yakovlevs, in the middle of the 19th century the estate was transferred to the counts of Stenbock-Fermor. In 1905 A.V. Stenbok-Fermor, the then owner of Lakhta lands, divided the lands around Lakhta into separate plots with the intention of selling them profitably for dachas. So there were the villages of Olgino (named after the wife of Olga Platonovna), Vladimirovka (in honor of the father of the owner; the coastal part of the modern village of Lisy Nos) and Alexandrov or Aleksandrovskaya (in honor of Alexander Vladimirovich himself). It is likely that on the site of the village was the village of Olushino (Olushino odhe) - a search book of the Spassko-Gorodensky churchyard in 1573 mentions that there were 1 obzh in the village of Olushkov’s, which suggests that at least one residential the yard. On behalf of Olushka (Olpherius). Most likely, the village was deserted in Swedish time and then was already listed as a wasteland belonging to the village of Lahta. Thus, the name of the village could be given in harmony with the name of the mistress and the old name of the village.
The villages were planned among a sparse pine forest (the layout was preserved almost unchanged), so there were more amenities for living and spending time there than in Lakhta. A park was set up here, a summer theater, a sports ("gymnastic") playground, a tennis court, and a yacht club were arranged.
In the 1910s about 150 winter cottages were built in Olgino, many of which are striking monuments of "summer cottage" architecture. In 1963, the village of Olgino was included in the Zhdanovsky (Primorsky) district of Leningrad (St. Petersburg).
Near Olgino, in the area of the Dubki park, there was a small village Verpeleva (Verpelevo), which consisted of only a few yards. In the first half of the XVIII century. this territory was part of the palace estate "Verpeleva", which in the second half of the XVIII century. It was granted to Count G. G. Orlov, then passed to the Counts of Stenbock-Fermor. The village has not existed for a long time, but the entire reed-covered peninsula (barely protruding above the water of the Verpier-Luda peninsula (Verper Luda (from the Finnish luoto - “small rocky island”)) still existed, and there was another spelling the name of this island is Var Pala Ludo).
Kamenka. The Novgorod scribal book mentions two villages in the Lakhta region with a similar name, referring to the possessions of Selivan Zakharov, son of Okhten, with his son and 5 other co-owners. On the lands of this small patrimony, which, unlike the estate was inherited, peasants lived in 3 villages, including: the village "Kamenka in Lakhta near the sea" in 5 yards with 5 people and arable land in 1,5 obzhi, the village "on Kamenka "in 2 courtyards with 2 people and arable land in 1 obzhu. For the use of land, the peasants paid the owners of the patrimony 16 money and gave 1/3 of the rye harvest. Thus, in the 16th century on the Kamenka River (another name for the Kiviyoki River, which is the literal translation of kivi - "stone", joki - "river") there was one large village of Kamenka near its confluence with the Lakhtinsky spill and the second, smaller, somewhere upstream. On the drawing of Izhora land in 1705, a village under this name is depicted in the area of the modern village of Kamenka. The village of Kamennaya in the middle reaches of Kamenka and on the map of 1792 is designated. Other name options are Kaumenkka, Kiviaja.
In the second half of the 18th century, Kamenka became a vacation spot for Russian Germans. Here in 1865, German colonists founded their "daughter" colony on leased land. Since then, the village has received the name Kamenka Colony (so called until the 1930s). In 1892, a colony near the village of Volkovo "budded" from it. The inhabitants of both colonies belonged to the Novo-Saratov parish and since 1871 had a prayer house in Kamenka, which was visited by 250 people. He maintained a school for 40 students. The house was closed in 1935 and later demolished.
Currently, Kamenka exists as a holiday village, located along the road to Levashovo. Since 1961 - in the city, part of the planning area in the North-West, from the mid-1990s. built up with multi-storey residential buildings and cottages.
Volkovo. The settlement is about southeast of the village of Kamenka - on the old road to Kamenka, on the bank of a stream that flows into Kamenka between the village of Kamenka and the Shuvalovsky quarry. In 1892, a German colony emerged on the territory of the village, "budding" from a nearby colony in the village of Kamenka. The origin of Volkovo is not clear, the village is found only on maps of 1912, 1930, 1939, 1943. and probably appeared no earlier than the 19th century.
Kolomyagi. Scribe books of the XV — XVI centuries and Swedish plans testify that small settlements already existed on the site of Kolomyag. Most likely, these were first Izhora or Karelian, then Finnish farms, which were empty during the hostilities of the late XVII century.
The name "Kolomyag" connoisseurs decipher in different ways. Some say that it came from the "colo" - in Finnish cave and "pulp" - a hill, a hill. The village is located on the hills, and such an interpretation is quite acceptable. Others look for the root of the name in the Finnish word "koaa" - bark - and believe that trees were processed here after felling. Another version of the origin of the name from the Finnish "kello" is the bell, and it is associated not with the feature of the mountain, but with the "bell on the mountain" - a tower with a signal bell standing on a hill.
