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Each of these images encapsulates Edinburgh's creative spirit in different and unexpected ways. The festival season is not confined to the summer months, in fact, the city surprises me daily with its exuberant arts presence-- be it in the form of a public graffiti performance or eight "toy soldier" musicians suspended in mid-air. It is not only the spirit of Edinburgh that I sought to capture with these images, but the dynamic interweaving of fine architecture and innovative forms of presentation as well. In Bristo Square, an artist digitally projects his painting on the fine architecture of McEwan Hall; on Princes Street, the spindly lines of a 20th century Ferris wheel interact with the imposing Gothic form of the Scott Monument. Edinburgh creativity is a street medium in which history and play are artfully melded in a unique synthesis that manifests itself both subtly and overtly.

Kaitlyn E. Hay, 22. years old.

This photo encapsulates the efforts of the organization which staged the Reflections on the Vietnam War event, showing their information material, newsletters, and annual reports.

Here we begin using quite a bit more color than previous photos, though it being of other photos. Still, yet the black tablecloth creates a nice ground for the many figures claiming it as home.

Again, the straight horizontal and vertical lines imply a sense of sturdiness and rigidity. The horizontal line here is low in frame to offer openness to the viewer and capture the openness of the MCC organization (very friendly people).

Minimal depth is captured here by the interposition of the information brochures-some behind others-and the way their edges recede toward the background.

Movement is difficult to speak of here, very straight lines with little leading.

Of course, the many things sitting on the table comprise a more complete image of the MCC than a simple mix of individual brochures. They altogether produce the image of the worldly efforts the group manages through their movement of people and faith. In this case, also, the continuity of the table confines the elements therein to a specific area, forcing to assume their link with each other, they share a common fate. And as mentioned above, the black tablecloth also acts as a good negative space for the many figures it holds.

Two major signs present themselves in this photo. The first being the MCC logo as a symbolic sign for the MCC group, and the second being the girl on the poster, an iconic sign for a girl.

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encapsulated in a single shot.

Read nothing into the fact that I've missed off the top of Nick's head, there was nothing extravagantly arresting going on up there, just shoddy camera work on my behalf.....

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“Dreams of Long Ago” encapsulates Rockwell's unique ability to tell a story through the singular expression of his subject and the objects he carefully selected as their accompaniments, combining, in equal measure, both humor and sentimentality. Painted as a cover for The Saturday Evening Post, Dreams of Long Ago depicts an aging cowboy, listening to a gramophone, surrounded by relics of the past. Like many of Rockwell's most successful Post covers, Dreams of Long Ago reflects the tides of American popular culture in Rockwell's distinct vernacular.

The Bristol Sessions, still widely considered to be the "Big Bang" of modern country music, were recorded in Tennessee and aired on August 1st, 1927. Country music, or "hillbilly music" as it was more commonly known, had been commercially recorded since 1922 but it was not until the Victor Talking Machine Company, which manufactured the first phonograph and was later known as RCA, held the sessions that marked the commercial debuts of music legends Jimmie Rodgers and the Carter Family, that the genre took widespread hold. Victoria Crenson, in Norman Rockwell's Portrait of America writes, "It certainly wasn't hard to understand why rural America found country western music appealing. But perhaps urban America enjoyed it because the independence and freedom of life on the range afforded a nostalgic look at a young country before big city problems; when nature, rather than the stock market, determined the conditions of survival. Some songs poked fun at all the city greenhorns and their romanticizing of the Old West. But even suave, urban-intellectual songwriters couldn't resist writing "cowboy" tunes."

Dreams of Long Ago, which appeared on the August 13th, 1927 cover of the Post may well have been a direct reflection of this newfound appeal of the Old West, and America's tendency to idealize and yearn for the bygone and storied era. Rockwell's inspiration for Dreams of Long Ago was the result of a visit he paid to the James K. Van Brunt, the model for this cover. Norman Rockwell recalled, "When he saw me, his face lighted up with pleasure. He rose up and saluted me. 'Welcome to my little garden,' he said. 'My garden of mementos”. "One day Rockwell called at [van Brunt's] rooming house to make an appointment for posing and came upon Van Brunt listening to his gramophone in a tiny room filled with souvenirs of days gone by. Kernels of popcorn bought at the Chicago Fair of 1893, heaped under a little glass dome. The butt of a cigar smoked by Ulysses Grant. A seashell brought back from a trip to Atlantic City with his dear late wife, years before. Van Brunt's biography, in slightly altered form, is the story Rockwell gives to his old cowboy" in Dreams of Long Ago.

