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Hasselblad Planar 80mm, SFX (715) eco film developer
a somewhat different use of lith, soft and warm and fine grained
I call this treatment "hidden lith"
moderately overexposed Fomatone 132with hard grade (magenta) filter
two tray
Easy Lith 1+10 8 mins (until the shades are clearly visable, without considerable density of midtones and lights)
Catechol 1+100 3 mins for full tonal range and warm hue
This is part of a Creative Commons Retro Web Developer series.
Visit www.bumbleb2na.com/art/RetroWebDev to download and use high quality pixel and vector versions of this and others like it
The Milton Camera Club got the chance to photograph some classic cars outside the historic PL Robertson Factory.
Pentax 645 - SMC Pentax A 645 35mm 1:3.5 - Kodak Tmax 100 (100TMX)
Kodak Tmax Developer (1+4) 7:30 @ 20C
Old pack I discovered in my shelves. Powder pack for 1 litre, in two parts (A and B). .
Bought in France, 1982 or late 1981 (see the label, dated 09/81, this means that it was manufactured before this date).
Ultra fine grain film developer, for small tanks or trays. It can process up to 10 films with 1 min time increase for each film already processed. I think however that +1 min was too much.
I didn't use it much, I used much more Atomal FF, another Agfa fine-grained developer that wasn't same as Atomal. That one was available in bigger professional packs for 5 litres or more.
I can't say if this 33+ year old pack can still be good for use. I would never throw it away without checking it. :)
After studies have been conducted on the specific group of users, it’s switched right into a profile or user persona that imitates a genuine customer. Basically, a persona is personified data produced from user behaviours, attitudes, discomfort points, as well as their wants and needs inside a particular product. Instead of tailoring an software developer to meet the requirements of the generic group, a persona was created having a specific number of users in your mind.
Personas illustrate the goals and behaviors of users while areas examine patterns in census for example age, location, sex, salary, and so forth. Both of them are essential however, personas offer lots of advantages throughout the development process.
1. Promote User-Focused Outcomes
Frequently, an application can morph in to the desires from the designer as opposed to the user. To avert this, the expansion process must focus on a person-focused goal all actions should be created using the consumer in your mind. With this to happen, they must adopt the outlook during the finish user to create an application that resonates using its users. Personas ought to be used through the development process and never as just one phase. Reinforcing the consumer persona through the entire process will be sure that the entire team remains centered on their primary goal. Without having done this, the end result from the final software developer might not match the users’ wants.
lady-smartphone-girl-technology
2. Establishes Consensus During Development
Raw information is frequently hard to interpret however, a persona encapsulates the study and communicates the trends to other people in a manner that they are able to understand and visualize. Inside a team of developers, you will find usually individuals with different skills and expertise that could cause a positive change of opinions. A person persona is a superb tool to prevent confusion and miscommunications through the development process. The persona communicates ideas and ideas using the team of developers, stakeholders, and users. Effectively, it helps to ensure that everybody is on a single page and understands who the prospective audience is.
Startup Stock Photos
3. Validates All Decisions
An application idea is made, but could it be really exactly what the user needs and wants? While it’s important to determine who the application will target, it’s more essential to understand the consumer particularly desires. Without validation, the end result won’t deliver just what the finish user needs and can ultimately be pointless. All decisions and actions which are made throughout the development process must have a person-focused reasoning. When the development process starts to stray from concentrating on meeting the users’ needs, the application will likely fail.
User personas are valuable for everybody throughout the development process to be able to boost the quality and efficiency of the work. A persona increases product quality since it directly addresses the finish users discomfort points and fixes issues that software developer presently experience. Understanding and meeting a particular categories of users’ needs will be sure that the application is really a success. Narrowing in on the specific group of users will yield greater download rates and most importantly, it'll keep up with the engagement from the users.
Today I spent a couple hours experimenting with different combinations of Collodion + Developer, and learned a few things. Some combinations are definitely prone to inducing unwanted fogging of the blacks, of which I have seen too much lately. One combination turned out rather sweet: Coffer's #7 for negatives, with Anton Orlov's personal developer recipe. (The photo above)
Yes, the #7 for negatives also makes very detailed, rich positives (this is a tintype) as nice as any other combination I've seen. The worst collodion I worked with today was some New Guy I made up about a week ago; I couldn't get a good plate from it no matter what I tried. Ugh.
