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Various shapes are painted negatively and follow my intuition and mood. It's been a cold winter and I am longing for spring to come. Watercolor on Arches cold-pressed paper, 12X16".
For negative painting, I found Elizabeth Fluehr's Youtube videos are very instructive :
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Took this in autumn 2011 as a lesson for learning HDR tone mapping in Photoshop CS5. It was very instructive, but heck, it was a lovely scene to start with. You get the full range of color gradations on a grey overcast day as a base image ...no blown highlights or black void shadows. What you make of that dynamic range is up to you . This looks painterly.
Our place around the decision makers table is critical for the proper representation of women at work. Many times the light is in us and not in a specific position or workplace. A structured career path is important for smart management in the new world of work. A world of uncertainty and constant renewal that requires innovation.
The hands of women hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence A fascinating, instructive and transformative journey which transforms business discourse about leadership.
Book Publishing – Kinneret Zmora-Dvir Publisher Ltd.
More about the book and me.
Destabilization.
النثر الرسمي تمديد العيوب التكوينية أهداف النفسية,
superioriteit ongevallen disposities rederijkers genegenheid bevoegdheden afgeleid visioenen,
perturbações imaginações Erroribus invenções permissiva direção furoribus desejos violentos,
осколки излагает основы гробницы скрытые величины пророчества отпечаток опасности большие,
conceptibus intellectus callidus influxibus peritiam sagacitate instructive phaenomena ingeniosa leges,
akute Auffassen unschuldigen Seelen anfällig Klugheit Entdeckungen Gründen kompliziert Motivationen gezogen,
impressionanti principi matematici manifestazioni esplicite di inerzia definitiva sillogismi percettivi insieme,
exemples nucléophiles Carbocation infrarouges alcools spectres solvants réactions sulfates solubles souche de clivage,
βιολογικές συνθήκες αλκένια προσθήκες άτομα σχηματισμούς παγίδες θερμοκρασία αλογόνου είναι αλλυλική βρωμίωση βρωμοηλεκτρονιμίδιο,
熱力学的に抱合産物の反応体を反転制御するラジカルアリル債ディールス運動障壁が提示します.
Steve.D.Hammond.
The instructive picture book, or, Lessons from the vegetable world
Edinburgh :Edmonston & Douglas, 87 Princes Street,1858.
Seen while exploring the farming landscape of the Gila River Valley east of Yuma on the final day of a 1600-mile drive from Renton to Maricopa. It was a pleasant and instructive diversion from Interstate 8.
Our place around the decision makers table is critical for the proper representation of women at work. Many times the light is in us and not in a specific position or workplace. A structured career path is important for smart management in the new world of work. A world of uncertainty and constant renewal that requires innovation.
The hands of women, (the power of organizations and infancy education) hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through (via) authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence - A fascinating, instructive and transformative journey which transforms business discourse about leadership.
The instructive picture book, or, Lessons from the vegetable world
Edinburgh :Edmonston & Douglas, 87 Princes Street,1858.
Well, one could say that did not go well. Hard as it is to teach this model in person, it is rather harder to teach it by zoom. Or rather, that much harder to learn by zoom, for it was the students who suffered. Very quietly, too.
So, I'm posting a blank pattern, one you can print out on on three sheets of differently colored cardstock. Easier and instructive perhaps.
The notes are:
For cylinder-to-cylinder, for cone-to-cone:
Red over Green
Green over Blue
Blue over Red
For cone-to-cylinder:
Red over Blue
Green over Red
Blue over Green
You get her up on the rock, and at that point you realize the problem won't be getting her there, convincing her she won't immediately fall to her death.
No, the problem becomes how the deuce do you tell her what you want. Because there's wind and distance and IT'S IMPOSSIBLE TO HEAR ANYTHING.
So it's all hand signals and gesturing with your hips, which works surprisingly well. Bit of instructive posing on my part, a big Thumbs-Up when I get what I'm looking for, and there we go.
biennialfoundation.org/2016/12/biennials-four-fundamental...
Biennials: Four Fundamentals, Many Variations
By Terry Smith 07 Dec 2016
When we look back at the century plus history of recurrent survey exhibitions of contemporary art––those we call biennials, triennials, and (at Kassel, itself expanding) documentas––we can see that they slowly established a set of distinctive protocols, that were formalized during the 1980s, then rapidly replicated throughout the world, while at the same time steadily increasing in size and scope. It is also evident that, today, the distinctive characteristics of the biennial form are everywhere being exceeded, as they, like every other component of artworlds everywhere, fall subject to the current frenzy of code-switching. What were those protocols, the features that became distinctive and fundamental? I will identify four, and then note some of the ways in which they are changing.
Studies such as Charles Green and Anthony Gardner’s Biennials, Triennials, and Documentas: The Exhibitions that created Contemporary Art (2016), are giving us a nuanced understanding of the historical unfolding of the biennial form. Biennials have proliferated globally, in successive waves, according to the specific needs in different parts of the world, and to the interplay between them. The result is a dense field of mobility between artists, curators, gallerists, critics, collectors and visitors––especially on an international level––that is unprecedented in its quantity, scope, and variety. It is obvious that the biennial has become as structural to what is usually called “the artworld” in any particular place as every other element in what amounts to a visual arts exhibitionary complex. Secondly, it is precisely their core format, one that offers the reliable repetition of unpredictable difference, which secured their relevance, enabled their expansion, and may ensure their longevity. Third, biennials have become essential to contemporary art’s evidently international character, many would say its “globality,” although I will argue more specifically that they have been the primary platform of the transnational transitionality that has shifted the core locus of art making, distributing and valuing from used to be called the West, moved it South and then East, within regions of the these regions, and thus, now, everywhere. It is this in-transit energy that drives much contemporary art today, throughout the world and in most of the traditional and modern centers. Finally, biennials have also become structural to contemporary art’s very contemporaneity, reflecting its preferred forms in that they have become distributed events, in their localities and across the world. As such, they too are subject to the larger changes effecting communicative exchange everywhere, including network culture’s mediatization of the social.
1. Biennials have become structural within the contemporary visual arts exhibitionary complex
Biennials share with all exhibitionary formats the fundamental purpose of holding something out for inspection, of showing items––as the definition of the word “exhibition” (in English dictionaries, at least) tells us––publicly, for entertainment, instruction, or in a competition. Within the larger exhibitionary complex, these purposes characterize distinct kinds of displays, which are usually held in specialized venues: for example, music halls, public museums, or sporting fields. Annual artist society exhibitions, since their origins in France and England during the seventeenth century, have emphasized contestation between artists, attitudes, and genres as manifest in freshly-made works of art: competition to gain entry to the academy, competition for prizes, then competition for sales. Since Venice in 1895, and Pittsburgh’s Carnegie International from 1896, recurrent exhibitions all over the world have sought to fulfill all three purposes at once.
So, as the first fundamental but not unique characteristic of a visual arts biennial exhibition, we can establish this proposition: that it offers, in one place, a display of the contemporary art of the world in ways that are entertaining, instructive, and competitive, all at the same time. Doing all these things at once begins to distinguish them from exhibitions in art museums. Biennials are, crucially, exhibitionary events, as distinct from displays of the kind exemplified most clearly in the permanent collection rooms of a modern art museum (where continuity over time is emphasized, and change is understood as a modification or eruption within the evolutionary narrative of art’s history), and from temporary exhibitions in such museums (which usually explore in more detail and depth aspects of the history of art that are exemplified in a more general way in the collection display rooms––including the rooms that show the recent past as an opening towards an unspecified present). Being events, rather than primarily an assembly of art objects on display, is what makes biennials contemporary.
The logic and dynamic of the biennial differs from the core logic and dynamic of the modern art museum. Such museums alternate between relatively static displays of their permanent collections and a program of temporary exhibitions of artworks that usually, yet not always nor entirely, come from somewhere else, often from another museum or a private collection. Within this framework, the biennial occurs as an alternative to both the collection and the temporary exhibition, while at the same time having some features of both. (Some museums––notably the Carnegie Museum of Art, Pittsburgh, host to the Carnegie International, and the Queensland Gallery of Modern Art, host to the Asia Pacific Triennial––acquire works from biennials, often the prize-winning works, thus continually reshaping their collections.) During the boom years of the 1990s and 2000s, the controlled dynamic between collection and temporary exhibitions that previously prevailed at the modern museum was disrupted by the biennial, which regularly offered different models of what both the collection rooms and temporary exhibitions program might become. This is still an important effect of biennials in most cities in most parts of the world, and effect that is still unfolding. In contrast, in some cities, such as Sydney, that has mounted a Biennale since 1973, the local museums that regularly host biennials (the Art Gallery of New South Wales, and the Museum of Contemporary Art) have worked hard to absorb them into their programming, framing them as if they were temporary exhibitions that happen to be recurrent. My instinct is that, in such cases, we are seeing the modern museum working with, but also struggling against, the artworld expectation that today all art should be open to being experienced as contemporary. More broadly, museums and galleries of all kinds are widely expected to be spaces in which art can be experienced in ways continuous with the socially mediated prosumption of images that today is spreading across all exhibitionary platforms, actual and virtual.