Rockwell recalled his initial meeting with Van Brunt in 1924 in New Rochelle, New York: "I remember it was June and it was terribly hot. I was working in my underwear and not getting along too well because my brushes were slippery with perspiration. Suddenly the downstairs door banged and I heard someone come up the stairs treading on each step with a loud, deliberate thump...A tiny old man with a knobby nose, an immense, drooping mustache, and round, heavy-lidded eyes stamped bellicosely into the studio. 'James K. Van Brunt, sir,' he said, saluting me and bowing all at once.'Five feet two inches tall, sir. The exact height of Napoleon Bonaparte!' And he pushed out his thin little chest, which was encased in a fawn colored vest. 'I have fought the Confederate Army at Antietam, Fredericksburg, and in the Wilderness,' he said. 'I have battled the nations of the Sioux under Dull Knife, Crazy Horse and Sitting Bull. I have fought the Spaniards, sir, in Cuba.' And he rapped his cane on the floor and looked at me very belligerently. Then, having ascertained that I wasn't going to contradict him, he took off his gloves and his wide brimmed hat, laid them on a chair, and patted his mustache. 'This mustache, sir,' he said, 'is eight full inches wide from tip to tip. The ladies, sir, make much of it.' And he winked at me and walked over to my mirror to stare at his mustache." Van Brunt was a consummate professional as a model, carefully practicing his poses in the mirror in advance of a session and, at times, inspiring the idea for the cover illustration. Rockwell stated that he used to suggest a cover almost every time they saw one another and referred to the day when Van Brunt first showed up at his studio as "one of the luckiest days of my life."

In Dreams of Long Ago, Van Brunt poses, shoulders slumped, in front of a phonograph, clutching an RCA record titled 'Dreams of Long Ago.' 'Dreams of Long Ago' was recorded by Enrico Caruso, an Italian tenor whom Rockwell had met during his work at the Metropolitan Opera House for RCA in 1912. The lyrics begin: "shadows are falling and I sit alone/My heart recalling Memories when you were my own." Van Brunt's pose, with his chin resting in his hand, suggests a wistful nostalgia for a time passed and echoes the sentiments of the tune. The glint in his eye, and bemused expression, provide a glimpse of youthful exuberance belied by advancing age. Karal Ann Marling writes, "The humor of the scene, intermingled with a touch of pathos, comes from the sight of the diminutive figure of an old man in full western regalia thinking about his heroic youth has he listens to cowboy songs on the gramophone. But the details--the meticulously rendered objects scattered around the old man--flesh out the story. He wasn't a cowboy; what he is remembering are his days in the Wild West Show, among the dance hall beauties who display their ankles in the faded posters behind him."

James K. Van Brunt appeared in ten Post covers by Rockwell, as well as countless other paintings used as advertisements. Given Van Brunt's distinctive visage with his mustache, the editor at the Post, George Horace Lorimer, complained. "Rockwell recalled, 'Mr. Lorimer said to me, 'I think you're using that man too much. Everybody's beginning to notice it. Maybe you'd better stop for a while. That mustache of his is too identifiable.' Rockwell informed Van Brunt of the problem, 'If you take off your mustache I can use you again...Otherwise I just can't.' Two weeks later Van Brunt visited. If Rockwell gave him ten dollars, he said, he'd shave off his mustache. 'It upset me,' the artist recollected, 'it was like the feeling of a great oak or the toppling of a statue which had been for years a monument to a man.' After Van Brunt removed his mustache, Rockwell found creative ways to include the model whose lower lip proved to be more distinctive than his big mustache. Van Brunt continued to pose for the artist, even dressing as three women in Rockwell's 1929 Post cover Gossips.

Norman Rockwell's beloved covers of The Saturday Evening Post are, in many respects, portraits of America that serve as both a faithful historical record of and a tender tribute to American popular culture. Indeed, both art connoisseurs and historians look to Rockwell's work as a barometer of the health of the American nation. Through wars, depression, and civil strife, Rockwell portrayed subjects from ordinary, everyday life. The scope of his appeal continues to grow as new generations live through the same quintessentially American types of experiences that Rockwell so faithfully depicted in his art. "For six decades, through two World Wars, the Great Depression, unprecedented national prosperity and radical social change, Norman Rockwell held up a mirror to America and reflected its identity through the portraits he painted of its people...Rockwell's paintings have done more than just sell magazines. They are in a large measure the visual memory of a nation."