This plate was shot with my new 4X5 Intrepid and the 1920's Kodak Anastigmat 5.5" lens. 12 seconds exposure at f8.
Sandy lives and works in South Central Los Angeles. In this clip she considers jobs that will be available at the stadium and health impacts of its construction.
Part of Site of Impact: Interviews with residents living near the proposed Los Angeles NFL stadium site
New York State Chief Digital Officer & Deputy Secretary for Technology Rachel Haot speaks during an App Quest 3.0. event sponsored by the Metropolitan Transportation Authority, AT&T, Transit Wireless, and New York University’s Center for Urban Science and Progress (CUSP), to announce winners in their global competition to solicit development of new mobile solutions designed to help improve commutes for millions of subway, bus and rail riders across the five boroughs. Photo: Metropolitan Transportation Authority / Patrick Cashin
The Toraja are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja"). Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognized this animist belief as Aluk To Dolo ("Way of the Ancestors").
The word toraja comes from the Bugis Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colorful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.
Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism developers and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model - in which social life and customs were outgrowths of the Aluk To Dolo - to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.
ETHNIC IDENTITY
The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonization and Christianization, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders - such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi - than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups - the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).
HISTORY
From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognized in 1957 as one of the regencies of Indonesia.
Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.
In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to
CHRISTIANITY
Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognized religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognized, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalized as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.
SOCIETY
There are three main types of affiliation in Toraja society: family, class and religion.
FAMILY AFFILIATION
Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin) - except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.
Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.
Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.
CLASS AFFILIATION
In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.
Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.
Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women - a crime punishable by death.
RELIGIOUS AFFILIATION
Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.
The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.
CULTURE
TONGKONAN
Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").
Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.
The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.
WOOD CARVINGS
To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.
Each carving receives a special name, and common motifs are animals and plants that symbolize some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolize fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. The image to the left shows an example of Torajan wood carving, consisting of 15 square panels. The center bottom panel represents buffalo or wealth, a wish for many buffaloes for the family. The center panel represents a knot and a box, a hope that all of the family's offspring will be happy and live in harmony, like goods kept safe in a box. The top left and top right squares represent an aquatic animal, indicating the need for fast and hard work, just like moving on the surface of water. It also represents the need for a certain skill to produce good results.
Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.
FUNERAL RITES
In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.
The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.
Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.
There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.
In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.
DANCE AND MUSIC
Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.
As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.
A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.
LANGUAGE
The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.Language varieties of Toraja, including Kalumpang, Mamasa, Tae' , Talondo' , Toala' , and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages. A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterized their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.
ECONOMY
Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market .
With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies - to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.
Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s - including religious conflicts elsewhere on Sulawesi - tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.
TOURISM AND CULTURAL CHANGE
Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.
In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.
Tourism developers have marketed Tana Toraja as an exotic adventure - an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialized. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.
A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.
Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.
WIKIPEDIA
Spiegeling in waterplas C-Mine Genk.Leica-M6 TTL 0,72 Elmarit-M 1:2.8/21 mm ASPH.
Nikon super Coolscan 5000ed.
Delta 400asa developer HC 110 1+31 (B)
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Funding
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startup-photos
Market Validation
Creating something that leads to deep customer engagement is really a struggle to complete. It's very easy to check the usability of the application, but how can you tell if there is a interest in it? The reply is running the prototype via a user test.
Based on research by Localytics, 22% of downloaded mobile phone application developer are just used once and 62% of application users are totally gone after 30 days. It’s important to possess a goal which goes past the mere quantity of downloads and maintains users by supplying continual value. When the application is downloaded, metrics like application engagement, usage, and lifelong value end up being the focus. Application prototyping will validate the merchandise with regards to the right market fit and consumer experience. This reduces costs before proceeding with further development.
Exploration and experimentation through mobile application developer prototyping will produce better finish results and make apps which are valuable for that user. New items frequently fail because of the possible lack of demand, poor researching the market, along with a problematic product. Application prototyping however, avoids these common errors and helps to ensure that a competent and valuable method is developed.