The owners of Kolomyazhsky lands were Admiral General A.I. Osterman, Count A.P. Bestuzhev-Ryumin, a family of Volkonsky. In 1789, the Volkonskys sold these lands to retired colonel Sergei Savvich Yakovlev. On his estate S. S. Yakovlev built a manor and lived in it with his wife and seven daughters. The once-Finnish population of Kolomyag was “Russified” by that time - it was made up of descendants of serfs resettled by Osterman and Bestuzhev-Rumin from their villages in Central Russia (natives of the Volga and Galich) and Ukraine. Then the name "Kellomyaki" began to sound in Russian fashion - "Kolomyagi", although later the old name also existed, especially among local Finns. And not without reason the indigenous Kolomozhites associate their origin with the Volga places, and the southern half of the village is now called “Galician”.
Yakovlev died in 1818. Five years after his death, a division of the territory of the manor was made. The village of Kolomyagi was divided in half between two of his daughters. The border was the Bezymyanny stream. The southeastern part of the village of Kolomyagi beyond Bezymyanny creek and a plot on the banks of the Bolshaya Nevka passed to the daughter Ekaterina Sergeevna Avdulina.
Daughter Yakovleva Elena Sergeevna - the wife of General Alexei Petrovich Nikitin, a hero of the Patriotic War of 1812, who was awarded the highest military orders and twice a gold sword with the inscription "For courage", died early, leaving her daughter Elizabeth. The northwestern part of Kolomyag inherited the young Elizabeth, so this part of Kolomyag was practically inherited by the father of Yakovlev’s granddaughter, Count A.P. Nikitin, who in 1832 became the owner of the entire village. It is his name that is stored in the names of the streets - 1st and 2nd Nikitinsky and Novo-Nikitinsky. The new owner built a stone mansion on the estate’s estate - an excellent example of classicism of the first third of the 19th century, which became his country house and has survived to this day and has been occupied until recently by the Nursing Home. It is believed that this mansion was built according to the project of the famous architect A.I. Melnikov. The severity and modesty of the architectural appearance of the facades and residential chambers of the Nikitin mansion was opposed by the splendor of ceremonial interiors, in particular the two-light dance hall with choirs for musicians. Unfortunately, with repeated alterations and repairs, many details of the decor and stucco emblems of the owners disappeared. Only two photographs of the 1920s and preserved fragments of ornamental molding and paintings on the walls and ceiling show the past richness of the decorative decoration of this architectural monument. The mansion was surrounded by a small park. In it stood a stone pagan woman brought from the southern steppes of Russia (transferred to the Hermitage), and a pond with a plakun waterfall was built. Near the pond there was a "walk of love" from the "paradise" apple trees - it was called so because the bride and groom passed through it after the wedding. Here, in the shadow of these apple trees, young lovers made appointments.
Under the Orlov-Denisov opposite the mansion (now Main Street, 29), the structures of an agricultural farm were erected, partially preserved to this day, and the greenhouse. Behind the farm were the master's fields. On them, as the New Time newspaper reported in August 1880, they tested the reaping and shearing machines brought from America.
In the 19th century, the provincial surveyor Zaitsev submitted for approval the highway called the Kolomyagskoye Shosse. The route was supposed to connect the village, gradually gaining fame as a summer residence of the "middle arm", with St. Petersburg. The construction of the road ended in the 1840s, and then horse-drawn and country-house crafts became the most important articles of peasant income. In addition, peasants either built small dachas in their yards, or rented their huts for the summer. Located away from the roads, surrounded by fields, the village was chosen by multi-family citizens.
The income from the summer cottage industry increased from year to year, which was facilitated by the summer movement of omnibuses that opened on the new highway from the City Council building. They walked four times a day, each accommodated 16 people, the fare cost 15 kopecks. Even when the Finnish Railway with the nearest Udelnaya station came into operation in 1870, the highway remained the main access road through which public carriages pulled by a trio of horses ran from the Stroganov (now Ushakovsky) bridge.
© Leanne Boulton, All Rights Reserved
Candid street photography from Nuneaton, England.
Counting on his coin and counting on passing traffic at this 'short cut' between the town centre and the supermarket. Being at the top of some steps allowed for this perspective.
It's grim down south. I grew up with Nuneaton being the nearest urban centre and I had never, until this visit to my family, seen anyone begging there. Six homeless beggars were clustered in a short space in the town and half of the town was a no-go zone. Small and major stores closed and shuttered, former major retailers replaced with pound shops and charity shops. This was during Easter with children off school and I barely saw any. The town was almost exclusively full of brow-beaten elderly and disabled people and I saw nobody smile.
It is truly grim down south and I am genuinely pleased to be living in Scotland now, near to a big city where there is life, culture and style.
