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Nikon D3
Nikon 85mm 1.4
© Manuel Orero
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The funny thing is that we bought a book about tribes (Pokot, samburu, masai, etc) and..he was in the book! So we let it to him. The world is really small!
The Pokhot live in the Baringo and Western Pokot districts of Kenya and in Uganda.
There are two main sub-groups depending of their location and way of life. The first group consist of the Hill Pokot who live in the rainy highlands in the west and in the central south, and are mainly farmers and pastoralists. The second group is made up of the Plains Pokot who live in dry and infertile plains, with their cattles. A homestead is composed of one or more buildings for a man, his wife and children; eventual co-wives live in separate houses. The role of the community in teaching children ethical rules. Most of the Pokot are nomadic and thus have interacted with different peoples, incorporating their social customs.The Pokot are very proud of their culture. The Songs, storytelling, and decorative arts, especially bodily decoration, are very appreciated. They adorn the body with beads, hairstyling, scarification, and the removal of the lower central incisors. Pokot girls wear a beaded necklace made of the stems of an asparagus tree. Most Pokot have some knowledge of herbal medicine, so they often use these treatments along with those of the hospitals. They belong to the Kenya's Nilotic-speaking peoples. .
For the Pokot, the universe has two realms: the above is the realm of the most powerful deities—Tororot, Asis (sun), and llat (rain); and the below is the one where live humans, animals, and plants. Humans are responsible for the realm that they inhabit, but they rely upon divinities to achieve and maintain peace and prosperity. They worship many deities like the sun, moon and believe in the spirit of death.The Pokot communicate with their deities through prayer and sacrifice. They perform it during ethnic festivals and dances. Oracles are responsible for maintaining the spiritual balance within the community. They are superstitious and believe in sorcery, so sometimes they call on shielding lucky sorcery. They have prophets, either male or female, who foresee advise, usually by the means of animal sacrifices. His or her ability is considered as a divine gift. Clan histories recount the changes of location, through poetry and song, emphasizing the vulnerability of humans and the importance of supernatural powers to help them overcome hunger, thirst, and even death. Ceremonies mark the transitions in the people's social lives. Among these are: the cleansing of a couple expecting their first child; the cleansing of newborn infants and their mothers; the cleansing of twins and other children who are born under unusual circumstances; male and female initiation; marriage; sapana, a coming-of-age ceremony for men; and summer-solstice, harvest, and healing ceremonies. The most important rite of passage for most Pokot is circumcision for boys and clitoridectomy for girls. These rites consist of a series of neighborhood-based ceremonies, emphasizing the importance of having a good behavior. When boys are circumcised, they acquire membership in one of eight age sets. Women do not have age-sets. After excisions, for several months, girls have a white painting on their face and wear a hood made of blackened leather with charcoal and oil. This means they are untouchable until the lepan ceremony, that marks the passage to womanhood. Unlike other tribes, the Pokot keep the affiliation to their clan throughout their lives, there is no disruption with marriage. Surprisingly, the agreement before marriage is made by gift giving, from the groom and his family to the bride and her family, often over a period of years (and not the contrary). It often implies the gift of a combination of livestock, goods, and cash to the bride's family, and the allotment of milk cows and rights to land to the bride. The bond between a husband and wife lasts for 3 generations, after what marriages can take place again between the two groups. Polygamy exists but is not prevalent among men before 40. The spirits of the elder anticipate reincarnation in their living descendants: when a child is said to resemble the elder, the same name is given. Disputes are resolved in neighborhood councils and in government courts. Some of the sanctions include shaming, cursing, and bewitching.
© Eric Lafforgue
Divinity - A shot from Hampi. During my short trip to Inida, I was able to do a very short roadtrip to Hampi, a UNESCO hertiage site. The place is rich in architecture and history and it was great fun exploring the town of Hampi with two of my old friends.
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Upper Las Virgenes Reserve, San Fernando Valley, CA
Noticed the sun wanting to peek out while on my way an overlook. Kept my eye on it just in case and about 10 minutes later, was fortunate to grab the light just above the tree atop the hill.
Funerary stele of Optata Fadia. Stele with a double niche surmounted by a pediment with corner acroteria and a central rosette. The paired arches are supported by two lateral pilasters adorned with very fine floral decoration. The busts of the two women are rendered truncated below the waist and conclude in a framed inscription panel bearing the names of the deceased. The epigraphic text reads:
OPTATA FADIA T(iti)) F(ilia) / STATIA ;
L(ucius) VALLIVS L(uci) F(ilius) RVFVS / L(ucius) VALLIVS L(uci) L(ibertus) NAM [---] / M(arcus) VALLIVS L(uci) F(ilius) MAR [---] / L(ocus) P(edum) Q(uadratorum) X [---]
"Optata Fadla, daughter of Titus - Statia”;
“Lucius Valllus Rufus, son of Lucius; Lucius Valllus Nammus, freedman of Lucius; Marcus Valllus Mar [?], son of Lucius, burial plot of X [?] square feat ."