Test photo using my new 1983 Fujica GS645 Pro medium format folding camera. 120 Kodak T-Max 100@100 (as processes anyway) in Rodinal 1:150 semi-stand developing 50mins
Annoyingly the developed film came out almost completely clear. I managed to pull this detail using the scanner and photoshop. The Rodinal I used is more than a year old so I am glad it happened to this test roll rather than a film used for a model shoot.
It certainly gives a good vintage film look! War Memorial Park, Coventry
Jared Rypka-Hauer and Danilo Celic find some common ground between development platforms ... I think?
(If you look closely, you'll see ColdFusion product manager Tim Buntel in the background, just about to be disturbed by this scene...)
Would You Offer An INTERACTIVE MEMBERSHIP PORTAL For The People?
An interactive membership portal is essential to maintain your audience interested and engaged. Can your area of people communicate with one another? Would they collaborate together? Would they open attorney at law on the particular subject and/or issue? Would they upload happy to your membership-driven web developer? Many of these questions are essential when you're thinking about creating a membership driven website. It’s vital that you provide your people with helpful tools that promote engagement. For instance, for those who have a subscription-driven site that is tailored for attract individuals users that are curious about organic gardening, you need to provide interactive tools where users can upload their gardening projects and/or gardening questions. Whenever a user uploads their specific organic gardening project, all people get access to produce a community wide discussion and/or share that project across multiple platforms. Now, it is also just like vital that you have somebody out of your membership driven site that is definitely open to provide assistance, support, and become a tight schedule-to person who supplies a solution/response to individuals member questions that arise.
PLAN YOUR MEMBERSHIP DRIVEN WEBSITE Having A KNOWLEDGEABLE Web Design AGENCY, ATILUS
There are plenty of components to some effective membership driven web developer. If you're while intending to construct your membership driven website, we can’t stress the significance of the look stage. The look stage is an essential take into account making certain your membership driven web site is successful. Spend nearly all your time and effort planning any project, scoping any project out, and mapping out all of the different variables having a knowledgeable web design company.
In each and every project, including member driven websites we always recommend our clients undergo a strategy planning stage, before we begin the lookOrimprovement from the site. There are lots of components that organizations/associations miss when developing their membership driven website plan. We all do provide a planning and talking to phase for individuals organizations/associations that will like professional assistance when preparing their membership driven website. Within the finish you want to make certain that the membership driven web site is successful and you're seeing the outcomes that you’ve envisioned.
To begin planning your membership driven website having a seasoned professional, please get in touch, the brand new Client Specialist at Atilus. I’d gladly talk using your project and get the best recommendation to make sure your member driven web site is successful. For those who have any queries regarding an associate driven web developer
please leave the questions you have within the comment field below and I’d be at liberty to offer you a solution!
James Schouw photoshoot by Ron Sombilon Gallery
Ron Sombilon is proud to photograph Vancouver developer James Schouw.
For more info on James and his current projects, please visit
About James Schouw
Award winning Yaletown developer James Schouw is a designer, green-minded builder, philanthropist, and community visionary. A building by James Schouw looks unlike any other, anywhere else in the world. James is influenced by early Vancouver architecture with neo-classical elements but his designs are truly original and eclectic.
James oversees all aspects of his developments, from conception, to design, to construction. His timeless design with attention to detail and cutting edge construction, has created a devoted following. His buildings are on the ‘must-see’ list of Vancouver architecture and it’s a common site to see people taking pictures of his buildings. The beauty of his buildings have turned them into Habitable Art, art that people live in.
Best known for the dramatic style of his buildings, James is changing the way buildings are built and raising the bar for environmental sensitivity with his innovative designs. His landmark Grace building, at 1280 Richards, is the first high rise in the city to have been conceived with energy efficient geothermal heating, a technology that saves on heating costs, produces minimal greenhouse gases and has set the standard for other high end projects. The carbon emission reduction for Grace is the equivalent of taking 100 cars off the road annually. In addition to the Geothermal heating system, his projects incorporate a rainwater recovery system. He has also installed a fingerprint recognition security system that ensures only inhabitants gain entrance.