Day 107, Port 36, Country 20; Aqaba for Petra, Jordan: CMV World Cruise
On the return coach home the sun was setting as we made our way back along the old trading route. The ‘Kin’s Highway’, it was a trade route of vital importance in the ancient Near East, connecting Africa with Mesopotamia. It ran from Egypt across the Sinai Peninsula to Aqaba, from where it turned northward across Transjordan, leading to Damascus and the Euphrates River. For most of its route the road follows the Eastern side of the deep Jordan rift Valley.
Along the route we passed many sheep with dogs to help keep the flock together. On our journey into Petra, a shepherd’s dog ran out into the road and was hit by our coach. After a screeching stop, the driver got out although winded the dog didn’t appear to be badly hurt and ran off back to the nomads.
Coach shot.
The "count" wearing Henry the 3rd's hat, in Venice.
Follow me on Facebook: www.facebook.com/itsandreaperego/
YouTube: www.youtube.com/@MrPeregus
And Instagram: www.instagram.com/andreaperegus/
mandymooscloset.weebly.com/fashion-blog/count-on-me
Pose - Cool Kids - Dark Magic Poses
Model Left
Hair - Fatal - Stealthic
Make Up - Cocoa Cream - Booty's Beauty
Necklace - Love Necklace - Avaway
Top - Bernice - Adorsy
Jumper - Bernice Overall - Adorsy
Heels - Greece White - Essenz
Model Right
Hair - Polly - Truth
Earrings & Necklace - Farfalla - Cae
Right Bracelet - Love Bracelets - Avaway
Left Bracelet - Monogram Bracelet - Cae
Top - Bonnie White - Adorsy
Overall - Bonnie Overall Black - Adorsy
Shoe - Camdyn Laced Up Heel - Reign
This was taken a few nights ago in New York City, the view from the hotel was incredible and I had the thought that this year was so full of moments that I wanted to collect like stars to have over me and look at whenever I wanted.
I'm very happy to announce that I'm one of the judges for Flickr's 12 Days contest! You can enter your photos to win an amazing prize!
Facebook: www.facebook.com/JoelRobisonPhotography
Twitter: @boywonderjoel
Email: joel@joelrobison.com
The ever popular Winnats Pass. The proxity to road definitely appealed to me for a summer sunrise! I wonder what lives in that cave?
"from the family album: from right to left: the child is my grandmother Ninitta, then there is her mother and my great grandmother Anna, her sister Concetta, finally their mother and my great-great-grandmother Nina, respectively daughter, wife, sister-in-law, mother-in-law of the photographer Gaetano D'Agata, whom in a photograph of him (location Mazzarò-Taormina)"
“dall'album di famiglia: da destra verso sinistra: la bambina è mia nonna Ninitta, poi c'è la sua mamma e la mia bisnonna Anna, sua sorella Concetta, infine la loro mamma e mia trisavola Nina, rispettivamente figlia, moglie, cognata, suocera del fotografo Gaetano D'Agata, cui in una sua fotografia (location Mazzarò-Taormina)”
-----------------------------------------------------------------
click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
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 il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
……………………………………………………………………….
The photographer Baron Wilhelm von Gloeden: and some "secret stories” of Taormina ...
At the age of about 11-12, I made a very particular discovery, I found a fair number of ancient photographs (they had been well hidden by my grandmother) inside an ancient chest of drawers in our house in Taormina, for me it was a huge surprise, the a taste for the forbidden appeared in me for the first time, they were black and white photographs, they portrayed naked boys, or only partially dressed in drapes or sheets, they were posed to imitate certain statues (or drawings) of the Greco-Roman period; I was very intrigued by them, every now and then I went to look at them, without ever feeling discomfort, I did not consider them vulgar photographs. Some of the photos were the size of a postcard, others of various sizes increasingly larger, up to a format similar to A3; on the back there were stamps, there were also, inside small red cardboard boxes, glass plates, not large, looking at them against the light, they let us glimpse images of naked boys, or only partially dressed: they were photographic negatives made on glass plates. What was that particular photographic material hidden by my grandmother in the dresser of our house? Let's take a step back in time let's teleport to April 2, 1787 when the German poet, narrator, playwright Johan Wolfgang von Goethe (1749-1832) lands in Palermo, following his Grand Tour in Italy (the word "tourism" derives from it) he will say of Sicily that it is a place of splendor, beauty and harmony, but at the same time a place of poverty, suffering, misery and social injustice; Goethe wrote the book "Journey to Italy", revealing himself to be one of Italy's most passionate admirers, stating that "Sicily is the key to everything" (the incredible resemblance of thought with the great Sicilian writer and journalist Leonardo Sciascia (1921-1989) who published in 1979 the book entitled “Sicily as a metaphor”). At the time of Goethe (and for a long time to come) the knowledge of Sicily was made up of stereotyped ideas, it was considered a land of mysteries, a den of brigands, which aroused fear in travelers, tourism did not exist, very few knew a foreign language, journeys with carriages were slow, nothing strange therefore that Taormina was an unknown village at the time. Garibaldi, in the year 1860, frees Sicily from the domination of the Bourbons. In February 1863, Count Ottone (Otto) Geleng (1843-1939) arrives in Taormina from Germany, he is a landscape painter, he begins an intense pictorial activity, thus succeeding in making Taormina and its landscapes known in the various cultural circles of Germany and France. Count Otto thus invites the then painter (who later became a photographer) Baron Wilhelm von Gloeden (1856-1931) to come to Taormina to treat his "subtle ache", pulmonary tuberculosis, which would have benefited from the mild climate of Sicily. Von Gloeden, twenty-two, arrived