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Leica M2
35mm Summicron, 8 element replica (orange filter)
Fomapan 100 in Paranol-S (1:50 @ 68 deg for 8.5 min)
-- I shot this both in bright sunlight and then when clouds obscured the sun. Surprisingly, it looked better in the clouded, obscured light. The diffuse light plus orange filter resulted in a more moody look. So brighter not always better!
Single guanaco, Torres del Pine, Chilean Patagonia. Starting a new series where animals make a foreground element to the landscape, since I suck at taking animal (and human) portraits. The new album stretches decades and continents:
www.flickr.com/photos/26034413@N04/albums/72177720321887405
Greetings from an expensive hotel near Dublin airport, my current trip concludes tomorrow.
Fifth Element is one of the movies I’ll watch over and over again.
I’ve been working on this taxi from the movie for quite a long time and finished it today. Difficulty in getting the right parts (and learning a few things about some popular Bricklink sellers), a mishap that caused me to order a new set of stickers, plus this is a fragile model and has come apart more than once. But it’s done and as soon as I find the minifigs I bought to go with it…
Plans and stickers by Brickmania
Parts from Bricklink
Minifigs from minifigs.me
Still linking work from 2017 to 2025. 'The Lay of the Land' becoming part of 'Inner Landscapes'.
My friend S. wrote the following on seeing this diptychs:
"Ça me fait penser à Julien Gracq pour qui il n'y a pas de frontière entre le monde extérieur et le monde intérieur. Gracq s'est intéressé à la traversée physique du lieu extérieur, les paysages extérieurs, (il était géographe) et la traversée surnaturelle des intériorités qui sont pour lui des éléments totalement compatibles."
... Criteri di iscrizione alla Lista del Patrimonio Mondiale Unesco:
Villa Adriana è un capolavoro che in modo unico riunisce le più alte forme di espressione della cultura materiale dell’antico mondo mediterraneo.
Lo studio dei monumenti che compongono Villa Adriana ha giocato un ruolo cruciale nella riscoperta degli elementi dell’architettura classica da parte degli architetti del Rinascimento e del periodo Barocco. Essa ha, inoltre, profondamente influenzato numerosi architetti e progettisti del XIX e XX secolo...
I was following this group of noisy greylag geese with my camera when they suddenly turned and flew in front of this beautiful piece of sky. Lucky shot and I love it.
Taken for the Macro Mondays theme of 'BackInTheDay'
With the advent of LED the days of the old filament type bulb are long gone. Difficult to now find them in the shops.
HMM!
»Alles Existierende entsteht ohne Grund, setzt sich aus Schwäche fort und stirbt durch Zufall. «
de.wikipedia.org/wiki/Cimeti%C3%A8re_du_Montparnasse
Leica M6TTL
Biogon ZM 35/2.8
dedicated to my soulbrother :-)*
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Works of art are of an infinite solitude, and no means of approach is so useless as criticism. Only love can touch and hold them and be fair to them.
Nothing touches a work of art so little as words of criticism: they always result in more or less fortunate misunderstandings. Things aren't all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsayable than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life.
~ Rainer Maria Rilke, Letters To A Young Poet ~
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The vision of the center of this mandala beleaguered me in the same night when I completed Kabeirô – and I even was told its name: Worlds within Worlds.
Instantly, I sensed a profound aversion to both the image and the name, and for about one week, I refused to start with the work on the mosaic.
Then, one sleepless night, I had another vision which was very weird: before I saw anything, I had the sensation that my body was a tremendous, overdimensioned black sphere which had a very small white sphere in its midpoint; not till then, I saw the image of the black sphere, but somehow two-dimensional (onyl the small white sphere in the center was three-dimensional), but I knew that my body – more precisely: my whole self – and the image were one and the same, and that something with it was quite wrong.
Then, after some frightening minutes or hours (I really don't know), another image arose: a white sphere, much smaller than the black one, and with a small black sphere in its middle. This white sphere was outside of my body, I only could see but not sense it, and the feeling of something quite wrong got stronger, and very scary.
The third image which arose after another frightening minutes or hours, was exactly the same I already had seen after I had completed Kabeirô: Taigitu, the symbol of life itself as well as the symbol of the polarity which forms the basis of everything in this wonderful and appalling world.