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Nothing encapsulates the story of the out ward diaspora of the Merchant Princes of Shekavati than the beautiful decaying haveli’s left behind in the small towns of Sikar & Jhunjhunu which made up the Shekavat region of Jaipur State. These Haveli’s bearing names like “Modi ki Haveli”,Khaithan ki Haveli” etc is the who’s who of the current major industrial house’s in India. (Poddar,Bajaj,Goenka,Ruias, Singhania’s et al)

Had visited the deserted town of Chitpur last year to see the mansions of the Bohra’s. These haveli’s I got to see in Jhunjhunu still has people living in some parts of the mansions. The towns of Sikar & Jhunjhuna are still vibrant & full of bright earthy colours.

The quirky,exuberant paintings & murals all over the portions we were allowed to see is lovely. The “Tibrewala” & the “Modi” haveli has Gods, Cars, Trains driven by White Babu’s Mughal motifs & what not…. I saw Bhagat Singh twirling his mushtache on a wall

Some snaps..

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Each of these images encapsulates Edinburgh's creative spirit in different and unexpected ways. The festival season is not confined to the summer months, in fact, the city surprises me daily with its exuberant arts presence-- be it in the form of a public graffiti performance or eight "toy soldier" musicians suspended in mid-air. It is not only the spirit of Edinburgh that I sought to capture with these images, but the dynamic interweaving of fine architecture and innovative forms of presentation as well. In Bristo Square, an artist digitally projects his painting on the fine architecture of McEwan Hall; on Princes Street, the spindly lines of a 20th century Ferris wheel interact with the imposing Gothic form of the Scott Monument. Edinburgh creativity is a street medium in which history and play are artfully melded in a unique synthesis that manifests itself both subtly and overtly.

Kaitlyn E. Hay, 22 years old.

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...with the encapsulated light from summer....

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Nothing encapsulates the story of the out ward diaspora of the Merchant Princes of Shekavati than the beautiful decaying haveli’s left behind in the small towns of Sikar & Jhunjhunu which made up the Shekavat region of Jaipur State. These Haveli’s bearing names like “Modi ki Haveli”,Khaithan ki Haveli” etc is the who’s who of the current major industrial house’s in India. (Poddar,Bajaj,Goenka,Ruias, Singhania’s et al)

Had visited the deserted town of Chitpur last year to see the mansions of the Bohra’s. These haveli’s I got to see in Jhunjhunu still has people living in some parts of the mansions. The towns of Sikar & Jhunjhuna are still vibrant & full of bright earthy colours.

The quirky,exuberant paintings & murals all over the portions we were allowed to see is lovely. The “Tibrewala” & the “Modi” haveli has Gods, Cars, Trains driven by White Babu’s Mughal motifs & what not…. I saw Bhagat Singh twirling his mushtache on a wall

Some snaps..

Nike, Air Jordan 1 Mid SE, Men’s Size 8.5, Cyber Active Fuchsia, White, Black, Cyber Pink, Active Fuchsia, CZ9834-100, UPC 00194496106657, 2019, Patent Leather Pastels, Synthetic leather upper, patent leather overlays, Air Jordan "Wings" logo stamp on heel counter, Mismatched Patent Leather Nike Swooshes, black patent leather eyelet and toe overlays, Active Fuchsia collars and heel overlays, “Cyber” green lateral Swooshes, green tongue liners, black-branded tongue tags, teal green insoles, white midsole, Black rubber outsole, lace up closure, Air Jordan Wings logo on the lateral side, Encapsulated Air-Sole unit, Padded tongue with JORDAN logo, NIKE swoosh, Cushioned inner sole, Traction rubber outsole, Jumpman woven tag, NBA, released in 1985,

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Air Jordan Eclipse, Menâs Size 11, Light Bone, 724010-028, 2016, UPC 00886916698339, Textile upper, Low-top design, IU midsole doubles as an outsole, Encapsulated Air-Sole unit, Herringbone traction pattern, Foam lining and OrthoLite sock liner, pared-down, flexible midsole, Air-Sole unit in the heel, lightweight and cushioned midsole, reddealsonline