in Taormina in 1878, became passionate about photography by taking lessons from the local engineer and photographer Giuseppe Bruno (1836-1904), perhaps also a teacher of Giovanni Crupi (1859-1925), landscape photographer friend of von Gloeden, Crupi himself could also have contributed to the training as a photographer of the young von Gloeden. Like Otto Geleng's paintings, the photographs of the young Wilhelm also began to entice the then bourgeoisie across the border to come to Sicily: in the last 20 years of the 1800s the foundations were being laid for tourism in Sicily. The photographs taken by von Gloeden had as their subject young Sicilian adolescents dressed in the old-fashioned way with drapes, or completely naked, at most adorned with wreaths of flowers or laurel leaves placed on their heads, the young models assumed well-studied poses under the directed by the photographer baron, designed to create scenes that wanted to reconstruct the atmosphere of the mythical Arcadia (bucolic landscape of ancient Greece). In his poetics we can find the interest in disguise and transvestism, the young fisherman is made ambiguous by making him wear a wig, made resembling a young Sicilian girl; the images are not produced for the sole and mere trade, they are works that will be published in various famous magazines (such as "The National Geographic Magazine" or "the photographic progress", A. Stieglitz publishes his nudes on “Camera Notes"), also participating in international photographic exhibitions. The young models are filmed among ancient ruins, in rocky environments, outdoors, eliciting a spiritual feeling full of nostalgia, which follows pictorial models of German romanticism. In the photographic book "Verga photographer" (created on the discovery of 327 glass plates and 121 celluloid frames), in Giovanni Verga (1840-1922) great Sicilian narrator, it is possible to observe his photographs interwoven with "realism", while in the photographs of von Gloeden the symbolism andthe spiritualism predominate, however Wilhelm will also produce documentary-type photographs, photographing the terrible earthquake (and tsunami) of Messina (and Reggio Calabria) of 1908. Von Gloeden seems fully integrated into the Taormina society , nevertheless suffers heavy homophobic attacks from the local press and from important characters from Taormina, including Otto Geleng himself, who will be sued by the baron, which will then be withdrawn upon payment of 896 lire, and a restorative declaration published in the "Gazzetta di Messina" . Von Gloeden worked in his house-studio in front of the Hotel San Domenico Palace, with him lived his sister Sofia Raabe (1847-1930), daughter of his mother's first husband, who helped him manage the house-studio, and in the to receive the illustrious guests who visited him (such as Oscar Wilde, FA Krupp, Richard Strauss, the German emperor Wilhelm II, Eleonora Duse). Von Gloeden died on February 16, 1931 at the age of 74, he was buried in the non-Catholic cemetery of Taormina, his heir was his all-around assistant Pancrazio Buciunì known as "il moro" (1879-1963) ("u 'moru", family nickname), which continues the activity, selling the prints: he undergoes two searches in full fascist regime with partial seizure and destruction of the photographic material that belonged to von Gloeden (fascism persecuted homosexuals, the repression of homosexuality was entrusted to the fascist police, which confined many homosexuals to the islands of the Mediterranean, Lipari was one of these, see the beautiful film by Ettore Scola "a special day"), Buciunì undergoes two trials for detention of obscene material, and, despite an adverse appraisal by the appointed expert prof. Stefano Bottari, holder of the chair of history of medieval and modern art at the University of Messina, who declares much of the seized material obscene, the Court of Messina, demonstrating tolerance and open-mindedness, acquits Buciunì. At this point in the story we return to my grandmother's dresser and reveal the little mystery: the hidden photographs belonged to my great-grandfather Don Gaetano D'Agata (1883-1949), von Gloeden's assistant photographer, also on the baron's teaching, he made nude photographs, as well as landscape or portrait photographs; Don Gaetano was a globetrotter, in our family album he is portrayed in various parts of the world, always in the company of beautiful women: but I will never know if those "forbidden photos" were taken by my great-grandfather Gaetano or by Von Gloeden himself, because my grandmother, having understood that I was going to peek at them in secret, made them disappear permanently, and I never heard anymore of that photographic material. For my part, it is only right to mention other figures who contributed to making Taormina the current destination for international tourism. Lady Florence Trevelyan (1852-1907), was Queen Victoria's lady-in-waiting, she was then sent into exile in various parts of the world by Queen herself, she arrived in Taormina and stayed there forever, she was a woman of exceptional gifts, endowed with great sensitivity and humanity, animal rights activist, philanthropist, passionate about esotericism, she was married to the then mayor and doctor of Taormina dr. Salvatore Cacciola, she were one of the first women admitted to world Freemasonry (her husband Cacciola also belonged to Freemasonry): I have already talked about it previously in one of my photographic stories. On the occasion of the XXI festival of the two worlds in Spoleto, in 1978, the essayist and literary critic Roland Barthes (1915-1980) curated an exhibition entitled "Wilhelm von Gloeden", with interventions by artists such as Andy Warhol, M. Pistoletto and J. Beuys. Finally, Raffaella Perna, Researcher in History of Contemporary Art at the University of Catania, underlines in her book on "Wilhelm von Gloeden, disguises, portraits, tableaux vivants", of how LaChapelle, Witkin, Mapplethorpe are the contemporary artists who they are indicated as heirs of von Gloeden's poetics.