2. Condensed contemporaneity, every two years
The simple fact of it occurring every two years has become the most widely adopted characteristic of a biennial. It is often forgotten that the Venice International Exhibition only became a biennial some years after 1895 (indeed, its organization was made systematic during the 1920s and 1930, the fascist years in Italy). Why has this rather mechanical, pragmatic aspect of staging big-scale exhibitions become so definitive? I suggest that it is because, while they occur every two years, and are in that sense repetitions, biennials offer difference each time. They must do this, because they are, usually, committed to showing contemporary art, or recent and past art in so far as it is relevant to contemporary circumstances. Contemporary art, by its own constant redefinition, is an art of becoming, of happenings, occurrences, and occasions. While its content may include material from any time, it is precisely because it typically engages with more than a single temporality at the same time that contemporary art requires the event as its form of appearance. When contemporary art is slowed down––for example, as part of a chronological history of art display in a museum, it ceases to be contemporary, although it maintains the distinctive character of having been contemporary within the contemporaneity that we still share with it. Artworks shown in biennials may be subsequently shown at art fairs, and may be acquired by museums, but, unlike most other exhibitionary venues, neither commerce nor historical valiance is their primary purpose or source of value. Rather, it is to show a purposeful selection from, or as wide a range as possible of, the art being made in the world right now. This is why biennials have––overwhelmingly, and, until recently, almost entirely––shown new, or at least recent work, and have favored work made for the occasion, and specifically for the site. It is this impulse that underlies the preponderance of new media, videos, and installations of various kinds, as well as their openness to research-based, archival, and “social practice” work that is less readily shown in museums and commercial galleries. Biennials share these preferences with not-for-profit, alternative art spaces.
In these ways, biennials typically concentrate contemporary energy in one place, or a related set of places, for a specified time. They are a double-sided form: reliable in their recurrence, but open-ended in their actualization. We do not know what art will be like two years from now, but we can expect that it will be different. Therefore, biennials can be counted on to build anticipation beforehand, and to surprise us when they happen. A regularly timetabled openness to contemporaneity––to art to come, whatever it may be––is the second most distinctive feature of biennials.
Our place around the decision makers table is critical for the proper representation of women at work. Many times the light is in us and not in a specific position or workplace. A structured career path is important for smart management in the new world of work. A world of uncertainty and constant renewal that requires innovation.
The hands of women hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence A fascinating, instructive and transformative journey which transforms business discourse about leadership.
Book Publishing – Kinneret Zmora-Dvir Publisher Ltd.
More about the book and me.
The instructive picture book, or, Lessons from the vegetable world
Edinburgh :Edmonston & Douglas, 87 Princes Street,1858.
La Kodak Brownie fou durant décades la camara amateur més popular del món. Es tracta d'una humil capsa amb una lent i obturador els més senzills possibles. Els materials primer foren cartró i fusta i a partir dels anys 30, alumini i baquelita. De fet les Brownie començaren a produir-se cap al 1900 i en la forma bàsica de caixa continuaren fins els anys 60!!
Aquesta és una de les càmeres més antigues que tinc, i funciona! És una Nr. 2 Brownie model D del 1914-15 i per tant algunes d'elles potser arribaren a les trinxeres de la Primera Guerra Mundial. El més bo de tot és que excepte la lent i uns pocs elements metal·lics, tota la estructura és de cartró i fusta.
ca.wikipedia.org/wiki/Kodak_Brownie
Aquí teniu el model en concret (en anglès):
www.brownie.camera/no_2_brownie_model_d.htm
Un video molt il·lustratiu:
www.youtube.com/watch?v=mT1epnCyg78&t=187s
==============================================
This is my Kodak Nr. 2 Brownie model D, made in 1914-15 in the USA. It's a really humble camera, made of cartboard, wood and just a few metallic elements (and the lens). But it works, and takes 120 medium format film. In fact this format was created for this camera by Kodak back in 1900!
Kodak Brownies were the most popular entry level cameras of the early XX Century, when you could buy them for a 1$.
en.wikipedia.org/wiki/Brownie_(camera)
And here this specific model of Brownie:
www.brownie.camera/no_2_brownie_model_d.htm
A very instructive video:
The one indispensable book!
(Daniel March, 1870)
The Bible is the oldest--and the newest of books.
The Bible surveys the whole field of time--and it looks farthest into the infinite depths of eternity.
The Bible lends the most vivid and absorbing interest to the scenes and events of the past--and it keeps us in the most active sympathy with the time in which we live.
The Bible gives us the most reliable record of what has been--and it affords us our only means of knowing what is yet to be.
The Bible is holy enough to denounce the very shadow and semblance of sin--and it is merciful enough to save the chief of sinners.
The Bible is full of God--and must therefore be read with a pure heart, or its true glory will not be seen.
The Bible is full of man--and must therefore always be interesting and instructive to all who would know themselves.
The Bible is the plainest of books--and yet it has depths of wisdom which no created mind can fathom.
The Bible is set up as a beacon to show all wanderers the safe way--and yet its light shines forth from thick clouds of mystery, and from abysses of infinite darkness.
The Bible describes all conditions of life--and it gives utterance to all desires and emotions of the soul.
The Bible has a song of triumph for the overcomer--and a wail of defeat for the overcome.
The Bible . . .
sparkles with the fervor and gladness of youth,
celebrates the strength and glory of manhood,
bewails the sorrows and infirmities of old age.
The Bible . . .
exults in the mighty deeds of kings and conquerors,
sympathizes with the poor and lowly,
lifts up the fallen,
delivers the oppressed, and
breathes the blessing of peace upon the quiet homes of domestic life.
The Bible describes with startling clearness . . .
the seductions of temptation,
the conflicts of doubt and
the miseries of skepticism.
The Bible . . .
searches the secret chambers of the heart,
brings to light its purest love and its darkest hate,
reveals its highest joy and its deepest grief.
The Bible compasses the utmost range of thought and feeling and desire--and it sounds the utmost depth of motive and character and passion.
Thus in the Bible,
God and man,
earth and heaven,
time and eternity--
speak with one voice and teach the same truth.
The Bible sets forth the most spiritual and heavenly truths--in the lights and shadows of earthly scenes and human characters.
Thus the Bible is the one indispensable book . . .
for all ages--and all nations,
for all classes of men--and all states of society,
for all capacities of intellect--and all necessities of the soul!
Liquid Drop Art /// Facebook Page///Water Drop Ebook
I should mention that if you already have the English version and want a copy of the French one, email me and I'll send you one. You only pay for the one book, the other is free.
Picture above shows a Nikon D800E equipped with Phottix GPS and wireless RF trigger. The back of the camera is equipped with a Hoodman loupe to be able to critically focus using live view on LCD screen. The lens used is a Mamiya 645 Manual Focus A 150mm f/2.8. It is mounted on the camera via a PSA (Panorama Shift Adapter) from the company Zoerk (Zork) custom made to accommodate Mamiya 645 lenses on Nikon F body. The adapter has a tripod mount and can accommodate a L bracket shown here. The whole assembly is mounted via a Novoflex plate (QPL2 in blue color) on an Arca-Swiss compatible tripod head. I used here a clone of the Arca Swiss Cube for maximum flexibility and accuracy of positioning. In the picture above the lens is shifted horizontally to the left of the camera of approximately 10mm. This assembly is no longer a point & click camera but the digital equivalent of the old view camera, designed to meet or exceed the largest Digital medium format output.
The purpose of using a Mamiya lens on Nikon FF body is not just the latest fad to mount third party lenses on a Nikon body. Mamiya 645 lenses are excellent medium format lenses which have a diameter much superior to the 135 format lenses. It allows to take several photos shifted within the diameter of the lens optics. This is made possible because the 75mm diagonal of a 645 medium format lens gives 32mm of additional space (shift) compared to the 43mm diagonal of a 35mm format camera sensor. This is why we can take 3 photos shifted (one with no shit, one shifted left, and one shifted right) and still be within the diameter of the medium format lens. Using this technique the stitching is quasi perfect with no need to crop due to loss of coverage in the upper or lower section of the image, usually created by a a curvy horizon when panning/rotating with a non perfect leveling.
