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I'm not a landscape photographer, but I do occasionally make some landscape images just to keep developing my skills.
Developed in a tray with Ilford Multigrade @ 1:14 in a not-so-dark bathroom.
No preflash for this exposure. I tried flashing another test shot by opening and closing the dark slide, which of course (in retrospect) was far too much light.
The village of Brem-sur-Mer, as the name indicates, has recently developed itself as a coastal resort, but the old heart of the village lies about one kilometer inland, centered around the Saint-Nicolas church.
In the Middle Ages, most of the people living along seaboards had a profound distrust of the ocean; it was a physically threatening environment, rumored to be populated with all sorts of creatures one didn’t want to see any closer. People who lived on fertile lands that could feed them, as is the case in Vendée, resolutely turned their backs on the ocean, contrary to some of the Bretons, whose granite land is often much less accommodating in terms of agriculture, and who therefore had to turn to the sea and marine resources to feed themselves as properly as possible, which was often not much.
The Saint-Nicolas church is a Year 1000 church, one of the oldest in all of Vendée, if not the oldest. It was originally built as a three-nave church by the Benedictine monks from the abbey of Marmoutier, who installed a priory there. When it was consecrated in 1070, it was a jewel of Romanesque architecture, as attested today by what remains of that original church.
It was then badly damaged during the Wars of Religion. The aisles were destroyed, and only the main nave was rebuilt, using stones from the aisles destroyed by the Protestants.
This remarkable church is mostly known among Mediævalists for its enigmatic portal which, curiously, was not an element of the original church, whose façade was devoid of decoration. The portal is believed to have been added around 1100. Treated in the archaic way called in French à l’antique, it includes a triangular gable sculpted in low relief.
The central figure is thought to represent Saint Nicolas, but no one has ever come with a satisfying explanation as to what the surrounding creatures (men, women and beasts) were, and why they were there. This enigma still puzzles art historians to this day.
A great romantic charm emanates from Saint-Nicolas, because of its obvious very old age and the fact that it is partly ruined, but a great sadness also grips the beholder as they assess the poor condition the church is in at this time (May 2024). The combination of rain infiltrations and the action of the humid, salty ocean air, have seriously damaged the monument. Restoration and repair works are urgently needed to protect both the structure itself, and the alfresco wall paintings that have recently been discovered inside.
One of the charities I work for as a pro bono photographer, the Fondation du Patrimoine, has launched a fundraising operation that has already collected more than 168,000 euros, versus a target figure of 300,000. If you too want to help, even in a very small way, you can make an online donation here: www.fondation-patrimoine.org/les-projets/eglise-saint-nic.... If you are a French tax resident, you will receive a certificate allowing you to deduct 75 percent of your donation against your taxes next year.
The vaulting above the two rows of the choir and the cul-de-four over the apse. The damage done to the plastering is extensive and impressive, but the stones beneath may not have been too severely deteriorated. Nevertheless, it is urgent that repair works should begin to insulate the church by redoing the roof.
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
Camera: Zenit-E
Lens: Jupiter-37A 135mm f/3.5 M42
Film: Konica VX200-S IS0 200 Format: 135 (35mm)
Film shot in 2003
Exposed at ISO200
Developed in lab in C-41 in 2003 as ISO200 (don't know chemical brand)
Scanned in 2013 from negative with manual colour correction (EPSON Perfection 4990) @4800dpi
Healing brush (dust removal), Levels, Curves, resize to 1200dpi + sharpening.
Hasselblad 500 C/M
Carl Zeiss Opton 80/2.8 with 21mm extension ring
Fuji Velvia 50 (expired 2007), self-developed in Tetenal Colortec E-6 kit
Nikon F3 hp
Nikon 50mm/F1.4
Yellow filter
ILFORD 400 HP5 PLUS
Self- Developing - Time 7.5 Mins
© All Rights Reserved
Self developed long exposure on self redscaled Lomography 100 medium format film loaded into a Kodak Box Brownie with a flipped lens.
Experimenting in developing poundshop c41 colour film in b&w chemicals for an upcoming pinhole camera project for my scout group.
Xa2
C41 agfa vista 200 (just c200)
Ilford Ilfosol 3 1+9
Epson v600
Darktable, crop, rotate and converted to mono.
recipe: filmdev.org/recipe/show/9436
Siddhesvara Dham is a unique pilgrimage tourism venture of the Sikkim Government developed as “Pilgrim cum Cultural Centre” having a 26,52 m statue of Lord Shiva.