P.S. Von Gloeden's photographs were made by photographing both the large panels with gigantographic reproductions of von Gloeden's works, which are located at the entrance of the Mocambo bar in Taormina, and in the shop-bazaar of the photographer from Taormina, my late friend, Nino Malmbrì (owner of the baron's original photographic material). The photographs of Gaetano D’Agata, were taken from my family album: in a photo a little damaged, but exceptional for its historical and emotional value, my great-grandfather, the photographer Gaetano D'Agata, here very young, holds his daughter "Ninitta" (a of the four children, had by three wives), she is my paternal grandmother; in another photo, the photographer Gaetano D'Agata poses next to her a few years later, with my grandmother already a young girl; always made by great-grandfather D'Agata there is both a portrait photo, a close-up, of my very young grandmother "Ninitta", and there is a photo of her posing as a peasant girl, with a painted backdrop behind her, as if used in studio photos; finally I put two photos taken by my great-grandfather Gaetano "en plein air" of bathers, "the location" is the beach of Mazzarò (Taormina). The photographs of the tombstones of the characters mentioned in the story were taken in the Catholic and non-Catholic cemetery of Taormina; the monumental funerary complex of Count Otto Geleng at the top presents the bust of his son Ermanno, the presence of symbolisms such as the hourglass, the rooster, the book (the Holy Bible) and the god mercury, makes me believe that Count Otto was part of the Masonic lodge of Taormina, at the time the mayor of Taormina was also part of it, dr. Cacciola and his wife Lady Florence Trevelyan: in his palace, Dr. Cacciola, built a temple, which became the first Masonic lodge in Taormina: the "Renaissance" (1904).
----------------------------------------------------------
Il barone fotografo Wilhelm von Gloeden: ed alcune “storie segrete” di Taormina …
Io, all’età di circa 11-12 anni, feci una scoperta molto particolare, trovai un discreto numero di antiche fotografie (erano state ben nascoste da mia nonna) dentro un antico comò in casa nostra a Taormina, per me fu una enorme sorpresa, il gusto del proibito si affacciò in me per la prima volta, erano fotografie in bianco e nero, ritraevano ragazzi nudi, o solo in parte vestiti con drappi o lenzuoli, messi in posa imitavano certe statue (o disegni) del periodo greco-romano; io ne ero rimasto molto incuriosito, ogni tanto le andavo a riguardare, senza mai provare disagio, non le consideravo fotografie volgari. Alcune foto erano della grandezza di una cartolina, altre di varie dimensioni sempre più grandi, fino ad arrivare ad un formato assimilabile all’A3; sul retro c’erano impressi dei timbri, c’erano anche, dentro dei piccoli scatoli in cartoncino di colore rosso, delle lastrine in vetro, non grandi, guardandole in controluce, lasciavano intravedere immagini di ragazzi nudi, o poco vestiti: erano i negativi fotografici realizzati su vetro. Cosa ci faceva quel materiale fotografico, così particolare, nascosto da mia nonna nel comò di casa nostra? Facciamo un salto indietro nel tempo teletrasportiamoci al 2 aprile 1787 quando a Palermo sbarca il poeta, narratore, drammaturgo tedesco Johan Wolfgang von Goethe (1749-1832), in seguito al suo Grand Tour in Italia (turismo deriva da esso) dirà della Sicilia che essa è luogo di splendore, bellezza ed armonia, ma al tempo stesso luogo di povertà, sofferenza, miseria ed ingiustizia sociale; Goethe scrive il libro “Viaggio in Italia”, rivelandosi uno dei più appassionati ammiratori dell’Italia, affermando che “la Sicilia è la chiave di tutto” (incredibile la rassomiglianza di pensiero col grande scrittore e giornalista siciliano Leonardo Sciascia (1921-1989) che pubblica nel 1979 il libro dal titolo “la Sicilia come metafora”). Ai tempi di Goethe (e per molto tempo ancora) la conoscenza della Sicilia era fatta di idee stereotipate, era considerata terra di misteri, covo di briganti, il che incuteva timore nei viaggiatori, il turismo non esisteva, pochissimi conoscevano una lingua straniera, i viaggi con carrozze ertano lenti, nulla di strano quindi che Taormina fosse all’epoca un villaggio sconosciuto. Garibaldi, nell’anno 1860, libera la Sicilia dalla dominazione dei Borboni. Nel febbraio del 1863, dalla Germania giunge a Taormina il conte Ottone (Otto) Geleng (1843-1939), egli è un pittore paesaggista, inizia una intensa attività pittorica, riuscendo in tal modo a far conoscere Taormina ed i suoi paesaggi nei vari circoli culturali della Germania