The resulting image that can be produced with this setup is the equivalent of a 80 Mpixel camera depending on the orientation of the D800E sensor vs the direction of shift! Superior resolution, higher ISO and less noise than all the current Digital medium format cameras sold $20000 and more! Yes, it is possible to do it with an investment inferior to $4000 if you count the purchase cost of the D800E. I will concede that the Mamiya 645 lenses, although excellent, will not quite match the performance of the Leica S lenses. Note however that a Leica S lens is usually > $6000 vs a used Mamiya 645 lens (55mm, 80mm) which can be found on ebay for $300 or less!
The German made Zoerk (Zork) adapter is unique as the Mamiya lens is fixed during the shifting: it is the body which moves behind the lens! Unlike most Panorama adapters allowing the rotation through a difficult to find nodal point , the Zork adaper eliminates any parallax issue since the lens is fixed vs the subject. This is particularly useful when you have a near and remote subject aligned with the camera: any rotation outside the nodal point will ruin the alignment and makes the stitching impossible. Therefore the Zork design results in a superior accuracy of the stitching of the photos where technically 2-3 pixels overlap is enough for a perfect stitch. Rotation based Panorama requires usually min 20% overlap to account for distortion/parallax issues, and the final image needs cropping due to curvature movement of the rotation if tripod head is not perfectly leveled.
Another huge benefit of the Zork adapter: it shifts horizontally 20mm with camera sensor in landscape mode. One limitation in vertical shift: the prism/flash housing of the D800 or D800E limits the vertical shift with sensor in landscape position (approx 14mm). It is better than the max shift of a Nikkor PC-E lens (approx 11 mm). With the camera in landscape mode and a vertical shift (up and down) or with the camera in portrait mode and a horizontal shift (left/right) you achieve the biggest file enlargement. With a Nikon PC-E lens a maximum 11mm shift will give you a 92% increase of the photo. With the Zork adapter a full 20mm shift (possible on Canon DLSR and Nikon pro bodies without built-in flash) will provide a 167% enlargement (yes 2.7 the original pixel size!). It means that a 36Mpixel camera like the D800 will provide a 96Mpixel file with the Zork adapter fully shifted. On Nikon bodies with built in flash like the D700 or D800 however the full shift of 20mm is not possible as the flash housing in on the path of the shift. It seems that the shift is limited to 14mm which provides an enlargement of 117% (x2.2 Mpixel increase).
For Panorama shots where the camera orientation must be the same as the direction of the shift (landscape/Horizontal shift or portrait/Vertical shift) the aspect ratio is spectacular but the Mpixel increase is less:
- On a traditional Nikon PC-E lens with 11mm shift, the Mpixel increase is 61% with aspect ratio of 2.4:1
- with the zork adapter using full 20mm shift (possible on all Canon and Nikon DSLR even with the D700/D800), the Mpixel increase is 111% with aspect ratio of 3:1! more information is available at the following link:
www.cambridgeincolour.com/tutorials/tilt-shift-lenses1.htm
Tilt movement is not possible with this adapter and in general with Mamiya 645 lenses tilt can be achieved but you lose the ability to focus at infinity as the registration distance between the rear of the lens and the sensor would be too long with the additional tilt movement.
Although a sturdy design that reflects German engineering, the finish (look) of the adapter looks as a hand made prototype. The demand is not high enough in the market to mass produce this custom made adapter (the model I purchased use only Mamiya 645 MF lenses but the manufacturer can sell you one adapte for Pentax 6x7 or Hasselblad lenses to be mounted on Nikon or Canon bodies).
Cost $750 including the L bracket that allows the adapter to be mounted with flexibility in any position on a tripod head.
more information can be found on the manufacturer website:
I have put a lot of effort to research and understand the Tilt and Shift world which was new to me, and although there are a few books on view cameras, T&S lenses and the Scheimpflug principle, I could not find any practical information on using T&S adapters like Mirex and Zork on Digital cameras, using large diameter Medium Format lenses. Forums seem to provide some partial information with little experience with Nikon DSLR which are less friendly to shifting in the direction of the built-in flash. So I decided to gather all the information I have learned and summarize it in this single post, which you can bookmark or save as a favorite for future reference.
An example of a photo taken with this set-up with explanations how to use Photoshop for Panorama stitching and focus stacking is given in the comments area of this link:
www.flickr.com/photos/episa/8603934110/in/photostream
Final question you may ask and which I already asked myself since I own the Nikkor Micro PC-E 45/2.8: why not use a simple dedicated Tilt and shift lens from Nikon?
It turns out that using a dedicated Nikon PC-E lens is not any easier and still requires to manually focus and fix the exposure manually. A the same time it costs $2000 to get a single T&S lens. With the set-up described in this posting the investment is limited to the adapter ($750) and the Mamiya lens ($300 on ebay for each focal length like 55mm f/2.8N, 80mm f/2.8N, A 150mm f/2.8). Investing in a Nikon PC-E lens makes sense if you use the tilting function for creative effect or as a landscape photographer. But I would argue that using Focus stacking you can achieve an ever better effect than with a Tilt lens if your goal is to achieve maximum depth of field in a landscape or in a macro shot. The real advantage of the PC-E lens remains when you need to reduce the depth of field and create special effects (like miniature rendering, or tilted plane of focus). This becomes a very narrow application mostly for professional photographers who need to sell a unique look in their pictures.
I hope that you found this compilation of data instructive, even eye opening. Let me know if you appreciate the sharing.
This humble post is a little flickr-celebration of el Aïd, that marks the end of the month of Ramadan. I also wish it to be a celebration of the revolutions taking place in the (Muslim-Arab) world today & hopefully of the end of too many years of inactivity (or insufficient activity) against oppression & dictatorship, injustice & corruption.
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On this occasion, I also would like to tell you a few words about the final Prophet (peace be upon him). Many don’t know him, but they still dare to call him names. But those who know his true value & who studied his life in depth as well as the message God commanded him to deliver to Mankind could only acknowledge his nobleness of character, & the truthfulness of his mission. Johan Wolfgang von Goethe, one of Germany’s greatest man of letters, counts among those who felt a deep love & respect for Prophet Mohammad. When Goethe was 23, he wrote a poem praising him, & when he was 70, he celebrated the night in which the Quran started to be revealed. Goethe spent a lifetime studying the language of the Quran. And on the basis of his studies, he said about the final Messenger:
“He is a Prophet and not a poet, and therefore his Koran is to be seen as a Divine Law and not as a book of a human being (…)” (source: “Noten & Abhandlungen zum West-östlichen Divan”).
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Not only Goethe, but alsoTolstoy, Gandhi, Voltaire, Lamartine & others openly expressed their admiration for the one that God sent as a Mercy to all of us (see Quran sura 21, verse 107).
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The video below gives a brief summary of their views on the Prophet & his mission, I recommend you to take the time to watch it (it’s instructive & very short, it only lasts 4 minutes): “The Most Influential Single Figure in Human History.”
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Picture taken at: Zigana.
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Thanks for visiting & for reading / viewing. ☺
The instructive picture book, or, Lessons from the vegetable world
Edinburgh :Edmonston & Douglas, 87 Princes Street,1858.
Specially for sian.
a new challenge! ...
Take your time, you can do it!
I am waiting for your first results, 'm curious ;-)
This is a project I've done with Monique last year, (©Ted & Monique)
Very interesting and instructive. many aspects of photography come together.
takes time but we are pleased with the results.
Our place around the decision makers table is critical for the proper representation of women at work. Many times the light is in us and not in a specific position or workplace. A structured career path is important for smart management in the new world of work. A world of uncertainty and constant renewal that requires innovation.
The hands of women, (the power of organizations and infancy education) hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through (via) authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence - A fascinating, instructive and transformative journey which transforms business discourse about leadership.
Extreme Scepticisms.