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Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.
Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.
ETYMOLOGY & OTHER NAMES
The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).
The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.
The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.
ASSIMILATION OF TRADITIONS
The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.
INDUS VALLEY ORIGINS
Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.
INDO-EUROPEAN ORIGINS
Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.
RUDRA
Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.
The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.
The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:
Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.
The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.
AGNI
Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:
The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.
In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.
INDRA
According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.
The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,
Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.
LATER VEDIC LITERATURE
Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.
Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.
PURANIC LITERATURE
The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.
TANTRIC LITERATURE
The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.
POSITION WITHIN HINDUISM
SHAIVISM
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
PANCHAYATANA PUJA
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.
TRIMURTI
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."
ICONOGRAPHY AND PROPERTIES
ATTRIBUTES
Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.
Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.
Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.
Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.
Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)
Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.
Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.
Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.
Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.
Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.
Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".
Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.
Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.
LINGAM
Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.
JYOTIRLINGA
The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.
The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.
SHAKTI
Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).
THE FIVE MANTRAS
Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).
Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:
Sadyojāta
Vāmadeva
Aghora
Tatpuruṣha
Īsāna
These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:
Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.
According to the Pañcabrahma Upanishad:
One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)
FORMES AND ROLES
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
DESTROYER AND BENEFACTOR
In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.
The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.
In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.
ASCETIC AND HOUSEHOLDER
He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.
As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.
Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.
NATARAJA
he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.
DAKSHINAMURTHY
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.
ARDANARISHVARA
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.
TRIRUPANTAKA
Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.
OTHER FORMS, AVATARS IDENTIFICATIONS
Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.
In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).
Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.
FESTIVALS
Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.
BEYOND HINDUISM
BUDDHISM
Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.
SIKHISM
The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."
In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.
OTHERS
The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.
Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.
In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.
WIKIPEDIA
This great looking 1948 Lincoln Continental Cabriolet was on display at the 2014 Kansas City Auto Show held at Bartle Hall in Kansas City Missouri.
The first Lincoln Continental was developed as Edsel Ford's one-off personal vehicle, though it is believed he planned all along to put the model into production if successful. In 1938, he commissioned a custom design from the chief stylist, Eugene T. "Bob" Gregorie, ready for Edsel's March 1939 vacation. The design, allegedly sketched out in an hour by Gregorie working from the Lincoln-Zephyr blueprints and making changes, was an elegant convertible with a long hood covering the Lincoln V12 and long front fenders, and a short trunk with what became the Continental series' trademark, the externally mounted, covered spare tire. They had front and rear transverse leaf springs and hydraulic drum brakes.
1948 Lincoln Continental coupe
1948 convertible with view of "Continental" spare tire mount
The result could be considered a channeled and sectioned Zephyr, with all traces of the running-boards removed. The decrease in height meant that the hood was much closer to fender-level, and the trim was minimal. When compared to other American cars of the period, it seemed long and low, with sleek "clean" lines. The first model Continental is often rated as one of the most beautiful automobile designs from the pre-world war II era.
The customized one-off prototype was duly produced, on time, and Edsel had the vehicle delivered to Florida for his spring vacation. Interest from well-off friends was high, and Edsel sent a telegram back that he could sell a thousand of them. Lincoln craftsmen immediately began production on the Continental "Cabriolet" convertible, and even a rare few hardtop models. They were extensively hand-built; the two dozen 1939 models and 400 1940-built examples even had hand-hammered body panels, since dies for machine-pressing were not constructed until 1941. The limited number of 1939 models produced are commonly referred to as '1940 Continentals'.
The 1939, 1940, and 1941 models were essentially the same design, with only slight modifications from year to year. For the 1942 model year, which was cut short by the beginning of direct American involvement in World War II, all Lincoln models were given squared up fenders, and a revised grill. The result was a boxier, somewhat heavier look in keeping with then-current design trends, but perhaps less graceful in retrospect.
After the attack on Pearl Harbor US civilian-use automobile production was suspended, to be restarted in 1945–1946. Ford's Lincoln division would continue to produce the Continental for model years 1946 to 1948. Like all other post-war Lincolns it received updated trim, including a new grill, to refresh the design. Walnut interior trim was added in 1947.[5] The 1939–1948 Continental is recognized as a "Full Classic" by the Classic Car Club of America, one of the last-built cars to be so recognized. To date, the 1948 lincolns were the last V-12 engined cars to be produced and sold by a major U.S. automaker. (Wikipedia)
There is a certain affection that individuals develop for a place, especially where railroading is concerned. Drop names such as Cajon or Donner or Tehachapi and it is easy to understand the pull that those places have.
