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In France,at century 19, the French military strategy included the heavy defense of main cities like Lyon. Lyon was defended by 17 different forts located in two concentric defense lines. This time, on January 28, 2025, I went especially to Dardilly, about 15 km away, north to Lyon to see the Fort du Paillet. However the weather soon degraded and my photo session was shorter than expected. The film was completed the day after in Lyon and along the Saône river going to La Mulatière by bicycle with a more pleasant sunny weather.
I used my Zorki version-1 type-D camera (year 1955, see the details given below)) equipped its Industar-22 1:3.5 f=5cm standard lens. With sunny weather on January 29, 2025, I exchanged the anti-UV 36mm push-on filter by a Yellow x2.5 FOCA filter. For the whole views the lens was also protected of parasite lights with a generic cylindrical stainless steel hood (36mm push-on too).
I had the bad idea to pick up in my fridge a Svema (Свема) FOTO 200 film probably of the same batch as the one done in 2022 (flic.kr/s/aHBqjAsaLd). This batch was badly damaged on the second half of the film and this cartridge too. Here, I succeeded to salvage 20 frames to be presented, the rest is so affected by the degradation of the emulsion (see the contact sheet provided). What is more the cartridge was so hard to unroll that I had to move the spool in a similar reusable 135-format cartridge... Still, I noticed during the photo session that the advance was irregular.
Svema FOTO 200 is a super-panchromatic film coated on a very thin polyester flat base that looks very closed to the aerial film Agfa Aviphot 200. The film an extended sensitization in the red to the near IR at 780 nm, The film was exposed for 160 ISO using a Minolta Autometer III and its 10° finder for selective measurements privileging the shadows zones of the scenes.
Typically, with poor light conditions and AUV filter, exposures were at 1/60s f/4.5. With sunshine, and the yellow filter I exposed for 80 ISO giving 1/100s and f/8 or f/11
Quai Jean-Jacques Rousseau, January 29, 2025
69350 La Mulatière
France
After exposures the film was processed using Adox Adonal (equivalent to Agfa Rodinal) developer at dilution 1+50, 20°C for 14min according to data found on www.digitaltruth.com).
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.
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About the camera and the lens:
This camera is a practically mint sample of Zorki 1 arrived to me in Lyon, France, January 10, 2023.
The camera looked exiting from the KMZ factory in USSR almost 70 years later spent in a time capsule ... with almost no traces of use. According to a custom receipt of July 28, 1955, signed in Vienna, Austria, the camera body and lens are the original matched ones. As for the original FED, FED-Zorki and Zorki's ("ФЭД", "ФЭД-Зоркий", „Зоркий“), the Zorki 1 was a straight legal copy of the Oskar Barnack Leica II after the cancelation of German camera patents following the end of WWII.
This Zorki 1 is a type D model PM1115 (year 1955 according sovietcams.com/index7584.html). Type D Zorki's were produced from 1953 to 1955 in about 250.000 units with serial numbers ranging from #470.000 to (in 1955) #55 45.000. The original lens of this Zorki units is an collapsible lens Industar-22 1:3.5 f=5cm.
In the rear pocket of the ever-ready leather bag was still deposited the Austrian custom receipt from 1955 and a film label of Agfa negative-color CN17 likely from the 60's.
You live upon a stage, and everyone's agreed
You're the brightest hope by far that anyone can see
So when you take the limelight you can guarantee
You're gaining fame and claiming credibility
Tell me baby are you gonna get high as a kite?
Tell me baby are you gonna let it happen every night
How can you expect to be taken seriously?
You live within the law, and everyone assumes
You must find this a bore, and try something new
You're an intellectual giant, an authority
To preach and teach the whole world about ecology
Tell me baby are you gonna make any other claim?
Tell me baby are you gonna take any of the blame?
How can you expect to be taken seriously?
How can you expect to be taken seriously?
(Seriously)
(Seriously)
You live within the headlines, so everyone can see
You're supporting every new cause and meeting royalty
You're another major artist on a higher plane
Do you think they'll put you in the Rock'n'Roll Hall of Fame?
Tell me baby how you generate longevity
Tell me baby how you really hate publicity
How can you expect to be taken seriously?
How can you expect to be taken seriously?
Seriously (seriously)
Seriously, aah
(Do you have a message for your fans?)
How can you expect to be taken seriously?
How can you expect to be taken seriously?
(Seriously)
Seriously
(Seriously)
Seriously
Aah, seriously
Expecting parents of all ages and their family memebers gathered at the Community Activity Center here for a baby shower july 9
George Washington, c. 1821
Gilbert Stuart
West Building, Main Floor — Gallery 60-A
The leading portraitist of a new nation, Gilbert Stuart painted each of the first five US presidents from life. Trained in England and Ireland, the artist introduced a looser, brushy style to American portraits, painting figures that were both grand and lifelike.