Demostraciones maliciosos transportados desorganizaciones programas imprudentes,
cyflwyniadau ymarferion canlyniadau annisgwyl poeni erchyllterau a wnaed,
страдающие интерпретаторы гордость смертельные котлет плещущихся изобретениями колеблющихся эволюций,
mì-thlachdmhor toraidhean ceistean diofar Tones fon talamh bàs brùideil argamaidean,
notamment des excursions sentimentales de rudes anonymes termes cruels instructive activité de crise interne,
convicções século construtiva frígidas determinantes conceitos sem sentido surgem problemas subsidiários,
fysiologische bestaan antipersonalism hypercerebral denken tekort inhoud desubstantivation,
نقل التكنولوجيا وظيفية بناء علاقات الاتساق نقل أساليب متميزة,
essensielle intellects viktige situasjoner narsissistisk periode udugelige oppriktige følelser hånlig skandale,
λογοτεχνικό αριστούργημα εχθρούς κωμωδία ανταγωνιστή απόψεις αυτάρεσκη ιδανικά συγκλονιστική εκκεντρικότητες φιλοσοφία,
落ち着きの伝統的な保護された詩の人類雄弁達成不可能な夢を検討俗物人間.
Steve.D.Hammond.
Our place around the decision makers table is critical for the proper representation of women at work. Many times the light is in us and not in a specific position or workplace. A structured career path is important for smart management in the new world of work. A world of uncertainty and constant renewal that requires innovation.
The hands of women, (the power of organizations and infancy education) hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through (via) authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence - A fascinating, instructive and transformative journey which transforms business discourse about leadership.
Buxton Station Forecourt: NOT HERE MATE
As the British Government gives Europe the finger, it is instructive to visit outposts of Empire such as Buxton, “England’s Leading Spa Town” according to visitbuxton.co.uk, and wonder at the lack of urban sense. Does any spa town in France, Germany, Holland, Denmark, Spain or Italy greet you on exiting their railway station like this, by donating their station forecourt to car drivers? Public space - no thanks. Bus connections – what? Cycle hire – you’re ‘avin’ a larf. Just across the road is a 422-place car park. Forty six years of EU membership has not rubbed off here.
Sketched on site with Artpen.
The instructive picture book, or, Lessons from the vegetable world
Edinburgh :Edmonston & Douglas, 87 Princes Street,1858.
My friend Cookie (mac_raw) puts her gulls in the middle of her frames, so I have done so with this one as well. However, I also have the 341 foot, 5000 ton M.V. Coho, which runs between Vancouver Island and Port Angeles Washington.
Cookie is a great inspiration. Her digital darkroom work is amazing and instructive. I am glad to have met her on flickr.
People sing Els Segaors (The Reapers) at a nationalist rally. This was in response to the start of the trials of the leaders of the failed 2017 unilateral declaration of independence. Els Segadors is the adopted Catalan anthem.
I find these events deeply unsettling, as they strongly resemble an evangelical religious gathering with chants and hymns all driven from a charismatic host on a stage. Rationality is not in abundance in the current rounds of national-populism that are becoming the definitive feature behind Trump, Brexit, Catalan Independence, Salvini and more. What is deeply worrying is that in each case we see mass manipulation of popular sentiments for the benefit of a relatively small number of political actors. It is always instructive to ask people "what do you think would be better", as there is seldom an answer.
Plaça Catalunya, Barcelona.
Our place around the decision makers table is critical for the proper representation of women at work. Many times the light is in us and not in a specific position or workplace. A structured career path is important for smart management in the new world of work. A world of uncertainty and constant renewal that requires innovation.
The hands of women, (the power of organizations and infancy education) hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through (via) authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence - A fascinating, instructive and transformative journey which transforms business discourse about leadership.
A quiet morning in 1974 finds Leyland Titan PD2/20 / MCW LFS 435 and Atlantean PDR1A1 / Alexander WFS 252K waiting for the lights at the junction of North Bridge and the High Street.
The shop on the right is Patrick Thompson's, formerly a well-known Edinburgh department store, which closed many years ago now, and universally known as "PTs". On the left, amongst other shops, is Grant's furniture store. I worked there one summer heaving sofas and fridges on and off lorries. The domed building straight ahead is Robert Adam's magnificent Register House. A comprehensive and instructive article on the building is to be found here.
The rectangular building to the right of Register House is the GPO. In the last few years this structure has been entirely gutted and effectively a new building put up inside the old walls. It is now known as Waverley Gate.
The black building in the far left is what I will forever insist on calling the North British Hotel, though apparently it has for some time now been masquerading under some other appellation.
In the far distance is the top of the St James' Centre.
"Whenever I’m asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one. To be able to recognize a freak, you have to have some conception of the whole man, and in the South the general conception of man is still, in the main, theological. That is a large statement, and it is dangerous to make it, for almost anything you say about Southern belief can be denied in the next breath with equal propriety. But approaching the subject from the standpoint of the writer, I think it is safe to say that while the South is hardly Christ-centered, it is most certainly Christ-haunted. The Southerner, who isn’t convinced of it, is very much afraid that he may have been formed in the image and likeness of God. Ghosts can be very fierce and instructive. They cast strange shadows, particularly in our literature."
~ Flannery O'Connor
I left the South for many years and I rejected my "southerness.". Then I came home. I see it through different eyes now, and the weirdness and contradictions are a constant source of comedic inspiration.
"Anything that comes out of the South is going to be called grotesque by the Northern reader, unless it is grotesque, in which case it is going to be called realistic."
~ Flannery O'Connor
Running out of ideas for your 365 project? Join We're Here!
Savannah Sparrow SAVS* (Passerculus sandwichensis)
YYJ :: Victoria International Airport
(near Sidney, North Saanich BC)
(ebird location shows as :: Victoria Airport--Canora Rd. overlook, Capital County, British Columbia, CA)
DSCN1157
Field Mark Cues ^i^
although no white eyebrow stripe at this stage , the dark malar stripe is well pronounced so as to differentiate from our other small local breeding sparrow - Chipping Sparrow
overall structure is as per adult
too small & light for our local Song Sparrow species
a lot of these are not great shots but still instructively useful for photo doc. study shots.
Our place around the decision makers table is critical for the proper representation of women at work. Many times the light is in us and not in a specific position or workplace. A structured career path is important for smart management in the new world of work. A world of uncertainty and constant renewal that requires innovation.
The hands of women, (the power of organizations and infancy education) hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through (via) authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence - A fascinating, instructive and transformative journey which transforms business discourse about leadership.
It's been the strangest Easter season in our lifetime, but in these difficult times it is instructive to recall the basic lesson of Easter. There is Life after Death as exemplified by Christ's Resurrection on Easter morning. Similarly, there will be life after the coronavirus runs its course. All we have to do is stay safe and be socially distant from each other, but not God!
Joni wishes all her friends a Happy Easter!
I'm just learning about making videos, but I've had this idea for a while ---to use my various layers in Photoshop to create a short video showing the progress of a design.
Note that the numbers I gave my versions on the video do not necessarily conform to the numbers I added to final image titles. (I just numbered the ones on the video from 1 to 6.)
This must be what it's like to create animation. It took me about 8 hours to create a 1-min video. But I think I'll be making more showing the evolution of abstracts. In most cases, I keep all my layers in Photoshop, so I have a record of my progress. I was an art teacher for about a zillion years, so I look at this kind of video as instructive and educational and hope I keep them short enough to be at least slightly entertaining.
_____
Creative Commons music found on vimeo:
"Gasoline Spiced Morning Dew" by Harsányi László (freemusicarchive.org/music/Harsanyi_Laszlo_1839/Born_a_Re...)
Besides trying to find music I like and that will compliment my videos I also attempt to find something with a title that will fit my image. I was looking for something with "Blues" in the title, but almost everything had lyrics that didn't fit. (I usually prefer instrumental without vocals as background for videos.) But since the original image was taken in a parking garage, I thought "Gasoline Spiced Morning Dew" might have at least some connection to my original image.
Many musicians who submit music to vimeo choose odd titles as well as unusual names for their musical groups.
It looks like it but 'Peak' No D123 has just been declared a total failure at Rothley. Everything had worked perfectly until we were ready to depart on the second leg of our first trip: no train pipe vacuum. To cut along story short, when my driver shut it down to see if a re-start (a 'reboot') would help, the loco was totally lifeless.
While it was disappointing and inconvenient for passengers (for which apologies) and disappointing for me (I was going to do some driving) it was a) instructive and b) useful experience in the process of rescuing a failed train - putting in place assistance protection etc. That assistance came in the shape of the NRM's class 37 No D6700.