But, had the early railroad builders seen a better way to expand their empires and get from Point A to Point B without loops and black powder and tunnels and shelves blasted out of mountainsides, they certainly would have.
But they didn’t, and their efforts created legends that spread around the world, and people from far and wide have come to witness it.
But mention Black, Texas or Canadian or White Deer and those same people scratch their heads and ask “Where?”
To most, the draw of the High Plains is inexplicable.
To a few, it is inexorable.
“It seems big and empty,” some might say.
It’s hot, it’s dusty, it rains, it hails, and it snows---
All in the same day.
Yet it is a land steeped rich in history; of the Comanche and herds of bison roaming free through the yellow grasses; of barbed wire and cattle brands of the great XIT ranch or the Matador or the JA, whose cowboys drove their Herefords across the same parched grassland and past the bleached-white bones of buffalo, the cows not stopping to mourn as they were herded on their way to trackside holding pens along the Fort Worth & Denver or the Santa Fe, where they were loaded aboard slat-sided stock cars and shipped off to market.
The Plains are not merely experienced; to be fully appreciated and understood, they must be absorbed through the soles of our feet and inhaled by all of our senses.
It is a land that speaks to the vastness of one’s soul---
Of a limitless scape and a horizon that is never reached, where time and direction are easily lost---
The taste of dust and dry grass and the damp smell of rain on the wind as dark clouds billow high in the sky---
A storm promising to refill the playas after another scorching summer.
Jack Delano came here in 1943, and it was his masterful imagery that dropped the seed in the fertile soil of a young mind, there to be watered in well by a monochrome conductor standing at his caboose steps reviewing his train orders in front of the tiny and windswept yet immaculate depot at Black.
But things have changed since the Office of War Information tour.
The 2-10-4s are long gone, and massed Warbonnet PAs no longer roll the eastbound San Francisco Chief out of Amarillo at 25 minutes past midnight, sharp.
And in the time since, it seems that railroading has become homogenized, where both sides of the coin look the same, and individual traits or signatures or trademarks of long standing have been watered-down or merged away entirely by a modern-day corporate environment.
This is the world we live in.
But the rails themselves still stretch between dots on a map, and the trains still run on them, and the crews still operate them in a dedicated and professional manner.
And there is still the expanse of Texas.
Perhaps it is for us to challenge oneself with the impossible task of choosing a single image that is the embodiment of today’s railroading across the High Plains, one that represents the total essence of the land and the trains that run through it.
How best to depict the round-the-clock nature of railroading itself; of crews awakened in the dead of night, or in the full light of day, assigned a train and given the task of getting it over the road to the next terminal?
It would have to be an image showing a sense of urgency, of efficiency and pricing and speed, perhaps a duel between the flexibility of rubber and asphalt versus the volume of steel rails and crossties and ballast.
There would have to be a sense of destination or purpose; trains don’t just run across a vast landscape without someplace to go, and there’s a lot of wide-open railroading that happens across the panhandle between Oklahoma and New Mexico.
The scenes and the moments are endless and not easily narrowed down to one.
Perhaps.
Tonight, there’s a fast train at Amarillo with a crew on board that was roused from sleep, grabbed a quick bite at Penny’s Diner, checked out of the Windham Baymont in Wellington, Kansas, and boarded their train.
They’ll have 12 hours to cover 312 track miles across the Panhandle Subdivision, and in that time a brace of four modern General Electric locomotives will allow them to achieve the track speed of 70 mph while a long string of containers and semi-trailers tugs on the drawbar, vital traffic taken off the roads and away from the truckers who constantly have trouble fielding a competitive team and keeping drivers in the seat.
It's dusk on a perfect Texas evening, and our westbound BNSF crew has a clear block ahead and the lights of home on the horizon. In just a few more miles, they’ll roll to a stop near the yard office in Amarillo, grab their grips and their coolers and the ever-present Stanley Thermos, and step down into the night, there to chat with the outbound crew who will forward the train across to Belen, putting the High Plains and a few more double-tracked subdivisions behind it on its way to the West Coast.
In a day or so it will find itself in a very different scape as it winds through desert mountains on its way up Cajon, the ghosts of Kistler and Steinheimer and Walker moving about the shadows of Hill 582 as GEVO prime movers pay them homage.