e della Francia. Il conte Otto invita così l’allora pittore (poi divenuto fotografo) barone Wilhelm von Gloeden (1856-1931) a venire a Taormina per curare il suo “mal sottile”, la tubercolosi polmonare, che avrebbe tratto giovamento dal clima mite della Sicilia. Von Gloeden, ventiduenne, nel 1878 giunge a Taormina, si appassiona alla fotografia prendendo lezioni dall’ingegnere e fotografo locale Giuseppe Bruno (1836-1904), forse anche insegnante di Giovanni Crupi (1859-1925), fotografo paesaggista amico di von Gloeden, il quale Crupi stesso potrebbe anche aver contribuito alla formazione come fotografo del giovane von Gloeden. Così come i dipinti di Otto Geleng, anche le fotografie del giovane Wilhelm incominciarono ad invogliare l’allora borghesia d’oltre confine, a venire in Sicilia: negli ultimi 20 anni dell’800 si stavano gettando le basi per il turismo in Sicilia. Le fotografie realizzate da von Gloeden avevano come soggetto giovani adolescenti siciliani vestiti all’antica con drappi, o completamente nudi, tutt’al più adornati da coroncine di fiorellini o foglie d’alloro messi sul capo, i giovani modelli assumevano pose ben studiate sotto la regia del barone fotografo, atte a realizzare scene che volevano ricostruire l’atmosfera della mitica Arcadia (paesaggio bucolico dell’antica Grecia). Nella sua poetica possiamo riscontrare l’interesse per il travestimento ed il travestitismo, il giovane pescatore viene reso ambiguo facendogli indossare una parrucca, reso somigliante ad una giovane ragazza siciliana; le immagini non vengono prodotte per il solo e mero commercio, sono opere che verranno pubblicate su varie riviste famose (come “The National Geographic Magazine” o “Il Progresso fotografico”, A. Stieglitz pubblica i suoi nudi su “Camera Notes”), partecipando anche ad esposizioni fotografiche internazionali. I giovani modelli sono ripresi tra antichi ruderi, in ambienti rupestri, all’aperto, elicitando un sentimento spirituale carico di nostalgia, il che ricalca modelli pittorici del romanticismo tedesco. Nel libro fotografico “Verga fotografo” (realizzato su ritrovamento di 327 lastre in vetro e 121 fotogrammi in celluloide), in Giovanni Verga (1840-1922) grande narratore siciliano, è possibile osservare le sue fotografie intessute di “verismo”, mentre nelle fotografie di von Gloeden predomina il simbolismo e lo spiritualismo, purtuttavia Wilhelm produrrà anch’egli fotografie di tipo documentaristico, andando a fotografare il terribile terremoto (e maremoto) di Messina (e di Reggio Calabria) del 1908. Von Gloeden sembra pienamente integrato nella società taorminese, ciononostante subisce pesanti attacchi omofobi dalla stampa locale e da importanti personaggi taorminesi, incluso lo stesso Otto Geleng, i quali verranno querelati dal barone, querela che verrà poi ritirata dietro pagamento di 896 lire, ed una dichiarazione riparatoria pubblicata sulla “Gazzetta di Messina”. Von Gloeden lavorava nella sua casa-studio di fronte l’Hotel San Domenico Palace, con lui viveva sua sorella Sofia Raabe (1847-1930), figlia del primo marito di sua madre, che lo aiutava a governare la casa-studio, e nel ricevere gli illustri ospiti che lo andavano a trovare ( come Oscar Wilde, F.A. Krupp, Richard Strauss, l’imperatore tedesco Guglielmo II, Eleonora Duse). Von Gloeden muore il 16 febbraio 1931 all’età di 74 anni, viene sepolto nel cimitero acattolico di Taormina, il suo erede è il suo assistente tutto fare Pancrazio Buciunì detto “il moro” (1879-1963) (“u’ moru”, soprannome di famiglia), che ne prosegue l’attività, vendendone le stampe: il quale subisce in pieno regime fascista due perquisizioni con parziale sequestro e distruzione del materiale fotografico che apparteneva a von Gloeden (il fascismo perseguitò gli omosessuali, la repressione dell’omosessualità fu affidata alla polizia fascista, che confinò molti omosessuali nelle isole del mediterraneo, Lipari fu una di queste, vedi il bellissimo film di Ettore Scola “una giornata particolare”), Buciunì subisce due processi per detenzione di materiale osceno, e, nonostante una perizia avversa da parte del nominato perito prof. Stefano Bottari, titolare della cattedra di storia dell’arte medioevale e moderna dell’Università di Messina, che dichiara osceno gran parte del materiale sequestrato, il Tribunale di Messina dimostrando tolleranza ed apertura mentale, assolve il Buciunì. A questo punto del racconto ritorniamo al comò di mia nonna e sveliamo il piccolo mistero: le fotografie nascoste appartenevano al mio bisnonno don Gaetano D’Agata (1883-1949), assistente fotografo di von Gloeden, anch’egli