Franklin's Gull FRGU (Leucophaeus pipixcan)
Carmichael Marsh
hotspot
South of
Carmichael, Saskatchewan, Canada
DSCN0966 - Cropped
Not great pix
but instructive
showing upper wing
Field Mark Cues ^i^
Breeding Plumage showing
Black Head ,red bill and upper wing pattern
Wide White Eye Arcs
upper wing pattern
dark grey predominant
wide white trailing edge...(that then) white intersects between the dark grey and the black of wing tip
yeah ...if you squint there are visible fence posts
:)
- Toronto, Ontario, Canada -
I know this kind of photo is 'done a lot by many' but it is always instructive to try and do it with a view to capturing something just a bit different. I liked the 'sheen' that the sun gave the 'aquamarine' building and tried to expose for and balance that aspect of this ubiquitous urban/metropolis scene. It's a nice change from shooting the surrounds of Keefer Lake in any case (although I truly never tire of photographing my home place).
The new Flickr seems to have curbed activity - at least on my photos which are getting about half the daily views, comments, etc. that they typically received in the old format? I noticed too that the number of views of my sets are way down but that is understandable given that we no longer have the option of displaying them on the front page of our photostreams. Of all the changes that have been made I dislike the new 'home page' the most with its never ending jumble of photos 'side by each' crammed confusingly into a perplexing puzzle of disparate imagery. In contrast, I find that the view of individual photos has often improved with the black background and extra large presentation (with only a few exceptions that are better viewed on a white background).
Our place around the decision makers table is critical for the proper representation of women at work. Many times the light is in us and not in a specific position or workplace. A structured career path is important for smart management in the new world of work. A world of uncertainty and constant renewal that requires innovation.
The hands of women, (the power of organizations and infancy education) hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through (via) authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence - A fascinating, instructive and transformative journey which transforms business discourse about leadership.
Throughout our lives, certain archetypes shape our sense of self, the world, the road we’re on, and the goals we seek. Our idea of good and evil, male and female, leaders, parents, mentors, friends, and more are framed in the stories of the Bible. The picture’s not always pleasant, but it never fails to be instructive and is sometimes downright revelatory. Mirror, mirror on the wall: what’s the purpose of us all?
Topics of the Day:
Sunday, Day 1: “Introduction” and “Your Life as Revelatory Source. How did you get to be who you are? Your life is a sacred text read by all.
Monday, Day 2: “The Character of God” and “The Male/Female Thing” You and I meet God in sacramental and sacred encounters. But in Scripture, we meet the God who is one character among many in the remarkable story of faith. And our second topic — Gender is complicated. Adam and Eve were just the beginning of the conflict. Gender issues remain with us in secular and sacred realms.
Tuesday, Day 3: “Follow the Leader” and “The Parent Trap”
Leadership styles come and go. From biblical patriarchs and kings to modern-day presidents and celebrities, we follow the leaders we invent and choose. And our 2nd topic – The Ten Commandments bid us to honor our father and our mother. Jesus says we should hate our parents. Please explain!
Wednesday, Day 4:“The Guiding Light” & “You’ve Got a Friend” Elisha had Elijah. Timothy and Titus had Paul. Thank God for mentors: those significant folks along the way who show us how life works. Our second topic — It’s not good for us to be alone, as Genesis attests. Famous friendships help us explore the role of holy companioning.
Thursday, Day 5: “Who’s Your Devil?” and “What a Wonderful World” Everyone fears the Dark Side. Who’s the enemy, and where does it reside? And our second topic — The universe is beautiful. Earth is our home. The Bible and science agree it will come to an end one day. What’s our relationship to a fragile planet?
Friday, Day 6: “And the Purpose of It All Is” We’re born, we live, and we die. For most of us, that’s a pretty full plate of responsibilities. What should we do with this “one wild and precious life?”What qualities are we looking for in the aspirants at Saint-Sulpice? Parish Experience - Before an aspirant joins the Society, Sulpicians want to ensure that an aspirant has completed at least two years of parish work, which will have allowed him/her to develop a strong sense of belonging to the diocese and an attachment to the parish ministry. Indeed, they need priests who live and love their priesthood and who wish to assist the bishops in the service of seminarians and diocesan priests. Ability to work in a team - Sulpicians are looking for candidates who are able to work in a community environment and are able to work collegially on a mission in consultation with fellow priests as well as with lay people or religious. To know how to share one's faith through a life of prayer that nourishes a true enthusiasm for Christ and his Gospel, for the Church and the priesthood. The Apostolic Spirit who animated their founder, Jean-Jacques Olier, is the source of this sharing. Special gifts that open the way to a quality intellectual and professional preparation in several fields: spiritual accompaniment, teaching of philosophy or theology, pastoral animation. This presupposes the openness to learning of a constantly renewed Sulpician pedagogy. How can a priest become a Sulpician? Prerequisites - To be a diocesan priest incardinated in a diocese, to have completed at least two years of parish ministry in the diocese of origin and to be available for service in the Canadian Priests of St. Sulpice Province. Initial recognition - If a priest meets these prerequisites, he or she can contact the Sulpician Vocations Officer for his or her region (see list below). He will inform him about the regular meetings organized for the aspirants to the Society and he will be in charge of this first experience with Saint-Sulpice until the Provincial Council accepts him as a candidate. His participation in these meetings will give him sufficient information about the Company and the demands of Sulpician life. This priest will also be accompanied spiritually in discerning his possible Sulpician vocation. Candidature - After this time of discernment, with the support of the Sulpician Vocations Officer in his region, he asked his bishop for written authorization to make an experience in Saint-Sulpice. The aspirant then applies by contacting the provincial superior or the provincial delegate in writing. First experience in Saint-Sulpice - If formally accepted and admitted as a candidate, the Provincial Council becomes directly responsible for his experience with the Priests of Saint-Sulpice. He then took over his duties and gave him a first appointment to a team in the Canadian Province from the moment his bishop relieved him of his duties. Usually, this first experience in the Company lasts at least two years.The expression "art Saint-Sulpice" is misleading, because it encompasses very different periods and artists in the same name and in the same discredit, because it confuses art of reproduction and wide circulation with the search for an authentic sacred art which has been continuous for nearly two centuries.
In the proper sense, Sulpician art refers to the objects that are sold in the specialized shops that surround the church of the same name in Paris: industrial and economic art, of poor quality, where the mimicry and the fading of style reassure and somehow carry the seal of an official art, orthodox and without excess. Thus understood, Sulpician art is of all times and every effort to renew religious art naturally secretes its counterfeiting. The virgins and saints, with their white eyes and pale air, coming from Ary Scheffer and his raphaelism, the statues of the Virgin of Lourdes, poor translation of the mediocre model of the pious sculptor Cabuchet, the overly sensitive effigies of Thérèse de Lisieux or Saint Anthony of Padua, even the neo-byzantine works, pale reflection. In fact, the interest of Sulpician art is not only sociological; it is also, as in countertype, the revealing of the interest that religious art has never ceased to arouse, against all appearances. Holy Mirror! The creatures on the reverse will be merged in the reflected image but probably not in a laplacian way - just as concentric circles. If anyone has a magic mirrorWe first address the problem of simultaneous image segmentation and smoothing by approaching the paradigm from a curve evolution perspective. In particular, we let a set of deformable contours define the boundaries between regions in an image where we model the data via piecewise smooth functions
www.vallombrosa.org/the-holy-mirror-discovering-ourselves...
Origin of the Holy Mirrors!
