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I hosted three Fujifilm photo walks at Brands Hatch for CameraWorld Live
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Jeff Carter is an Official Fujifilm X Photographer and was named as a Fujifilm brand ambassador in June 2015. In 2016 he worked with the company on the launches of the Fujifilm X-Pro2 in Tokyo and the Fujifilm X-T2 in Paris in July 2016. In 2018 he was part of the test team for the new Fujifilm X-H1. He also tested the X-T3 and XF200mm f2 prior to the public launch.
You can view his profile and gallery on the Fujifilm website fujifilm-x.com/en-us/photographers/jeff-carter/
For more information on MacLean Photographic workshops visit - www.macleanphotographic.com
1. Sewing machine cover in 'Hope Valley', 2. Zakka Style Sewing Kit, 3. PTS6, 4. Sewing Machine Cover - reverse, 5. Bloom Dresden , half way. Pattern by Aneela Hoey, 6. 002 Tote-Close-Up, 7. WIP - House Tape Measures, 8. Scrappy tote side 1, 9. Frame Purse, 10. camera zip pouch11. Not available12. Not available13. Not available14. Not available15. Not available16. Not available
Hello Partner!
Here are some things which I love.... I hope they give you some idea of what I like. I guess anything with stitchy detail I seem to be drawn to. I love aqua & red & text all mixed together & am so thrilled that you are making something for me.
Art Gallery FIPGC Host Fiera Milano 2015.
Galleria d'Arte dei Membri della Federazione Internazionale Pasticceria Gelateria Cioccolateria.
Web Site: www.federazionepasticceri.it
Salt Lake City, Utah, Winter 2001
The 2002 Winter Olympics are hosted by Salt Lake City at several venues within the city, in nearby cities, and within the adjacent Wasatch Mountains. This simulated natural color image presents a snowy, winter view of north central Utah that includes all of the Olympic sites. The image extends from Ogden in the north, to Provo in the south; and includes the snow-capped Wasatch Mountains and the eastern part of the Great Salt Lake.
This image was acquired on February 8, 2001 by the Advanced Spaceborne Thermal Emission and Reflection Radiometer (ASTER) on NASA's Terra satellite. With its 14 spectral bands from the visible to the thermal infrared wavelength region, and its high spatial resolution of 15 to 90 meters (about 50 to 300 feet), ASTER will image Earth for the next 6 years to map and monitor the changing surface of our planet.
ASTER is one of five Earth-observing instruments launched December 18,1999, on NASA's Terra satellite. The instrument was built by Japan's Ministry of Economy, Trade and Industry. A joint U.S./Japan science team is responsible for validation and calibration of the instrument and the data products. Dr. Anne Kahle at NASA's Jet Propulsion Laboratory, Pasadena, California, is the U.S. Science team leader; Bjorn Eng of JPL is the project manager. ASTER is the only high resolution imaging sensor on Terra. The Terra mission is part of NASA's Earth Science Enterprise, along-term research and technology program designed to examine Earth's land, oceans, atmosphere, ice and life as a total integrated system.
The broad spectral coverage and high spectral resolution of ASTER will provide scientists in numerous disciplines with critical information for surface mapping, and monitoring dynamic conditions and temporal change. Example applications are: monitoring glacial advances and retreats; monitoring potentially active volcanoes; identifying crop stress; determining cloud morphology and physical properties; wetlands evaluation; thermal pollution monitoring; coral reef degradation; surface temperature mapping of soils and geology; and measuring surface heat balance.
Image credit:
NASA/GSFC/METI/ERSDAC/JAROS, and U.S./Japan ASTER Science Team
Credit: NASA Earth Observatory
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Rabari man of Gujarat.
The region of Gujarat has played host to many a tribal culture and nourished them from the very earliest periods of history. One such tribe here, the Rabaris, still pursue a pastoral lifestyle—much in the same way as they did ages ago.
The Rabaris are a semi-nomadic tribe—pursuing a pre-agrarian, pastoral lifestyle—found mainly in the Kutch and Saurashtra regions of Gujarat. Though living today in permanent settlements, they are believed to have originally migrated from Baluchistan more than a millennium ago.
But over these thousand and more years, the Rabaris have undergone many changes and have been widely influenced by the local cultures with which they came in contact. Not only are they divided into distinct clans, they also prefer to trace their origin to Hindu Gods and even the Rajputs.
Without delving into the garbled clues provided by folk lore about their origin, a closer look at the Rabari today leads one into his quaint, colourful and rugged lifestyle.
By no means are the Rabaris an isolated people. The men are on the move—almost 10 out of the 12 months—in search of grazing pastures for their livestock; while the women and children remain in their villages. These villages are normally small, devoid of more than superficial amenities and, almost always, set in bleak, barren suroundings.
In a typical village, their rectangular houses, called vandhas, are built in rows. The white-washed mud walls and tiled roofs may have an appearance of starkness when viewed from outside. But within each house, the Rabari’s fondness for patterns is easily visible from the many geometric patterns that adorn its interiors. The tiny mirrors embedded into these mud-plaster patterns only enhance their beauty as they catch the faint glimmer of light streaming in from a small window or a low doorway. A home usually consists of two rooms, and an extended enclosure in the verandah which forms the kitchen.