Steles with portraits were a type of monument used by the middle classes. especially freedmen and were popular in Aquileia in the ist century AD. The monument depicts two elderly women, coiffed in accordance with Julio-Claudian fashion and adorned with their jewelry, represented in a dynamic pose while presenting pomegranate fruits as offerings to the chthonic divinity. The sober, realistic character of the portraiture, together with the typology of the costume and of the monument itself, supports a dating to the early decades of the 1st century AD, consistent with the epigraphic evidence
Source Museum notice
Limestone stele No. 203
175 x 77 x 18 cm
First thierd of 1st century AD
Aquileia, Museo Archeologico Nazionale
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Dog Rocks, Batesford
An amazing place, was lucky that there was noone else there as i'd heard that it is quite a popular area for the local photographers. Went on a ridiculously windy day, which knocked my tripod over with the camera attached - lucky nothing broke, but I learnt my lesson to hang heavier stuff off it. Was bloody freezing out there too... thermometer on my car read 5 degrees celcius...
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Domenico Modugno Lu pisci spada Teatro 10 1964
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Acitrezza, a coastal town in eastern Sicily, a fraction of Acicastello (a town so called due to the presence of a gloomy and imposing Norman Castle which rises above the sea); Acitrezza has the prefix "Aci", which we find in nine municipalities in the province of Catania, a prefix that originates from an ancient legend that speaks of a love story between the shepherd boy Aci and the beautiful Nereid named Galatea, a marine divinity , but it is also a story of jealousy, in fact Galatea was desired by the terrible god Polyphemus (Ovid, in the XIII book of the Metamorphoses); Acitrezza is above all known to most, for having been the socio-cultural background for the novel "I Malavoglia" by the great realist writer Giovanni Verga, and for the film " The earth shakes" by the great director Luchino Visconti, a film always inspired by the novel "I Malavoglia ”; speaking of Giovanni Verga, born in Catania, I would like to underline that he was not only a famous writer, exponent of the Verismo literary current, but he was also a passionate photographer, whose photographic production was certainly influenced by his friend and writer Luigi Capuana: in Verga's photographs (for many years I have owned the book "Verga photographer") we find a particular attention to portraits (simple people, such as relatives, acquaintances, peasants, waitresses), photographs of urban and rural realities of Sicily of his time (a diatribe concerns whether or not these photographs were important cues for fueling his literary narrative production), but not only Sicily, there are photographs of landscapes such as the lakes in Lombardy, Bormio, Switzerland, which Verga visited starting from Milan where he lived for a long time. This introductory note, to talk about the photographs I took in Acitrezza on June 24th of this year: the first photos I post (in the slideshow, as in the photostream, they will be the last to appear) there are portraits of some very nice members of the Lega Navale di Acitrezza who performed in a very particular and unique musical performance using the shells of clearly exotic molluscs, I then made photographs of the particular coast of the sea that bathes Acitrezza, devoid of beaches, with the characteristic faraglioni (islands of the Cyclops), for which bathers to immerse themselves in its clear waters, must adapt to the presence of the rocks, or take advantage of the concrete "slides" created for launching or hauling boats, or taking advantage of the characteristic wooden scaffolding which, like stilt houses, overlook the rocks, allowing you to park comfortably a short distance from the sea water; however what prompted me to go to Acitrezza was the particular scenic representation held on the occasion of the Feast of San Giovanni on 24 June, a farcical representation that dates back to 1750, and seems to originate as a propitiatory rite for to fish for swordfishfish, such farce-representation takes the name of "U pisci a mari" (the fish in the sea), almost superfluous to underline how fishing for coastal towns such as Acitrezza (therefore also fishing for large Mediterranean fish, such as tuna and swordfish) has represented and represents an important source of livelihood, fishing that above all in the past (now it has become a rarity, something survives in the Strait of Messina) was carried out with the use of a long rod equipped with a harpoon with mobile and articulated fins (so as to prevent the rod from being unsarpooned by leveraging it), with typical boats of two types, the "luntru", equipped with a tree in the center of the boat, about three meters high, from whose top you can see the swordfish (which in the period between April and September it approaches the Calabrian and Sicilian coast of the Strait of Messina, it can be seen while it sails torpidly or even sleeps on the surface), the other type of boat is the "feluca" whose "modern" version includes, in addition to a very high lookout mast, the presence of a very long walkway that allows you to reach the swordfish above, which has not yet alarmed itself by hearing the engine of the boat still far away. In this "pantomime", a Swordfish-Man is symbolically captured with a spear, bright red fake "stage blood" is immediately sprinkled on his body, the joy among the fishermen is great, at the tip of the pier with the umbrella in hand there is the "Rais" (the Chief of the crew who has the task of signaling the presence of the Man-Fish) who rejoices, (this type of fishing has very ancient origins), the musical band has taken its place on a barge, with its music, brightens up the whole scene despite the bloody aspect that characterizes the scene, some photographs if not commented (and seen individually) could create a bit of bewilderment, looking at the smiling faces of the spectators one realizes that we are faced with a farce-representation, the Man-Fish, albeit "wounded", manages to squirm and regain his freedom by throwing himself into the water, the fishermen are in the throes of anger and despair, the Rais despairs, the capture and salvation for the Man-Fish takes place three times, after which the fishermen, now without prey and desperate, end their comedy by overturning the boat and thus ending up miserably in the water. The colors present in the feast of San Giovanni di Acitrezza are the colors red and yellow, colors that we find in the clothes of the fishermen, in the decorations and in the colors of the boat called San Giovanni, so even the devotees dress in red and yellow wearing the handkerchief or the yellow-red dress of St. John.