Mirrors have been regarded as sacred at least since the Han Dynasty in China. Many of these mirrors and from the subsequent Wei dynasty have been found in Japan. They bore images of gods and sacred animals particularly the Chinese dragon (1,2) . They were very popular, and possibly later manufactured, in Japan. The bronze mirrors are found in great number in ancient (kofun period) burial mounds in Japan. In the biggest archeological find of 33 mirrors, the mirrors were placed surrounding the coffin such that their reflective surface faced the deceased. The Han mirrors were "magic" in that while they reflected they were also able to project an image usually of the deities and animals on the back and refered to as "light passing mirrors" (透明鑑） (Needham, 1965, p.xlic; Needham & Wang, 1977, pp. 96-97).This magic property is due to the their method of construction. When polishing the reflective face of the mirror, the patter on the back influences the pressure brought to bear on the reflective surface and change the extent to which it is concave. Muraoka also claims that Differences in the (slight) "inequality of curvature" (Ayrton & Perry, 1878, p 139; see also Thompson, 1897, and Needham & Wang, 1977, p96 for a diagram) of the mirror result in the mirror reflecting light bearing the pattern shown on the reverse. More recent research has elucidated the precise mathematical model describing the optics of these mirrors as a laplacian image (Berry, 2006), a type of spatial filter today used for edge detection and to blend two images together. It is not known whether the mirrors popular in ancient Japan were also able to project, but later during the Nara period mirrors were found to concel magic Buddhist images, and during the Edo period, concealed Christians (Kurishitan) concealed images of the cross or of the Holy Mary within their bronze "magic" mirrors. Mirrors in Japan contined to be made of brass, until the arrival of Western glass mirrors, and were "magic" in that they displayed the patter on their reverse when reflecting sunlight or other powerful light source (Thompson, 1897). Ayrton (Ayrton & Perry, 1878; Ayrton & Pollock, 1879) claims that in Japan mirror vendors were unaware of the "light passing" quality, and that there is no mention of this 'magical' quality known to Han Chinese in Japanese texts. Even a Japanese mirror maker was unaware of how to make magic mirrors though had inadvertently made one himself by extensive polishing a mirror with a design on its back (Ayrton & Perry, 1878, p135). Unlike the ancient Korean mirror top right (3), the ancient Han and Japanese mirrors were made to be rotated, displaying images in the four directions of the compas. The reason for the holes in the central "breast" (or nipple) is unclear but it is found to be pierced with a hole (of varying shape depending upon the manufacturer) from which the mirror was suspended by a rope. Bearing in mind that the images on the mirrors required that the mirrors be rotated, the central nodule might also have enabled the mirrors to be spun like a top. I am not sure why someone would want to spin a mirror but my son does (see the toy explained later). I would very much like to see what the reflected "magic" image becomes when spun. The creatures on the reverse will be merged in the reflected image but probably not in a laplacian way - just as concentric circles. If anyone has a magic mirror I would like them to try spinning it to see. Skipping the holy mirrors in shrines, mirror rice cakes, and the mirror held by the Japanese version of Saint Peter at the Pearly Gates, King Enma, which holds a record of ones life, and, jumping to the present day... Mirrors are popular in the transformational items used by Japanese superheros. The early 1970's Mirror Man transformed using a Shinto amulet infront of any mirror or reflecting surface. Shinkenja, a group of Super Sentai or Power Rangers, that transforms thanks to their ability to write and then spin Chinese characters in the air, also transforms with the aid of an Inro Maru (4) upon which is affixed a inscribed disk. When the disk is attactched to the mirror the super hero inside the mirror is displayed. Transformation (henshin) by means of a mirror is popular too among Japanese femail super heros notably Himitsu no Akko Chan (Secret Akko), who could change into many things that were displayed in her mirror, sailor moon, and OshareMajo (6). The female super heroes mirrors usually make noises rather than contain inscriptions. The latest greatest Kamen Rider OOO sometimes transforms by means of his Taja-Spina which spins three of his totem-badge "coins" inside a mirror (video). In this ancient tradition we see recurrence of the following themes 1) Mirrors being of great benefit to the bearer enabling him to transform. 2) Mirrors containing hidden deities 3) Mirrors being associated with symbols: iconic marks, and incantations. 4) Mirrors being made to be rotated or spun. Thanks to James Ewing for the Mirror Man (Mira-man) reference and to Tomomi Noguchi for the Ojamajo Doremi reference, and to Taku Shimonuri and my son Ray for getting me interested in Japanese superheros. Addendum One of My students (A Ms. Tanaka, and a book about the cute in Japan) pointed out that the Japanese are into round things, and it seems to me that this Japanese preference for the round may originate in the mirror. Anpanman and Doraemon and many "characters" have round faces The Japanese Flag features a circle representing the sun and the mirror Japanese coats of arms (kamon) Japanese holy mirrors are round "Mirror rice cakes", and many other kinds of rice cake, are round The Sumo ring is round Pictures of the floating world (Ukiyoe) often portray the sitter in a round background Japanese groups always have to end up by standing in a round The Japanese are fond of domes and have many of the biggest The Japanese are fond of seals (inkan), which are round Japanese groups just can't help standing in a round The taiko drum is round The mitsudomoe is round Mount Fuji is round But then there are probably round things in every culture?
Cast and polished bronze mirrors, made in China and Japan for several thousand years, exhibit a curious property [1–4], long regarded as magical. A pattern embossed on the back
is visible in the patch of light projected onto a screen from the reflecting face when this is illuminated by a small source, even though no trace of the pattern can be discerned
by direct visual inspection of the reflecting face. The pattern on the screen is not the result of the focusing responsible for conventional image formation, because its sharpness is independent of distance, and also because the magic mirrors are slightly convex. It was established long ago that the effect results from the deviation of rays by weak undulations on the reflecting surface, introduced during the manufacturing process and too weak to see directly, that reproduce the much stronger relief embossed on the back. Such ‘Makyoh imaging’ (from the Japanese for ‘wonder mirror’) has been applied to detect small asperities on nominally flat semiconductor surfaces [5–8]. My aim here is to draw attention (section 2) to a simple and beautiful fact, central to
the optics of magic mirrors, that has not been emphasized—either in the qualitative accounts or in an extensive geometrical-optics analysis : in the optical regime relevant to
magic mirrors, the image intensity is given, in terms of the height function h(r) of the relief.on the reflecting surface, by the Laplacian ∇2 h(r) (here r denotes position in the mirror plane: r = {x, y}). The Laplacian image predicts striking effects for patterns, such as those on magic mirrors, that consist of steps ; these predictions are supported by experiment
The detailed study of reflection from steps throws up an unresolved problem concerning the relation between the pattern embossed on the back and the relief on the reflecting surface. The Laplacian image is an approximation to geometrical optics, which is itself an approximation to physical optics. The appendix contains a discussion of the Laplacian image starting from the wave integral representing Fresnel diffraction from the mirror surface. Geometrical optics and the Laplacian image If we measure the height h(r) from the convex surface of the mirror (figure 3), assumed to
have radius of curvature R0, then the deviation of the surface undulations from a reference plane (figure 3) is η(r) = − r22R0+ h(r. The specularly reflected rays of geometrical optics are determined by the stationary value(s) of
the optical path length L from the source (distance H from the reference plane) to the position
R on the screen (distance D from the reference plane) via the point r on the mirror. This is L = (H − η(r))2 + r2 +(D − η(r
))2 + (R − r)2≈ H + D + (r, R), (2)where in the second line we have employed the paraxial approximation (all ray angles small), with (r, R) = r2 2H+(R − r)2 2D+ r2 R0− 2h(r). In applying the stationarity condition ∇r(r, R) = 0, it is convenient to define the magnification M, the reduced distance Z, and the ;demagnified observation position r referred to the mirror surface: M ≡ 1 +D H+2D R0, Z ≡ 2D M , r ≡ R M . We note an effect of the convexity that will be important later: as the source and screen distance increase, Z approaches the finite asymptotic value R0. With these variables, the position r
(r,Z), on the mirror, of rays reaching the screen position r, is the solution of r = r − Z∇h(r). The focusing and defocusing responsible for the varying light intensity at r involves the
Jacobian determinant of the transformation from r to r, giving,after a short calculation,Igeom(r,Z) = constant × ∂x ∂x
∂y ∂y − ∂x ∂y ∂y ∂x−1 r→r (r,Z)= 1 − Z∇2 h(r) + Z2
∂h(r) ∂x2 ∂h(r) ∂y2 − ∂h(r) ∂x ∂y2−1r→r(r,Z), ().where the result has been normalized to Igeom = 1 for the convex mirror without surface relief (i.e. h(r) = 0). So far, this is standard geometrical optics. In general, more than one ray can reach r—that is, can have several solutions r—and the boundaries of regions reached by different numbers of rays are caustics. In magic mirrors, however, we are concerned with a
limiting regime satisfying Z Rmin 1, where Rmin is the smallest radius of curvature of the surface irregularities. Then there is only one ray, simplifies to r ≈ r, (9) and the intensity simplifies to ILaplacian(r,Z) = 1 + Z∇2 h(r). This is the Laplacian image. Changing Z affects only the contrast of the image and not its form, so explains why the sharpness of the image is independent of screen position, provided holds. The intensity is a linear function of the surface irregularities h, which
is not the case in general geometrical optics (i.e. when is violated), where, as has been emphasized the relation is nonlinear. And, as already noted, for a distant source and
screen Z approaches the value R0, implying that (8) holds for any distance of the screen if R0 Rmin, that is, provided the irregularities are sufficiently gentle or the mirror is sufficiently
convex. Alternatively stated, the convexity of the mirror can compensate any concavity of the irregularity h, in which case there are no caustics for any screen position.The theory based on the Laplacian image accords well with observation, at least for the mirror studied here. The key insight is that the image of a step is neither a dark line nor a bright line,
as sometimes reported , but is bright on one side and dark on the other. It is possible that there are different types of magic mirror, where for example the relief is etched directly onto
the reflecting surface and protected by a transparent film , but these do not seem to be common. Sometimes, the pattern reflected onto a screen is different from that on the back, but
this is probably a trick, achieved by attaching a second layer of bronze, differently embossed, to the back of the mirror.