Not until then, when Taigitu arose, I understood what was wrong with the first two images: the black and the white sphere were meant to compose ONE sphere: a complete whole INSIDE myself.
On the following day, I started working on the mosaic, for I was completely aware of the NECESSITY of creating it. I just had one wish: that I was allowed to find a second name for the mandala which was concordant with my longing for staying integrated in the world of Greek mythology.
I worked on the mosaic from sunrise to sunset, and late in the night, I finally got to know the name I could welcome from the bottom of my heart: Kybele.
Kybele (English: Cybele), the great God mother of the mountain Ida (Latin: Magna Mater), was a goddess who originally was deified in Phrygien, together with her lover Attis, and later also in ancient Greece and the Roman Empire. The cult of Kybele and Attis was – similar as the cult of Mithras – a widespread mystery cult up to the Late Classic Period. The whole legend concerns apparently the gender dualism; it explains the origin of the world by an interaction of the male and the female element of the universe: the heavenly Attis must inseminate the mother earth Kybele with its blood so that the world can arise.
The mandala is not yet completed; I suppose that it's going to be quite huge and that I'll work on it for a couple of weeks, but I don't know definitely... – well, we will see. ;-)
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Mon vieux Ukulele est un peu dépassé par le temps. La coque ayant été un peu fêlée, il n'est plus trop opérationnel mais reste utile pour répondre au thème Cogwheel avec les éléments permettant de l'accorder. #Macro #Cogwheel #MacroMonday #MacroMondays
before the bay of palma awakens, the day murmurs its arrival through the whispers of dawn. clouds part like curtains unveiling a stage, rays of light cascade, each a gentle touch on the slumbering sea. the silhouette of the distant mountains stands as the eternal audience, witnessing the slow brightening of the world. it’s a serene symphony where each element plays its part in harmony, the sea reflecting the sky’s moody hues, the land a dark contrast to the awakening sky. in this quiet hour, time pauses, allowing the earth to inhale the promise of a new day, a subtle interlude before life resumes its pace.
I don't even really like this movie, but once I get an idea, I can't stop. I just got the Luke in Bacta figure and had the thought that it could work as a Leeloo, so I did it... and made a couple other figures to go with lol
Left to right:
It was surprisingly hard to find good source images for this one! One of the most helpful things to get their outfits right was the collection of Funko POPs lol
This my Character - Aurora. Any ideas for a surname?
this is unfinished, i still need to add a background. the hair has gone a bit wrong though.
this character is based on a story i am writing, the story is on my group here:
www.facebook.com/fredconcha.photography/
Skógafoss is a waterfall situated on the Skógá River in the south of Iceland at the cliffs of the former coastline. After the coastline had receded seaward (it is now at a distance of about 5 kilometres (3.1 miles) from Skógar), the former sea cliffs remained, parallel to the coast over hundreds of kilometres, creating together with some mountains a clear border between the coastal lowlands and the Highlands of Iceland
I seem to be in an "academic" groove this morning... this gymnasium net reminds me of the deformable meshes used in finite element analysis.
2024-12-19_102940
Ce qui subsiste du château d'eau d’origine de 1577, c’est le noyau en blocs de grès équarris, le même matériau que celui utilisé pour le pont Charles voisin. Cette cohérence n’a rien d’un hasard : la ville imposait une unité de matériaux sur tout le front de rivière. Tout ce qui s’élève au-dessus, en revanche, relève de la reconstruction néo-gothique de 1878-1883 menée par Antonín Wiehl. Les trois flèches en cuivre oxydé, le couronnement élancé, les remplages en arc brisé et le cadran héraldique datent de cette campagne. Wiehl ajoute alors un étage complet pour accueillir le mécanisme de l’horloge et remplace la coupole baroque d’origine. Le cadran présente en médaillons les armoiries des anciens quartiers de Prague, rétroéclairées la nuit. Le millésime 1880 marque l’arrêt définitif de la fonction hydraulique : le réservoir, installé à 31 mètres de hauteur depuis le XVIe siècle, cesse d’être utilisé au moment même où la tour adopte son apparence la plus monumentale.