Those standing trackside will snap away at one of the finest and most dramatic scenes in railway history; for them it will be an occurrence teetering on the abyss of nirvana.
Meanwhile, two time zones to the east, somewhere out on the Llano Estacado, perhaps near Cuyler or Panhandle or Pantex, there will be a lone figure standing trackside, shaggy gray hair sprouting from beneath an old T&P cap, clad in blue jeans and an old Wrangler cowboy shirt flapping in the breeze. With the Nikon that dangles from his neck, he’ll line up a sunset shot on a fast train heading to Amarillo.
And as a symphony of steel wheels roars past, the crescendo rising and fading as each wheelset makes room for the next on rails that seem as endless as the horizon---
The experience will be no less intense than that on Cajon.
And while it may never be acclaimed as legendary, for those who have absorbed the place---
Inhaled it into their very soul---
It comes pretty damn close.
Rick Malo©2023
Apparently, some people won't stop celebrating.
Nikon F4s / Nikkor 24mm 1:2.8 AF-D / Kodak TriX 400
Epson Perfection 4490
Self-developed with Kodak HC-110 (dilution B)
Development details on FilmDev
'HC-110 Ratios & Dilutions spreadsheet' provided by Ralph Lundvall
© 2016 Prezioso PH
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Don't tell me you didn't know that my street work can now be seen at my secondary Tumblr blog, www.tumblr.com/blog/smilefromthestreetsyoushoot. Amazing, isn't it? Enjoy it then, why not? Of course you will. I know, you know it.
The Apollo 17 mission took advantage of two complex space vehicles—the Saturn V rocket and the Lunar Roving Vehicle-- developed at NASA’s Marshall Space Flight Center in Huntsville, Ala.
Image credit: NASA
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These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
diana+ || fuji astia RAP 100f - developed in tetenal 3 bath e6
original diana+ exposure by sissi. the film was mailed to me for a second exposure.
Ulster University, officially the University of Ulster, is a multi-campus public university located in Northern Ireland. It is often referred to informally and unofficially as Ulster, or by the abbreviation UU. It is the largest university in Northern Ireland.
Established in 1968 as the New University of Ulster, it merged with Ulster Polytechnic in 1984, incorporating its four Northern Irish campuses under the University of Ulster banner. The university incorporated its four campuses in 1984; located in Belfast, Coleraine, Magee College in Derry, and Jordanstown. The university has branch campuses in both London and Birmingham, and an extensive distance learning provision. The university rebranded as Ulster University from October 2014 and this included a revised visual identity.
The Belfast campus is situated in the artistic and cultural centre of the city; the Cathedral Quarter. Although traditionally associated with Art and home to the university’s School of Art, originally inaugurated as the Belfast School of Art and Design in 1849, the campus has a range of subjects including architecture, hospitality, event management, photography and digital animation. The award-winning Law Clinic is based at the Belfast campus, offering free legal advice on social security and employment law.
Ulster University has been expanding and developing the Belfast campus since 2009 as part of one of Northern Ireland's largest-ever urban developments, and nearly 15,000 students and staff will soon be based in the city centre. The first phase of this development opened in 2015 and completion of the project is due in 2019.
Developed for Air France, the Loire 102 pictured here's in a Test Phase for its new single stabilized Tailfin and enhanced Engines (Streamline, Cooler...)
Indeed, previous Version had a double Tail and some overheating Probs.
Its Net Weight was over 17Ton, moved manually by man.
Original Gelatin-Silver Photograph
This sunspot (AR2036) was barely visible three days ago and now it is about three or four times the size of Earth: that is a very impressive progression. This close-up video captures the action from SDO (Apr. 14-16, 2014) for about 2.5 days. Let's see if it produces any major solar storms.
Braunschweig [ˈbraʊnʃvaɪk], known as Brunswiek [ˈbrɔˑnsviːk] in Low German, is a city of 245,810 people (as of 31 December 2007), located in Lower Saxony, Germany. It is located north of the Harz mountains at the farthest navigable point of the Oker river, which connects to the North Sea via the rivers Aller and Weser. The historic English name for Braunschweig is Brunswick
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[edit] History
The date and circumstances of the town's foundation are unknown. Tradition maintains that Braunschweig was created through the merger of two settlements, one founded by Bruno II, a Saxon count who died before 1017 on one side of the river Oker - the legend gives the year 861 for the foundation - and the other the settlement of Count Dankward, after whom the still surviving Castle Dankwarderode (Dankward's clearing) is named. The town's original name of Brunswik is a combination of the name Bruno and wik, a place where merchants rested and stored their goods. The town's name therefore indicates an ideal resting-place, as it lay by a ford across the Oker River. Documents from the St. Magni Church from 1031 give the city's name as Brunesguik. Another explanation of the city's name is that it comes from Brand, or burning, indicating a place which developed after the landscape was cleared through burning.