Pre-focal ray concentrations leading to Laplacian images are familiar in other contexts, though they are not always recognized as such. An example based on refraction occurs in old windows, where a combination of age and poor manufacture has distorted the glass. The distortion is not evident in views seen through the window when standing close to it. However,when woken by the low morning sun shining through a gap in the curtains onto an opposite
wall, one often sees the distortions magnified as a pattern of irregular bright and dark lines. If the equivalent of is satisfied, that is if the distortions and propagation distance are not too
large, the intensity is the Laplacian image of the window surface. (When the condition is not satisfied, the distortions can generate caustics.) Only the optics of the mirror has been studied here. The manner in which the pattern embossed on the back gets reproduced on the front has not been considered. Referring to ,this involves the sign of the coefficient a in the relation between hback and h. There have been several speculations about the formation of the relief. One is that the relief is generated while the mirror is cooling, by unequal contraction of the thick and thin parts of the pattern ; it is not clear what sign of a this leads to. Another is that cooling generates stresses, and that during vigorous grinding and polishing the thin parts yield more than the thick parts, leading to the thick parts being worn down more; this leads to a 0: bright (dark) lines on the image, indicating low (high) sides of the steps on the reflecting face, are associated with the low (high) sides of the
steps on the back , not the reverse (figure 7(b)). This suggests two avenues for further research. First, the sign of a should be determined by direct measurement of the profile of the reflecting surface; I predict a > 0. Second, whatever the result, the mechanism should be investigated by which the process of manufacture reproduces onto the reflecting surface the
pattern on the back. The fact that h0 = 378 nm is smaller than the wavelengths in visible light does not imply that the Laplacian image is the small-κ limit of (A.3), namely the perturbation limit corresponding to infinitely weak relief. Indeed it is not: the perturbation limit, obtained by
expanding the exponential in (A.3) and evaluating the integral over τ , with a renormalized denominator to incorporate the known limit I = 1 for ξ = ±∞, isψpert(ξ , ζ, κ) = 1 − iκ erf(ξ/√1+iζ /κ)
√ 1 + κ2 . For the gentlest steps, this predicts low-contrast oscillatory images, very different from the Laplacian images of geometrical optics; this is illustrated in figure 8(b), calculated for k =0.05, corresponding to h0 = 5.2 nm.
European journal of physics, 27, 109. Retrieved from www.phy.bris.ac.uk/people/Berry_mv/the_papers/berry383.pdf Spatial Filters - Laplacian/Laplacian of Gaussian. (n.d.). Retrieved April 19, 2012, from homepages.inf.ed.ac.uk/rbf/HIPR2/log.htm Thompson, S. P. (1897). Light Visible and Invisible: A Series of Lectures at Royal Institution of Great Britain. Macmillan. Retrieved from www.archive.org/stream/lightvisibleinvi00thomuoft#page/50...
In the industrial and materialist period that began in the 19th century, Catholicism, even though it had to give in to its official positions, underwent glorious revival. In the years 1830-1880, an attempt was made to revive an authentic religious art, in the image of restored faith, through examples of medieval art. The Gothic cathedral, in its 13th century purity, Fra Angelico, the painter who paints on his knees, will be the models unceasingly questioned and translated through the teaching of Ingres.
365/365.
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I jumped into this project with absolutely no expectations at all, and now, afterwards I know - this is the toughest, funniest, most instructive, insightfull photo-challenge or personal challenge I've ever gotten myself into...
I've learned so much when it comes to both photography and who I am, who I want to be and so on.
I've changed so much since 'day one' and I've been going through some hard moments and some terrible things, but I've also been laughing, I've felt happiness. I've found myself reasonably good and I now know what I want to accomplish these coming years and also how I would like to live my life in the future...
When it comes to my photography... jeez I've changed.
Now I know how I want to use light to experiment. I have a personal taste and a personal "photography-style", and it's during this year that I found it.
I would love to say thank you to you guys on flickr who has stopped by, looking, commented, supported and so on...
It took me a while to finish these last pictures but I'm not sorry.
I would recommend everyone to, at least, try doing a 365 days- or a 52 weeks-project. You will learn so much, not just about yourself but about the world around you. At least, I did.
I know I will miss this project. It's been really hard in the end but I feel that very soon I'll be missing it. I don't know, might come up a 52 weeks-project or something else.
How will I end this?
I won't, 'cause, this is not the end.
If you saw a heat wave, would you wave back?
Steven Wright
Dogs want to be people. That's what their lives are about. They don't like being a dog. They're with people all the time, they want to graduate. My dog would sit there all day; he would watch me walk by; he would think to himself, "I could do that! He's not that good." That's why the greatest, most exciting moment in the life of a dog is the front seat of your car - you and him in the front seat. It's the only place where your head and his are on the exact same level. He sits up there, he thinks, "This is more like it. You and me together, this is the way it should be." He looks out the front. What's he looking at? He's a dog. "What are you going to make -- a right or a left? I don't even know where I am."
Jerry Seinfeld
July 2013: May I add this funny link?:
Enjoy.... :))))
Friends; we must have had the hottest weekend of my whole life. Already in the morning of Saturday when we left our house, the outside temperature was 42C (107F)…. We were on Montmartre on for a guided tour and the lead-up was already painful. We could hardly eat our food, it was so scorching hot and we quickly followed up with a wonderful ice cream and an equally great espresso. Then our guide did not show up.... The group of some 30-40 people waited and waited. Nobody informed us; and with my Hero Husband having sacrificed some of his very precious time with me (he's abroad the whole week), we got slightly unhinged, and not only because of the heat. I tried to phone, the given number wasn't 'manned' - a message couldn't go through.... We left the place after 30’, I wrote a mail immediately, so far (Monday eve) I haven’t had any reply.
The incredibly unreliable transport system of Paris caused further heat and grief. We climbed our train with the clearly stated terminus – by the time (much delayed) it set off, the direction of the train had changed and we risked our lives by hurling through tunnels, stairs up and down to catch a correspondence – impossible to understand the given information (on the outside of the train only, the train was absolutely packed to its limits)! We were dead on our feet by the time we returned to our cool and wonderful home – lost 5 hours of our precious day and missed the much looked-forward instructive tour. Shame, shame and shame again.
Sunday was terribly hot again; I measured 39C (102F) in the late afternoon. I had to wait until after 8pm before I dared watering the garden; and I wondered what such heat waves do to our elderly, to the bone dry lands and how many fires would be started by carelessness or foul intention over these days. I was contemplating the wonderful wines we should get with such quantities of sunshine and no rain but also the suffering of both animals and humans – the draught that certain regions have and the chance of a change (little for this week). When I finally watered my not so green paradise, I was smiling at the song that erupted around me; many birds started to sing in their trees and shrubs, praising no doubt the arrival of some water…. I also fill clay basins with fresh water every day but of course this water turns into a boil in no time and the birds can’t ‘wash’ or drink.
What amazes me is that those very hot and lasting scorchers are all relating to the word DOG: CAN(E)icule, HUNDstage, DOG days…. And I wondered where this link comes from. When I found the information, I remembered having read about this before. In the ‘free dictionary’ it says: Hot period of the summer reckoned in ancient times from the heliacal rising of Sirius (the Dog Star).
HERE some great explanations that I found TODAY!!! (seems the theme is of some actuality!)
Stay cool! As did this dog that had its ears flapping in the wind until the car had to stop next to us at a red light :)
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A visual instructive for chair jumping in 3 simple steps
jump by k ugger
foto by contiki & k ugger
edition & post production by nortuko
“APOLLO 14 LUNAR SAMPLE---A close-up view or “mug shot” of Apollo 14 lunar sample No. 14321, the mission’s largest sample, in the Non-Sterile Nitrogen Processing line in the Lunar Receiving Laboratory at the Manned Spacecraft Center. Nicknamed “Big Bertha” by principal investigators, the rock weighs 8,998 grams and measures 23 x 23 x 17 centimeters. The coarse-grained breccia or clastic rock was in direct contact with the lunar surface when found by the astronauts.
(This sample can be seen on the lunar surface in NASA photo No. AS14-64-9129).”
It weighed nearly 20 lbs!