Stuart was also a shrewd businessman. He made many copies of his presidential paintings, especially those of George Washington, to sell to eager patrons. Stuart reportedly told a friend, “I expect to make a fortune by Washington alone.”
He created just two full sets of the five presidential portraits, meant to be displayed together. One set was partially destroyed in a fire. This is the only surviving complete group.
Shown from the chest up, a cleanshaven, middle-aged man with pale skin and silvery gray hair, wearing a white, ruffled shirt under a velvety black, high-necked jacket, looks out at us in this vertical portrait painting. His body is angled to our left, and he turns his face slightly to look at us with gray eyes under slightly arched eyebrows. He has a long nose and his thin lips are closed in a straight line. Shadows define slightly sagging jowls along his jawline and down his neck. His light gray hair is pulled back from his forehead and swells in bushy curls over his ears. Part of a black ribbon seen beyond his shoulder ties his hair back. Light illuminates the person from our left and creates a golden glow on the light brown background behind him.
Gilbert Stuart’s ambition when he left Dublin in 1793 was to paint the first president of the United States – he supposedly declared to a friend: “I expect to make a fortune by Washington.” After the artist traveled to Philadelphia in the late autumn of 1794 with a letter of introduction from Chief Justice John Jay, the president sat for Stuart sometime the following year. Attracting commissions from prominent patrons in the colonies and abroad, Stuart’s portraits of Washington were a success from the start, and two more such sittings would occur over the next several years.
One of four Stuart portraits of George Washington owned by the National Gallery, this 1821 work is derived from Stuart’s second life portrait from 1796 (now jointly owned by the Museum of Fine Arts Boston and the National Portrait Gallery). Here, Washington is shown looking to the left, wearing a black velvet suit and a white shirt with a ruffle of lace or linen. The work demonstrates Stuart’s extraordinary ability to capture an individual’s likeness, which was based on a gift for assessing each sitter’s personality through conversation and on his close observation. Each portrait reflects Stuart’s knowledge of anatomy and his belief in theories of physiognomy, which hold that a study of the outward body can reveal a person’s character.
Over the course of his career, Gilbert Stuart painted at least 100 portraits of George Washington, most of them also copies of the 1796 painting. Centuries later, Stuart’s portrayal of Washington remains the best-known image of the United States’ first president—as writer and critic John Neal wrote in 1823, “So, Stuart painted him; and though a better likeness of him were shown to us, we should reject it; for, the only idea that we now have of George Washington, is associated with Stuart’s Washington.”
More information on this painting can be found in the Gallery publication American Paintings of the Eighteenth Century, pages 265-266, 268-270, and 273, which is available as a free PDF.
Gilbert Stuart was the preeminent portraitist in Federal America. He combined a talent for recording likeness with an ability to interpret a sitter's personality or character in the choice of pose, color and style of clothing, and setting. He introduced to America the loose, brushy style used by many of the leading artists of late eighteenth century London. He recorded likenesses of lawyers, politicians, diplomats, native Americans, their wives and children. His sitters included many prominent Americans, among them the first five presidents, their advisors, families, and admirers. He is known especially for his numerous portraits of George Washington.
Born in 1755 in North Kingston, Rhode Island, Stuart was baptized with his name spelled "Stewart". His father, an immigrant Scot, built and operated a snuff mill that may have led to the artist's addiction to snuff. He grew up in the trading city of Newport, where itinerant Scottish portraitist Cosmo Alexander (1724-1772) gave him his earliest training in painting. He accompanied Alexander to Scotland in 1771, returning home at the older artist's death. Three years later in 1775, on the eve of the American Revolution, he went to London, where he worked for five years (1777-1782) as assistant to the Anglo-American painter Benjamin West. He exhibited at the Royal Academy from 1777 to 1785, using the name Gilbert Charles Stuart the first year. The success of The Skater (NGA 1950.18.1), painted in 1782, enabled him to establish his own business as a portrait painter. In 1786 Stuart married Charlotte Coates, and the following year they went to Dublin, where Stuart painted portraits of the Protestant ruling minority for over five years.
Stuart returned to the United States in 1793, planning to paint a portrait of George Washington that would establish his reputation in America. After about a year in New York City, he went to Philadelphia, the capital of the United States, with a letter of introduction to Washington from John Jay. He painted the president in the winter or early spring of 1795. He was not satisfied with his first life portrait of Washington, but others were. Martha Washington commissioned a second and Mrs. William Bingham commissioned two full-lengths. His success led immediately to many other commissions. His sitters were politically prominent and wealthy, from the merchant and landed classes. After Washington, D.C. became the new national capital, Stuart moved there in December of 1803, and this group continued as his patrons. There he painted the Madisons, Jefferson, the Thorntons, and others from Jefferson's administration.