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Acitrezza, paese costiero della Sicilia orientale, frazione di Acicastello (paese così chiamato per la presenza di un tetro e imponente Castello Normanno che si erge sul mare); Acitrezza ha il prefisso “Aci”, che ritroviamo in nove comuni della provincia di Catania, prefisso che origina da un’antica leggenda che parla di una storia d’amore tra il pastorello Aci e la bellissima Nereide di nome Galatea, una una divinità marina, ma è anche una storia di gelosia, infatti Galatea era desiderata dal terribile dio Polifemo (Ovidio, nel XIII libro delle Metamorfosi); Acitrezza è soprattutto conosciuta ai più, per aver fatto da sfondo socio-culturale al romanzo “I Malavoglia” del grande scrittore verista Giovanni Verga, e al film “la terra trema” del grande regista Luchino Visconti, film ispirato sempre al romanzo “I Malavoglia”; a proposito di Giovanni Verga, nato a Catania, desidero sottolineare, che egli non fu solamente un famoso scrittore, esponente della corrente letteraria del Verismo, ma egli fu anche un appassionato fotografo, la cui produzione fotografica fu certamente influenzata dal suo amico e scrittore Luigi Capuana: nelle fotografia del Verga (da molti anni sono in possesso del libro ”Verga fotografo”) ritroviamo una particolare attenzione al ritratto (persone semplici, come parenti, conoscenti, contadini, cameriere), fotografie di realtà urbane e rurali della Sicilia del suo tempo (una diatriba riguarda se tali fotografie erano o meno importanti spunti per alimentare la sua produzione narrativa letteraria), ma non solo la Sicilia, ci sono fotografie di paesaggi come i laghi lombardi, di Bormio, della Svizzera, che Verga visitò partendo da Milano dove egli visse per molto tempo. Questa nota introduttiva, per parlare delle fotografie che ho realizzato ad Acitrezza il 24 giugno di quest’anno: le prime foto che posto (nello slideshow, come nel photostream, saranno le ultime ad apparire) ci sono i ritratti di alcuni simpaticissimi soci della Lega Navale di Acitrezza che si sono esibiti in una particolarissima ed unica performance musicale utilizzando le conchiglie di molluschi chiaramente esotici, ho poi realizzato fotografie della particolare costa del mare che bagna Acitrezza, priva di spiagge, coi caratteristici faraglioni (isole dei Ciclopi), per cui i bagnanti per immergersi nelle sue limpide acque, devono adattarsi alla presenza degli scogli, oppure approfittare di “scivole” in cemento create per la messa in acqua o l’alaggio delle barche, oppure usufruendo di caratteristiche impalcature in legno che, come palafitte, sovrastano le rocce, consentendo di stazionare comodamente a poca distanza dall’acqua del mare; però quello che mi ha spinto a recarmi ad Acitrezza è stata la particolare rappresentazione scenica che si tiene in occasione della Festa di San Giovanni il 24 giugno, rappresentazione farsesca che risale al 1750, e sembra originare come rito propiziatorio per la pesce al pescespada, tale rappresentazione-farsa prende il nome di “U pisci a mari” (il pesce nel mare), quasi superfluo sottolineare di come la pesca per paesi costieri come Acitrezza (quindi anche la pesca ai grandi pesci del Mediterraneo, come tonni e pescespada) ha rappresentato e rappresenta una importante fonte di sostentamento, pesca che soprattutto in passato (ora è diventata una rarità, qualcosa sopravvive nello stretto di Messina) veniva eseguita con l’utilizzo di una lunga asta dotata di un arpione ad alette mobili e snodabile (in modo da impedire che l’asta, facendo leva, potesse disarpionarsi), con barche tipiche di due tipi, il “luntru” , dotata di un albero nel centro della barca, alto circa tre metri, dalla cui sommità si avvista il pescespada (che nel periodo tra aprile e settembre si avvicina alla costa calabrese e siciliana dello stretto di Messina, lo si può avvistare mentre naviga torpidamente od addirittura riposa in superficie), l’altro tipo di barca è la “feluca” la cui versione “moderna” prevede oltre ad un’altissimo albero di avvistamento, la presenza di una lunghissima passerella che consente di giungere sopra il pescespada, il quale ancora non si è messo in allarme sentendo il motore della barca ancora distante. In questa “pantomima”, un Uomo-Pescespada viene catturato simbolicamente con una fiocina, del finto “sangue di scena” color