The photograph was used for press purposes and obviously, reflects it. Despite the careless/rough handling, it’s still crystal clear with high gloss.
Sample no. 14321 in the news during 2019:
appel.nasa.gov/2019/02/25/moon-rock-collected-during-apol...
astronomy.com/news/2019/01/a-moon-rock-collected-by-apoll...
Credit: Astronomy Magazine online website
Per the LPI website:
“The largest sample returned during Apollo 14 mission; also known as "Big Bertha". This sample is the third largest sample returned by any Apollo mission. This breccia was collected during the second EVA at Station C1, near the rim of Cone Crater. A voice transcript made during the collection, as well as a more detailed discussion of the lunar environment can be found in Geological Survey Professional Paper 880 (Swann et al., 1977). The sample was returned in bag 1038. This large sample is typical of the apparently dominent rock type in the Cone Crater ejecta blanket. It is a moderately well-indurated breccia, in which predominately dark clasts are set in a lighter matrix. The relative abundance of this rock type suggests that it is probalby representative of the Fra Mauro Formation. This rock, 14321, is a partly annealed, moderately coherent polymict breccia. The blocky surface is gray with patches of black and white.”
From/at:
www.lpi.usra.edu/lunar/samples/atlas/detail/?mission=Apol...
Specifically:
www.lpi.usra.edu/lunar/samples/atlas/images/hires/14321/1...
Both above credit: LPI website
At the ALSJ, the transcript pertaining to the collection of ‘Big Bertha’:
“133:44:30 Shepard: That's all right, I think I got it. There's a football-size rock, Houston, coming out of this area, which will not be bagged. It appears to be the prevalent rock of the boulders of the area. Got it?
133:44:41 Mitchell: Got it.
133:44:55 Haise: Roger, Al, we copy.
[A football-sized rock would be too big to pick up with the tongs, so Al had to get down low enough to get it with his hand. The ball used in the U.S. National Football League is about 11 inches (28 cm) from tip-to-tip and has a circumference halfway between the tips of about 22 inches (56 cm). There are several examples in the TV from later missions of the gymnastics required to pick a large rock up off the ground. The most entertaining and instructive example shows Apollo 16 astronaut Charlie Duke collecting the 11.6 kilogram rock known as Big Muley at the rim of Plum Crater. The rock being collected here at Saddle Rock is sample 14321, a 9.0 kilogram breccia now known as Big Bertha. It is by far the largest rock collected during Apollo 14 and rivals not only Big Muley, the largest rock returned from the Moon, but also the runner-up, a 9.6 kilogram Apollo 15 basalt known as Great Scott. In collecting Big Muley, Duke got down on one knee, using a long-handled tool in the opposite hand to help keep himself balanced. He then used his free hand to roll the rock against his knee, getting the rock far enough off the ground so that he had his fingertips on the lower curve of the rock. Then, holding the rock against his knee, he rose to his feet and worked the rock up higher on his leg until he could get back to the Rover, put his tool down, and grab the rock with both hands. Scott used a similar technique. Here, the dialog suggests that Ed helps Al get the rock and, apparently, takes it from him once he is up.]
[The name 'Big Bertha' derives from a massive World War I howitzer produced by the Krupp Armament Works in Essen, Germany and named for Gustav Krupp's wife. The gun was capable of throwing a 1000-kg shell over a distance of more than 14 kilometers. Two of these guns were used to devastating effect in the battle for Liege in August 1914.]
133:44:56 Mitchell: Have to go in one of the Z-bags.
133:45:00 Shepard: Okay. Do you have a sample of that white rock?
133:45:03 Mitchell: Yeah, I got one batch of particles.
133:45:06 Shepard: Put it (that large rock) right in here.
133:45:09 Mitchell: I don't think it'll go.
133:45:10 Shepard: Yeah. Core tube's out of the way. Put her down.
133:45:22 Shepard: Okay. We'll just carry it back that way.
133:45:24 Haise: Okay, Al and Ed. We have...
133:45:26 Mitchell: (Garbled under Haise).
133:45:26 Haise: ...about 1 more minute here at C.
133:45:33 Shepard: Okay. We're moving on down the hill now. (To Ed) Okay; can you see Weird from here?
133:45:41 Mitchell: No...”
The above at/from:
“Cut-a-way view of Vertical Assembly Building, showing Launch Control Center and Launcher Umbilical Tower in background. Copied for Al Lavender, presentations.”
Still/initially referred to as the "Vertical" Assembly Building. The stages are labeled...wonderfully quaint & instructive. Note in/across the background, the rather extensive rail lines, apparently originally intended. To clarify the hand annotated description, the LCC is the smaller squat building to the right.
Stunning & most iconic work by the multifaceted and (I think) rather eclectic Don Mackey. One of the "lesser unknown" artists during the time of Apollo.
www.collectspace.com/ubb/Forum38/HTML/000530.html
Credit: collectSPACE website
naturetime.wordpress.com/2013/12/30/vintage-space-art-chr...
Credit: naturetime website
It’s on the cover, modified to reflect the content. Mr. Mackey actually gets “top billing:
ntrs.nasa.gov/archive/nasa/casi.ntrs.nasa.gov/19660006900...
Al Lavendar appears to have been a NASA spokesman during at least the latter half of the 70's. Obviously, he was already the ‘face’ of NASA...KSC at least, to whatever degree even in 1964...cool.
Giles Flat in the County of Hindmarsh is the name of a tract of flat agricultural country lying 2 miles to the east of Finnis Flat. It is inhabited by a scattered farming population. Ref: Bailliere’s South Australian Gazetteer and Road Guide of 1866.
Giles Flat school, in the Hundred of Kondoparinga, west of Strathalbyn, was opened by Henry P Ashton in 1963. Ref: Manning’s Place Names of South Australia.
November 5
The anniversary of the Primitive Methodist Church was held on November 2 and 3.
Sunday sermons were preached. On Monday a tea meeting was held.
The chapel was decorated by Misses Keeling, Lily and others. As the chapel was not large enough to accommodate the assembly it was decided to hold the meeting in the open air. The whole affair was a success, and the proceeds amounted to £13 3s 2d. Mr Lily and his daughters rendered good service in repairing and cleaning the chapel. Ref: South Australian Weekly Chronicle (Adelaide) 15-11-1884.
Giles Flat October 23
On Sunday and Monday October 20 and 21 the Primitive Methodists celebrated the anniversary of their church. Sermons were preached in the open air. Monday tea and public meetings were held, Mr H Waters, of Belvidere, presiding at the latter. Singing was led by friends from Bull’s Creek.
During the afternoon a photograph of the church and the visitors was taken. Ref: South Australian Chronicle (Adelaide) 26-10-1889.
The opening services in connection with the new Primitive Methodist Church, Giles Flat, were held on October 19 and 20. There were crowded congregations and two instructive sermons were preached.
On Monday tea was provided of which upwards of 250 took part.
The beautiful service of song “The babes in the basket” was well given by the Woodchester choir.
Votes of thanks were proposed and seconded to all friends assisting and especially Mr and Mrs Sissons to whose untiring efforts the success of the services are mainly due.
At the close of the meeting a supper was held. Receipts over £20. Cost of building £117 19s 6d. Total receipts £81 3s 6d. Deficiency £36 16s 0d. Ref: Christian Colonist (SA) 7-11-1890.
Church anniversary was held on October 28 and 29. On Sunday two services were conducted by Rev C E Taylor. On Monday the usual tea and concert were held, the concert proving a great success, and many thanks are due to the Strathalbyn Methodist choir and other friends who so kindly assisted with the programme: also to Mr Collett who acted as chairman. The proceeds amounted to about £9. Ref: Australian Christian Commonwealth (SA) 23-11-1917.
I didn't know that Andrew Wyeth had a sister, which is on me. Henriiette Wyeth was married to Peter Hurd, a New Mexico artist who had come east and studied with her father, N.C.Wyeth (most famous in my mind for the illustrations he did for Robert Louis Stevenson's famous Treasure Island.
Peter Hurd painted scenes in New Mexico, and it was instructive to learn that he chose to work in egg tempura because he felt that medium better suggested the colors and tones of his native state. Henriette, unsurprisingly, was the one who who was more involved in the upbringing of their children, but she continued to work, focussing on portraits, interior scenes, and still lifes.
vandyke print done during a nice and instructive afternoon with vernon trent
shot with rolleiflex 2.8e on trix @200
printed with moersch vandyke emulsion on hahnemühle quattro
go and book a workshop with vernon at pirmasenser fototage here