Braunschweig around 1900.
Dankwarderode Castle
In the 12th century Duke Henry the Lion made Braunschweig the capital of his state and built the Cathedral, St. Blasius. He became so powerful that he dared to refuse military aid to emperor Frederick I Barbarossa, which led to his condemnation and fall.
Braunschweig was a member of the Hanseatic League from the 13th century to the middle of the 17th century. In the 18th century Braunschweig was not only a political, but also a cultural centre. Emilia Galotti by Lessing and Goethe's Faust were performed for the first time in Braunschweig.
Braunschweig was the main residence of the rulers of the Duchy of Brunswick, which was a constituent state of the Holy Roman Empire until 1806 and of the German Empire from 1871. At the end of World War I the Duchy became the Free State of Brunswick within the Weimar Republic.
Brunswick Cathedral, St. Blasius, with Lion statue.
During World War II thousands of forced Eastern workers were brought to the city. During the years 1943-1945 at least 360 children taken away from the workers died in the Entbindungsheim für Ostarbeiterinnen.
In World War II, Braunschweig was a Sub-area Headquarters (Untergebiet Hauptquartier) of Military District (Wehrkreis) XI. It was also the garrison city of the 31st Infanterie Division, which took part in the invasions of Poland, Belgium, France, and Russia, and was largely destroyed during the German withdrawal from Russia. The city was severely damaged by Anglo-American aerial attacks. The air raid on 15 October, 1944 destroyed most of the Altstadt (old town), which had been the largest ensemble of half-timbered framework houses in Germany, as well as most of the churches. The Cathedral, which had been converted to a National shrine (German: Nationale Weihestätte) by the Nazi-Government, still stood.
After the war, Braunschweig ceased to be a capital when the Free State of Brunswick was dissolved by the Allied occupying authorities (most of its lands were incorporated in the newly formed state of Lower Saxony). The Cathedral was restored to its function as a Protestant church. The rebuilding of the city was intended to make it modern and automobile-oriented. A small section of the Altstadt survived the bombing and remains quite distinctive. In the 1990s efforts increased to reconstruct historic buildings that had been destroyed in the air raid. Buildings such as the "Alte Waage" (originally built in 1534) now stand again in their pre-war glory.
Jinnnai farm, Urausu, Hokkaido.
Pentax SP, EBC Fujinon-T 135mm F3.5, negative ISO 100, exposed as ISO 100, developed with reversal processing as described before, scanned with Plustek OpticFilm 8100, edited with GIMP. Bigger sizes: www.flickr.com/photos/threepinner/48261035517/sizes/l up to 8000 x 5314 pixels compatible. Learn DIY development and upgrade to film !
*click to see full view*
Wanted to share another class work with you guys, this one's for a photoshop class though not illustrator.
We had to basically add in flora to the image, and develop the entire scene for a "client".
I think I'm so used to editing second life images it turned out a little more cartoony than I wanted... but bah XD *waves*
Developed by St. Louis-based May Centers and designed by Victor Gruen Associates, South County Center opened on May 16, 1962 as the second enclosed mall in St. Louis.
Exposed and developed accoring to the Mortensen method : Expose for the highlights, develop for the shadows.
Dev: 510-Pyro 1+250, 23°C, 95 mts. stand developent (first 5 mts. cont. agitation and once after 50 mts
Here is a third clouds and sky image that sat around unedited from the lazy days of summer. The clouds were beginning their usual afternoon roll out from the Rockies. The high peaks are already covered. The foothills will be next. I turned north up the Crane Hollow drive and noticed a hubub of cars parked and folks clustered. It looked like they were taking lessons from a painter at a spot I always glance at and have shot there before. I went on and pulled over up the road. My view wasn't in sight but I did kind of like the daily clouding lofting above the trees. I really like to do cloud work; I guess they like my clouds over on Eddie's site as well. Later on down the road, went for a few shots before I left. This sky suits me but more would be better! I thought it might be more than ordinary if I treated the clouds properly. I was about ready to give up anyway. Fortunately, some serious retouching has allowed me to start catching up on my back log. I will have to go through them and weed out the also-rans. I will prospect again tomorrow. I baled again the next morning.