sull’insegnamento del barone, realizzò fotografie di nudo, oltre che di paesaggio o ritratto; don Gaetano era un giramondo, nel nostro album di famiglia lui è ritratto in varie parti del mondo, sempre in compagnia di belle donne: ma io non saprò mai se quelle “foto proibite” erano realizzate dal mio bisnonno Gaetano o da Von Gloeden stesso, perché mia nonna, avendo capito che le andavo a sbirciare di nascosto, le fece sparire definitivamente, e di quel materiale fotografico non ne seppi più nulla. Da parte mia, è doveroso citare altre figure che contribuirono a rendere Taormina l’attuale meta del turismo internazionale. Lady Florence Trevelyan (1852-1907), era dama di corte della regina Vittoria, dalla stessa regina Lady Florence fu poi mandata in esilio in varie parti del mondo, giunse a Taormina e qui vi restò per sempre, era una donna dalle doti eccezionali, dotata di grande sensibilità ed umanità, animalista, filantropa, appassionata di esoterismo, fu sposa dell’allora sindaco e medico di Taormina dott. Salvatore Cacciola, fu una delle prime donne ammesse alla massoneria mondiale (apparteneva alla massoneria anche il marito Cacciola): ne ho già parlato in precedenza in un mio racconto fotografico. Robert Hawthorn Kitson (1873-1947) era un pittore britannico omosessuale, egli lasciò l’Inghilterra a causa dell’emendamento Labouchere, che rendeva illegale qualsiasi atto omosessuale nel Regno Unito (1885), giunse a Taormina e qui si stabilì, costruendo nel 1905 Casa Cusani, una villa con vista sull’Etna, oggi casa museo; nella sua sala da pranzo si trovano gli affreschi “proibiti” realizzati da Frank Brangwyn, essi narrano dell’amore omosessuale tra Kitson ed il suo compagno Carlo Siligato: nel 1908 in seguito al terremoto che distrusse Messina (e Reggio Calabria), essi adottarono un bambino che era rimasto orfano, divenendo di fatto una famiglia omosessuale, all’epoca assolutamente proibita; gli affreschi di Casa Cuseni sono ispirati alle fotografie di von Gloeden, così come nella villa, si trova una “autocromia a colori” del 1910, realizzata da von Gloeden, documento eccezionale che testimonia la volontà del barone di sperimentare nuove tecniche. In occasione del XXI festival dei due mondi di Spoleto, nel 1978, il saggista e critico letterario Roland Barthes (1915-1980) cura una mostra intitolata “Wilhelm von Gloeden”, con interventi di artisti quali Andy Warhol, M. Pistoletto e J. Beuys. Infine, Raffaella Perna, Ricercatrice in Storia dell'arte contemporanea all'Università degli Studi di Catania, sottolinea nel suo libro su “Wilhelm von Gloeden, travestimenti, ritratti, tableaux vivants”, di come LaChapelle, Witkin, Mapplethorpe siano gli artisti contemporanei che vengono indicati come eredi della poetica di von Gloeden.
P.S. le fotografie di Von Gloeden sono state realizzate fotografando sia i grandi pannelli con gigantografiche riproduzioni delle opere di von Gloeden, che si trovano all’ingresso del bar Mocambo di Taormina, sia nel negozio-bazar del fotografo taorminese, compianto mio amico, Nino Malmbrì (possessore di materiale fotografico originale del barone). Le fotografie di Gaetano D’Agata, sono state prese dal mio album di famiglia: in una foto un pò rovinata, ma eccezionale per il suo valore storico e per me affettivo, il mio bisnonno, il fotografo Gaetano D'Agata, qui molto giovane, tiene in braccio sua figlia "Ninitta" (una dei quattro figli, avuti da tre mogli), lei è la mia nonna paterna; in un'altra foto, il fotografo Gaetano D'Agata posa accanto a lei qualche anno dopo, con mia nonna già ragazzina; sempre realizzate dal bisnonno D'Agata c'è sia un foto-ritratto, un primo piano, di mia nonna "Ninitta" molto giovane, e c'è la foto di lei mentre posa come contadinella, con dietro un fondale dipinto, come si usava nelle foto da studio; infine ho messo, due foto realizzate dal mio bisnonno Gaetano "en plein air" a delle bagnanti, "la location" è la spiaggia di Mazzarò (Taormina). Le fotografie delle tombe dei personaggi menzionati nel racconto, sono state fatte nel cimitero cattolico ed acattolico di Taormina; il complesso monumentale funerario del conte Otto Geleng in alto presenta il mezzobusto del figlio Ermanno, la presenza di simbolismi come la clessidra, il gallo, il libro (la Sacra Bibbia) ed il dio mercurio, mi fa ritenere che il conte Otto facesse parte della loggia massonica di Taormina, all’epoca ne faceva parte anche il sindaco di Taormina, dott. Cacciola e sua moglie Lady Florence Trevelyan: nel suo palazzo il dott. Cacciola, realizzò un tempio, che divenne la prima loggia massonica di Taormina : la "Rinascimento"(1904).