The room at the back is normally used as a storehouse—a virtual treasure house of embroidered clothes and quilts kept in carved wooden pataras (chests); and the kothis and kothlas (granaries) made of mud and cowdung. The other room is mainly a living room decorated with embroidered torans or decorated doorways, while the doors are covered with brass foil etched in a myriad patterns. Often, the only piece of furniture that one might find is a carved, wooden cradle.
The community’s main stay is milk and milk produce from their livestock in order to purchase commodities that they trade in various forms at the local village or town markets.
Much of the handiwork seen in their decorated homes is that of their women. In fact, Rabari women are famous for their embroidery work, called bharat kaam, from which they make numerous traditional garments and furnishings. The kediyun, a gathered jacket with an embroidered smock, worn by young Rabari men and children, skirts and blouses for the women and girls—are al dexterously embroidered. Interestingly, the Rabari girl, completes over the years, her entire dowry which includes clothes as well as beautiful quilts or derkee.
Kokulashtami, after the rains, is marriage time. The men are back from their wanderings for this al important occasion. All marriages take place on this one day. Since child marriage is still very much in vogue within this tribe, outsiders are distrusted. Again, the Rabari marries only within the tribe and often into families which are closely located. Marrying outside the fold leads to social castigation and is very rare. While Rabari couples are probably the most exotically dressed, the marriage is a simple ritual performed by a Brahmin priest.
Rabaris, by and large, and ardent followers and worshippers of the Mother Goddess. Each clan has its own tribal goddess as the patron deity, though their homes often have pictures of other gods and goddesses as well. Strong tendencies of deifying and invoking the dead are still prevalent—a pointer to the community’s old world origin.
Another old world custom that has persisted is the custom of tattooing and there is a marked similarity In the motifs used in their embroideries and tattoos.
As an outsider it is difficult to communicate with these people since they speak a dialect which is a mixture of Marwari and Gujarati. But once they understand the visitor’s innocent curiosity, they exude the warmth and friendship that has always been a part of their make-up.
They had a good selection of literature in the entrance hall so Víctor was entertained while I enjoyed sketching.
16/12/2012
noodlers ink + watercolour
on smooth sketching paper (24 x 32 cm)
All Saints church, Jesus Lane, Cambridge
Detail from Our Lord Enthroned, by Edward Burne-Jones, 1866
From MY CHRISTMAS SET.
All Saints church was built for the Church of England in 1864 to the designs of the great George Bodley, perhaps the most consistently brilliant of all 19th century English church architects. It is a high Tractarian temple designed in the Decorated style, and is generally considered to be Bodley's masterpiece. Interior decoration includes the work of William Morris, Edward Burne-Jones, Ford Madox Brown, Charles Kempe and Frederick Leach.
For many years Cambridge's highest Anglo-catholic church, the congregation gradually dwindled as fashions changed and the population of the parish moved out to the big new housing estates. In 1973, All Saints was declared redundant.
Attempts were made to find a new use, but after three years none had been found. So, in keeping with the redundant churches legislation of the time, All Saints was scheduled for demolition.
There was a national outcry, and at the eleventh hour the church was saved, and vested in the care of the Churches Conservation Trust in 1981. Considerable restoration was needed, and the building was mothballed until the early years of the 21st century, when a massive programme of repairs was carried out, although the church still remained locked.
In 2007, theological students from neighbouring Westcott House began to care for the building, opening it to the public most days and using it for daily liturgies. The response of the public, and a renewed interest genrally in 19th Century churches, galvanised the CCT to the extent that a lot of money was spent in turning it into a somewhat controversial visitors centre, with movement-activated spotlights and voice commentary as you wander around, the first of which makes photography now very difficult, and the second of which is merely very irritating.
Art Gallery FIPGC Host Fiera Milano 2015.
Galleria d'Arte dei Membri della Federazione Internazionale Pasticceria Gelateria Cioccolateria.
Web Site: www.federazionepasticceri.it
Die Blätter fallen, fallen wie von weit,
als welkten in den Himmeln ferne Gärten;
sie fallen mit verneinender Gebärde.
Und in den Nächten fällt die schwere Erde
aus allen Sternen in die Einsamkeit.
Wir alle fallen. Diese Hand da fällt.
Und sieh dir andre an: es ist in allen.
Und doch ist Einer, welcher dieses Fallen
unendlich sanft in seinen Händen hält.
(Rilke: Herbst)
She was our host for the night during the little trek we did there.
In Tagong village, we thought we'd have a guide but we only could take a picture of a map (actually a drawing) to help us find the winter nomad's shelter.
Indeed, for few month each year, they're not really nomads but they live in houses, lost in the high grasslands of Kham.
On the way we met her husband on a bike.
After that, we found them at their house and they welcomed us for a lunch.