Power with punch
Volkswagen and Porsche jointly developed the Touareg, no wonder it's got a rumble in its belly
By Tushal Bhadang
LAUNCHED IN 2003, VW AND PORSCHE WANTED to add a luxury SUV to their line up, the goal was to develop a car that could handle the chicane as well as
the swamp. The 2007 Touareg (The name is derived from the French moniker for the nomadic Tuareg tribe and is pronounced “TWAH-reg” ) has a new dynamic face, a
bigger goatee (Audi Q7) and even more aggressive headlamps (enabled with VW’s bi-xenons with static cornering lamps). New features also include a new taillight
cluster and a fresh set of wheels.
The car we had on test was the 280 hp V6 FSI gasoline powered mini monster. VW also have on option a more powerful 350 hp V8 engine on offer. The V6 developed
360 Nm of torque at 5000 RPM. To people these are just figures, but when put the test, the more torque one has on tap the better it is. Mated to a 6-speed automatic gearbox
with manual override, the power delivery was seamless. She shifted up in such a rush that by the time you got up to 70 kmph, it was already slotting into 6th gear. Strange.
4XMOTION is what VWcalls its permanent 4-wheel drive system which is backed up by a smart electronic differential to distribute power efficiently. Switching to low range is via a knob mounted near the stick shift but one has to shift to neutral to engage the centre differential lock. With so many gadgets on offer, we couldn’t resist
ourselves from taking it where no Touareg had been before on the island. Designed to attack steep slopes of 45 degrees and rivers with water level up to 58 cm, she looked eager to attack the dunes. It took on steep slopes with aplomb, impressing with its torque and ground clearance.
The problem with most luxury SUV’s is that they come with wide road tyres and the Touareg is no exception. 275/45R19 mounted on ‘Terra’ alloys worked well on the road, but off road they didn’t provide the comfort that is expected. The ride quality is very firm and the wide footprint often saw her struggling in super-soft sand where the importance of proper off-road tyres was felt. By appearance, she looks like a soft-roader and we ourselves didn’t expect it to do much as this option also lacked the height adjustable suspension. It impressed us the most when it tip-toed into a steep creep (on 2 wheels) with a very rocky entrance. Ground clearance, power and weight distribution came into play and the feat was achieved with remarkable agility and precision.
Cream all leather interiors pronounced luxury with a two-tone dash board in brown and beige. Burr Walnut wood inserts gave added comfort. Dual climate control and in-dash CD player with 6 speakers kept our journeys entertained. VW always pays attention to detail, all switches were within reach, a clever sunroof design controlled by a rotary knob instead of vague buttons is so much better. The rear windscreen also open up separately instead of having to open the whole bootlid to load it up. Heated driver and front passenger seats are electronically adjustable. The small but chunky leather wrapped steering wheel gives the right feel to the size of the car. Parking sensors mounted on the front and rear bumpers provide easy visual and audio guidance when parking. Storage space is above average with a cooled glove box. Power steering is adjustable for rake and reach and contains the central user interface and also audio and cruise control. The speedo console is as detailed as other VW models with outside temperature, fuel efficiency, distance/time travelled etc. Also included in the Touareg is a battery Amp meter and separate gauges for engine and oil temperature.
Safety-wise, ESP, Traction control, ABS, EBD and a set of 6 airbags for front and rear passengers secures all occupants. EDL (Electronic differential lock) provides a smooth start on road surfaces with bad traction. Additionally, the Touareg enjoys a 5-star passenger and 4-star child safety rating from EURONCAP.
Last word
The Touareg provides the thrills of a well-built car in a package that looks good and performs extremely well from a position where people don’t normally expect it to. She
goes about her job in an orderly fashion. The rumble in her belly is that of a motor that’s raring to go. The car is intelligent but it can do so much more with better ride
quality and beefier tyres. Its red and blue backlighting for switches and gauges is snazzy, rear seat passengers are also showered with luxurious reclining seats. The Touareg is for
those who want a super-sport SUV but without the prohibitive price tag.
Rating *****
Car supplied by Behbehani Bros., Kingdom of
Bahrain.
Watch a video of it (not this spec.) pulling a Boeing 747 - www.youtube.com/watch?v=TWxMestl824