rosso vivo viene subito cosparso sul suo corpo, la gioia tra i pescatori è grande, sulla punta del molo con l’ombrello in mano c’è il “Rais” (il Capo dell’equipaggio che ha il compito di segnalare la presenza dell’Uomo-Pesce) che esulta, (questo tipo di pesca ha origini antichissime), la banda musicale ha preso posto su di un barcone, con la sua musica rallegra tutta la scena nonostante l’aspetto comunque cruento che caratterizza la scena, qualche fotografia se non commentata (e vista singolarmente) potrebbe creare un po’ di sconcerto, guardando i visi sorridenti degli spettatori ci si rende conto che ci si trova davanti ad una rappresentazione-farsa, l’Uomo-Pesce seppur “ferito” riesce a dimenarsi ed a riguadagnare la libertà gettandosi in acqua, i pescatori sono in preda alla rabbia ed allo sconforto, il Rais si dispera, la cattura e la salvezza per l’Uomo-Pesce avviene tre volte, dopodiché i pescatori, oramai senza più preda e disperati terminano la loro commedia rovesciando la barca e finendo quindi miseramente in acqua. I colori presenti nella festa di San Giovanni di Acitrezza sono i colori rosso e giallo, colori che ritroviamo nei vestiti dei pescatori, negli addobbi e nei colori della barca detta di San Giovanni, così anche i devoti vestono di rosso e giallo indossando il fazzoletto od il vestito giallo-rosso di San Giovanni.
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I picked this image because it represents freedom. Also like the bold colours because it makes it understand with the blackout angel and tree.
When Lord Krishna bestowed divine Vision to Arjuna and graced him with the Vishwaroopa Darshana , Arjuna was awed, dumbstruck and overwhelmed by this Divine Cosmic Manifestation-The source of all creation and destruction. It was awe inspiring and and so petrified was Arjuna by the sheer Magnificence that he begged Krishna to return to his original familiar loved form which Arjuna could handle.
If we were to look at the Sun directly, we would not be able to bear its brightness and splendour and would be blinded instantly. The silver lining on a cloud, the peeping rays of light, the spider’s web, the dewdrops on the grass, the symmetry of a flower, the delicacy of a creeper, the golden sunlight through leaves, the graceful animal, the cycle of seasons are all images of the Universal power, showing Itself in versions we can tolerate.So stay in bliss friends.
DIVINITY
Pullip Custom Head by Sheryl Designs to Sinstresse
Sinstresse order me the same design on this face doll:
This doll is aptly named, I will start with that. I love Isha, I'm a bit biased because of my heritage, but it is what it is. However, I don't have every Isha that has ever been made, I didn't even try to get all the Ishas out there. This one, though, I had to. She is a dream.
Love the white outfit for her. It makes her even more ethereal, yet accentuates her sultriness. Her face is flawless and in my opinion, she is the best Isha ever made.
As with all other Sacred Lotus dolls, Isha's accessories are simply amazing as well. Just wish she had a necklace as well, a jewel-studded choker to be exact, in true over-the-top Bollywood style.
Shologhor, Bangladesh, 2012
A boy standing near some clay feet, which will be used for the creation of Devi Durga.
Self-described "Doctor of Divinty" Leon Huse at his tire shop near Crane Missouri by Notley Hawkins Photography. Taken with a Canon EOS 5D Mark IV camera with a Canon EF16-35mm f/4L IS USM lens at ƒ/8.0 with a 1/100 second exposure at ISO 100. Processed with Adobe Lightroom CC.
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©Notley Hawkins
Old School of Divinity, Cambridge, 8 Oct 2015
This is WORK IN PROGRESS.
At least it is better than Street View.
( Go to 52.207899, 0.118048 in Google Maps and have a look)
This was shot with a Sigma 10-20 and the verticals sorted in Lightroom, leaving just a touch of convergence.
Had planned to come back later when the sun had moved round a bit, but it clouded over.
It would be nice to get the whole of the front of the School of Divinity. It gets the sun mid afternoon, but this is the time of day for maximum clutter - table and chairs now encroaching from café to left. Maybe wait until depths of winter when too cold to put tables out. I can live with bikes and street furniture.
Then I may try a pano of several shots ...