Au même moment, à quelques centaines de mètres, Josef Mocker remanie la tour du pont côté Vieille Ville. Les deux chantiers néo-gothiques coexistent alors dans un dialogue visuel permanent, participant à redéfinir l’esthétique du quartier à la fin du XIXe siècle.
Un peu plus loin, le palais Bellevue occupe l’angle de la rue Karoliny Světlé et du quai Smetana sur une parcelle triangulaire ce qui oblige l'architecte Konstantin Mráček à déployer trois façades. Et bon, il ne s'en prive pas. Construit en brique rouge apparente par Konstantin Mráček, le bâtiment s’élève bien au-delà des normes de son époque, atteignant cinq étages côté quai et six côté rue. Ce qui dû immédiatement faire hurler les voisins, puisque le règlement de l'époque n'autorisait que deux étages sur ce tronçon de nábřeží, et que Mráček l'a ignoré avec une désinvolture totale. Cette "audace" lui vaut de devenir un repère vertical marquant dans la perspective du quai.
Depuis la rivière, l’élément le plus frappant reste la tour d’angle prismatique, percée de fenêtres à divisions multiples et prolongée par un oriel cylindrique qui évolue en forme polygonale avant de se terminer par une toiture conique. L’ensemble s’inspire directement des architectures flamandes et néerlandaises, avec leurs pignons en brique et leurs tours ornées de galeries, très en vogue en Europe au XIXe siècle. Les façades sont animées de balcons, d’arcades, de petites tourelles et d’oriels, dont les détails se prolongent à l’intérieur. Dès son origine, le dernier étage accueille des ateliers d’artistes, parmi lesquels Oskar Kokoschka avant la Seconde Guerre mondiale, puis Jiří Trnka après. Pour un bâtiment nommé « Bellevue », la fonction est presque littérale.
Sources : Wikipédia sur la tour hydraulique de la Vieille Ville (Multi) && Article radio sur la tour hydraulique et son rôle historique (CZ) && Wikipédia sur la station hydraulique de la Vieille Ville (Multi) && Fiche architecte sur Josef Mocker (CZ) && Site de la ville sur l’église Saint-Gall (CZ/Multi) && Présentation virtuelle du palais Bellevue (CZ) && Guide touristique sur le palais Bellevue (CZ) && Article d’architecture sur le palais Bellevue (CZ) && Fiche touristique sur le palais Bellevue (CZ) && Article d’actualité sur le rachat du palais Bellevue (CZ)
FYI : Assisté par l'I.A. pour la rédaction.
Para Gaudí un elemento clave en su forma de concebir la estructura era el arco parabólico o catenario, también llamado funicular de fuerzas, que utilizó como elemento más adecuado para soportar las presiones. Mediante la simulación de distintos polifuniculares experimentales determinó la forma óptima de la estructura para soportar las presiones de los arcos y las bóvedas, primero en la cripta de la Colonia Güell y después en la Sagrada Familia. Desarrolló un modelo a escala de cordeles entretejidos de los que suspendían pequeños sacos de perdigones que simulaban los pesos; así determinaba el funicular de fuerzas y la forma de la estructura. Por tanto, a partir del estado de cargas, simulados con los saquitos de perdigones, determinó experimentalmente la forma idónea de la estructura —que él llamó «estereostática»—, que reproducía la estructura óptima para trabajar a tracción y que, invirtiéndola, se obtenía la estructura idónea para trabajar a compresión.
Gaudí concibió el interior de la Sagrada Familia como si fuese la estructura de un bosque, con un conjunto de columnas arborescentes divididas en diversas ramas para sustentar una estructura de bóvedas de hiperboloides entrelazados. Las columnas las inclinó para recibir mejor las presiones perpendiculares a su sección; además, les dio forma helicoidal de doble giro (dextrógiro y levógiro), como en las ramas y troncos de los árboles. Por el conjunto de elementos aplicados en las columnas —inclinación, forma helicoidal, ramificación en varias columnas más pequeñas— consiguió una sencilla forma de soportar el peso de las bóvedas sin necesidad de contrafuertes exteriores.