Creating buildings with a reduced environmental footprint is a reflection of James’ overall development philosophy. He has sense of responsibility to enhance the community and give back to society. A minimum of 50% of each year’s net corporate and personal income will be donated to humanitarian efforts over a ten-year period. Charity work is ingrained into his company’s values and culture.
Born in Winnipeg and raised in Vancouver, James studied physics at university but became fascinated with construction after spending time helping his architect father at a construction site. A natural entrepreneur he left school to start a successful ice cream distribution business and to pursue his interest in design and construction. His own dissatisfaction with what he saw on the market prompted him to build his first multifamily development, Iliad. James is a long time resident of Yaletown and always resides in the projects he creates so that they have the liveability that he would expect in a home.
James’ Grace building was awarded the 2008 Georgie Award for High Rise of the Year, was a nominee for best multi-family housing for the national SAM awards, and was a finalist for the international SPARK design awards. James is a past winner of Business in Vancouver’s 40 under 40 Award and he has been featured on CBC Television’s “Living Vancouver”, HGTV’s Lofty Ideas, and CKNW’s “Adler Online”. He is an occasional contributor to Business in Vancouver Magazine, writing articles giving his thoughtful perspective on Vancouver’s housing industry.
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Back row:
David T, James F., _, Koichi, Felix, Nanda
Front row
_, James L.?, Eryn, Michael D., _
Oil rig Maersk Developer parked in the blue waters in front of Carasbaai / Baja Beach
Please respect the copyright on my images. Do not use in any way without my express written consent. You can contact me by Flickrmail or through the contact page of my website www.curacaooncanvas.com
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Praktica L
Super-Multi-Coated Takumar 50mm f/1.4 + Yellow-Green
Ilford FP4+ ISO125
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Developed with Agfa Rondinax 35U in Agfa Rodinal
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Developer of Navigate accepts Honorable Mention during an App Quest 3.0. event sponsored by the Metropolitan Transportation Authority, AT&T, Transit Wireless, and New York University’s Center for Urban Science and Progress (CUSP), to announce winners in their global competition to solicit development of new mobile solutions designed to help improve commutes for millions of subway, bus and rail riders across the five boroughs. Photo: Metropolitan Transportation Authority / Patrick Cashin
Developer of TravAlarm accepts Best Crowdsourcing App award during an App Quest 3.0. event sponsored by the Metropolitan Transportation Authority, AT&T, Transit Wireless, and New York University’s Center for Urban Science and Progress (CUSP), to announce winners in their global competition to solicit development of new mobile solutions designed to help improve commutes for millions of subway, bus and rail riders across the five boroughs. Photo: Metropolitan Transportation Authority / Patrick Cashin
Developer of YoTrain! accepts Grand Prize award for Best Accessibility App for MTA Customers with Disabilities during an App Quest 3.0. event sponsored by the Metropolitan Transportation Authority, AT&T, Transit Wireless, and New York University’s Center for Urban Science and Progress (CUSP), to announce winners in their global competition to solicit development of new mobile solutions designed to help improve commutes for millions of subway, bus and rail riders across the five boroughs. Photo: Metropolitan Transportation Authority / Patrick Cashin
Developer of ReMap accepts Best Data Visualization Award during an App Quest 3.0. event sponsored by the Metropolitan Transportation Authority, AT&T, Transit Wireless, and New York University’s Center for Urban Science and Progress (CUSP), to announce winners in their global competition to solicit development of new mobile solutions designed to help improve commutes for millions of subway, bus and rail riders across the five boroughs. Photo: Metropolitan Transportation Authority / Patrick Cashin
Developer of NYC Accessible accepts Runner-up Prize for Best Accessibility App for Disabled MTA Customers during an App Quest 3.0. event sponsored by the Metropolitan Transportation Authority, AT&T, Transit Wireless, and New York University’s Center for Urban Science and Progress (CUSP), to announce winners in their global competition to solicit development of new mobile solutions designed to help improve commutes for millions of subway, bus and rail riders across the five boroughs. Photo: Metropolitan Transportation Authority / Patrick Cashin