13+1
Listenwave Photography
What does not matter ?😜
1.What to photograph - Camera. 📷📱
2.Where to photograph - Place. 🌋
3.When to photograph -Time.🌅🌄
What is important ?😎
1.Study and tune the camera. 👨🔧
2.Learn where you are going.
3.Study the lighting at different times.🌞🌚
What's the secret?♀️
1.Feel the instrument, hear what it says. 🙏
2.Feel the atmosphere of the place, catch the wave. 🌊
3.Switch on .Catch the moment!⚡️
What to photograph?
✨Finding the observer, comes awareness!✨
"Axel Gustafsson Oxenstierna af Södermöre (Swedish: [ˈaksɛl ²ʊksɛnˌɧæːɳa] (About this sound listen); 1583–1654), Count of Södermöre, was a Swedish statesman.[1] He became a member of the Swedish Privy Council in 1609 and served as Lord High Chancellor of Sweden from 1612 until his death. He was a confidant of first Gustavus Adolphus and then Queen Christina.[2]
Oxenstierna is widely considered one of the most influential people in Swedish history. He played an important role during the Thirty Years' War and was appointed Governor-General of occupied Prussia; he is also credited for having laid the foundations of the modern central administrative structure of the State, including the creation of counties." (Wikipedia)
The drawing was published in the book "Från Slott till Koja" (1891) by W.W. Thomas Jr.
Colouring by me.
© Iztok Alf Kurnik,
All Rights Reserved
Please fav this photo if you like my work.
Check out my other photos on my Photostream or start following me not to miss any of my work.
Theme: Counting on Hearts - Icon for Hire
Concept Art created using AI Furry Generator
Edited using Krita 5.2.9
I'm counting on hearts like yours
to keep me burning,
to keep me up
'til two in the morning.
You be bright
when I'm starting to rust,
you be 'Why?'
behind the 'What?'
Indeed, some things are not as they seem. Us cats on the 'walks, you could say we are holding onto yesterday's dreams. But you know what? Some things are very much worth fighting for. The life of the cats ruling the rooftops and catwalks, that was something we took to the grave with us. Now, only embers remain cycled through the dust of the ages. Yet, if you listen closely, you may hear the subtle purring flutter through the night sky. Maybe the hairs on the back of your neck may raise, as if indicating that some predator is toying with you as their prey. That shiver you feel on the rooftop during the night, can you be certain that it is merely a subtle cool breeze, or could there be something calling out from nights of the depths of the past to remind you that you were not always safe to be up here? Maybe you still are not, and some ghost during the twilight stalks you and seeks to give you a fright, and remind you of those cats who used to live and fight for their right to rule the rooftops they once called home.
But I will never let go,
never let up my hold,
'cause I know
once you feel it
you can't unfeel it.
once you dream it
you can't undream it.
Dark-eyed junco in a tree near Lytton St. and Gordon Ave. in Westview, 2024 qathet Christmas Bird Count.
Sony α 77 ii
Tamron AF 200-400mm ƒ/5.6 LD-IF 75DM
The Watthour counter gearing from an analog Domestic Power meter. The distortions are caused by the thick curved glass cover. The dials are read periodically, subtract the previous reading and your energy usage is now known. HMM!
They are a bit slow coming, hoping they all arrive on mass for the UK's Butterfly Conservation's Big Butterfly Count 14th July-6th August. You can show your support by signing up to their Thunderclap using link www.thunderclap.it/projects/59178-big-butterfly-count-2017
I think this little beauty is a Large Skipper. Photo copyright Pat Adams
I don't know what this pair were up to but the hand gesture suggests she might be counting something. 4M01, London Gateway to East Midlands Gateway speeds through Barking station on 17 June 2026.
Looking to connect with others who share a passion for railway photography? Visit the 1Z10 website
Bridgeway Lake, south of Marshall Road, east of Southport Parkway, West Sacramento / Yolo County, California
I first began participating in Area 7 of the Sacramento CBC (Christmas Bird Count) in 1997 as a Sub-leader of the area in West Sacramento, CA that has Jefferson Blvd on the west, Washington Lake that encompasses the Port of Sacramento on the north and the Deep Water Channel on the west that joins the Sacramento River just north of Rio Vista, CA. This was the first time that I have observed a Cackling Goose in this sub-area.