In the summer of 1805 Stuart settled in Boston. In his Roxbury studio he continued to paint politically and socially prominent sitters and, on request, to make replicas of his second "Athenaeum" portrait of George Washington. Throughout his life younger artists, including John Trumbull, Thomas Sully, Rembrandt Peale, and John Vanderlyn, sought his advice and imitated his work. Among his students were his children Charles Gilbert (1787-1813) and Jane (1812-1888). One indication of Stuart's popularity is the number of portraits he painted, over a thousand during his long career, excluding copies of the portraits of Washington. Another indication is the number of copies of his work that other artists made. His sitters indicated their fascination for his talent and personality by recording lengthy anecdotes and descriptions of their sittings, producing an unusally rich written record about an American portraitist. Stuart died in Boston in 1828. [This is an edited version of the artist's biography published in the NGA Systematic Catalogue]
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Success in today's fast moving business environment is all about performance, reliability and trust. Expect Distribution offer a refreshing, dynamic approach to palletised distribution, warehousing and third party contract logistics.
Their award winning service is professionally geared towards meeting the real needs of commerce and industry and delivering the perfect logistics package for their clients. They build partnerships in order to offer flexible services which meet your requirements and they work hard to give customers the edge over their own competitors.
Expecting a blizzard later today. Right now, there's just a light dusting of snow. This is a mat on my back porch.
As expected she was more interested in the paper and boxes than the toys. Although she did pay a lot of attention to any books that came out of the wrapping paper.
Idaho's political orientation to change much after today - "No left turn" will stay red! But maybe, just maybe, there will be less hypocrisy and less legislation which damages our land, water, wildlife, and people... Photo by Frank
An overcast day in the boat yard curtails certain tasks but the men always have something to do. An overcast day for me shooting can sometimes add to the fun of shooting.
Back to the sunrise photos. I had these ready to upload, but was tired of the same thing again and again. So I had some sunsets with lighthouses, but I'm back with these.
Muita expectativa e animação foram marcas registrada do nosso evento e as atrações não decepcionaram. Teve muito rock, mas também teve reggae, alto astral de sobra, gente bacana e alegria contagiante. Dá só uma olhada no que rolou por lá no 1º dia de evento.
Mayor Eric Adams and senior administration officials brief the media on preparations for expected winter weather this evening and tomorrow. Spring Street Salt Shed, Manhattan. Monday, February 12, 2024. Credit: Ed Reed/Mayoral Photography Office.
This World Class attraction was everything we expected and more. Construction has just begun on a major expansion, but that has been managed in such a way that it does not in any way detract from the experience now.
This album focuses on the artwork inside the buildings and on the other interior spaces including the Eleven Restaurant and the Gift Shop. A separate album posted a few days ago is devoted to the two April mornings that we spent exploring just some of the trails that crisscross the 120 acres of Arkansas forest around the museum.
Alice Walton and her co-creative team can be proud of the vision and execution of everything on this 120 acre site.
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"Crystal Bridges Museum of American Art is a museum of American art in Bentonville, Arkansas. The museum, founded by Alice Walton and designed by Moshe Safdie, officially opened on 11 November 2011. It offers free public admission.
Alice Walton, the daughter of Walmart founder Sam Walton, spearheaded the Walton Family Foundation's involvement in developing Crystal Bridges. The museum's glass-and-wood design by architect Moshe Safdie and engineer Buro Happold features a series of pavilions nestled around two creek-fed ponds and forest trails. The 217,000 square feet complex includes galleries, several meeting and classroom spaces, a library, a sculpture garden, a museum store designed by architect Marlon Blackwell, a restaurant and coffee bar, named Eleven after the day the museum opened, "11/11/11". Crystal Bridges also features a gathering space that can accommodate up to 300 people. Additionally, there are outdoor areas for concerts and public events, as well as extensive nature trails. It employs approximately 300 people, and is within walking distance of downtown Bentonville."
en.wikipedia.org/wiki/Crystal_Bridges_Museum_of_American_Art
crystalbridges.org/nature-trails/
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“Expected=Unexpected” was kind of a follow up to that epic illustration project known as “Floor Three” which spawned a very epic “Divas and Animals” 2023 Superfinale. Here we have Melissa and her crew making a return to the Rahr in the Consumer Car in the most unusual way as the vehicle enters the gallery in some sort of a supernatural way. The inspiration of the Consumer Car’s return at the Rahr was from that Apple iPhone commercial where one guy is playing a game on his phone and he’s capitulated up in the air in the most unusual way (and that soundtrack to that commercial is STILL EMBEDDED IN MY HEAD. AAGH) and then he crashes through the roofs of many random places and then lands in a seat of a subway train.
Adobe Photoshop with Sketchbook Pro on the iPad and the iMac M3 via Sidecar plus Uzu, ArtStudio, Frax, Wordswag, ProCreate, LetterMPress, SimplyMPress, Homestyler, Halftone, Silk, Snapseed and iOrnament on the iPad