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This is the final part of photos depicting internals of the pillars, bridge and water used in my latest project K7 Diesel Locomotive. As usual they barely scratch the surface but at least they provide some insights of how the model was put together.
If you are interested in more details then please check out my previous posts that show the final diorama and other internals.
same basic image as my first one today but gave it an internal flip so quite a different design really...anyhow just stuck it in for interest....
perhaps beings from another world....
thanks for looking in....appreciate it......best bigger.....hope you have a Great Day
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9 | 52
I know, i've been so bad about uploading lately. I've just been so pushed with this AP concentration and everything with school. It's just crazy in my life. But I'm back now, I have missed flickr like crazy.
This is part of my AP photography concentration. I love it.
Alot.
Remake de esta foto: www.flickr.com/photos/27289141@N02/3599562376/in/set-7215...
No es montaje digital. No digital assembly.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Por favor, no use esta imagen en su web, blogs u otro medio de comunicación sin mi aprobación explícita. © Todos los derechos reservados.
-Engines moved back and inward
-Wing rests (tiles) in place for forward position.
-wing position lock added (red pins)
-Playing around with location of troop bay
This part ain’t sexy, but critical for both structural support and making space for important details like the cargo area and near future pilot positioning...
The tomb of Psusennes I was found to contain the sepulchres and grave goods of other pharaohs from later periods, such as Shoshenq II, the third king of the Libyan Dynasty, whose silver sarcophagus and canopic vases were deposited in Psusennes' antechamber. The body and grave goods of Amenemope (Psusennes' successor) were also found here although the tomb had been built for Psusennes I. Even Siamun, Psusennes II and the army general Undjebauendjed, were buried in separate bays in the tomb.
The commonest method of dealing with the internal organs from the Middle Kingdom was to embalm them in canopic vases and only rarely, as in this case, were the organs placed in human-shaped containers.
Both the hawk-headed sarcophagus and the four containers of Sheshonq II are made from silver. The container themselves are miniature sarcophaguses in the image of the pharaoh with the nemes headdress, the royal uraeus serpent, the false beard and heavily made-up eyes.
22nd Dynasty
Provenance: Tanis, Tomb of Psusennes I, Burial chamber of Psusennes I
(The Illustrated Guide to The Egyptian Museum in Cairo, edited by Alessandro Bongioanni and Maria Sole Croce)
JE 72154
Egyptian Museum, Cairo
I find solace and creativity and great expanse when I turn inside and think and explore my internal world. It is my nature, it is the nature of being an introvert. I find no fault with it. I accept the alone part and find happiness within it. But I don't take my happiness for granted. Because I don't exist only within my world. There are others and I can only really, truly be happy when others are happy. Hence my eternal and unconditional love (in the face of however unrequited it may be) of the world and its people. However ugly they may act. Because that ugliness is learned. And it can be unlearned. So, I turn in to find my beauty. And when I find it, I capture it. And when it is captured, I share it (photos, words, gestures, and especially what I teach my children). And hopefully it helps others look past their ugly, and turn inside, and find their beauty, and share it. And be happy. Because that will make me happy.
Alone in the ongoing moment, and the ongoing moment is always beautiful...
I am slacking with this 52 week project. However I will be uploading multiple photographs over the next few weeks, so that I can catch up.
My art is always about great Journeys. I invite you to come with me on todays. I have been working on changing my way of thinking of my self and who I Believe I am. I plan to be better then I was yesterday. This image is a Visual interpretation of my internal self. I always see my emotions as colors. To day Im busting out no walls can hold me back. Power strong will and driving without fear. Fear can just go take a hike. Every thing is going to be new. I start to open to the new truth in this life. I will shoot past the moon and stars in to the far off next galaxy. I become all my dreams and hold the keys to open every door I please. No more locks bricks or walls can ever hold me. Im the wave and I carve my path to day. I for give my mistakes of the past and will not look back. May I live each day as if it were my last day. For now I shall just engage. You better hold on this will be a fantastic new adventure.
Hay Im on Facebook now so look me up. I will be adding art for people to invest in. Any cool help to add value to my art is welcome.
www.facebook.com/profile.php?id=100016188035375
Mike
Father and son collaboration
Our photographic art is a kinetic motion study, from the results of interacting with my son A.J and his toys.
He was born severely handicapped much like a quadriplegic. On December 17,1998. Our family’s goal has always been to help A.J. use his mind, even though he has minimal use of his body.
A.J. likes to watch lights and movement. One of the few things he can do for himself is to operate a switch that sets in motion lights and various shiny, colorful streamers and toys that swirl above his bed.
One day I took a picture of A.J. with his toys flying out from the big mobile near his bed like swings on a carnival ride. I liked the way the swirling objects and colors looked in the photo.
I wanted to study the motion more and photograph the whirling objects in an artful way, I wanted my son A.J. to be a part of it. After all, he’s the one who inspires me. When A.J. and I work together on our motion artwork, A.J. starts his streamers and objects twirling, I take the photographs.
Activating a tiny switch might not seem like much to some, but it’s all A.J. can do. He controls the direction the mobile will spin, as well as when it starts and stops. The shutter speeds are long, and sometimes, I move the camera and other times I hold it still.
I begin our creation with a Nikon digital camera. Then I use my computer with Photoshop to alter the images into what I feel might be an artistic way. Working with Photoshop, I find the best parts from several images and combine them into the final composite photograph. I consider the finished work to be fine art. The computer is just the vehicle that helps my expressions grow.
I take the photographs and A.J. adds the magic. It’s something this father and son do together. After I’ve taken a few shots, I show him the photos in the back of the camera. When the images are completed, I show him from a laptop. He just looks. He can’t tell me whether or not he likes the images, but he’s always ready to work with me again.
It offers me my only glance into A.J.’s secret world. We’ve built a large collection of images and I hope the motion and color move you as much as they do me.
A.J. inspires me to work harder to understand my life in the areas of art, photography, people, spirituality, and so much more. He truly sets my mind in motion and helps me find the beauty in everyday things.
Abstract Art set:
www.flickr.com/photos/patnode-rainbowman/sets/72157602269...
AJ Patnode - A Journey of Hope (documentary):
www.youtube.com/watch?v=OR7m8QFcmRM
This shows how we do the Camera work:
www.youtube.com/watch?v=fmjVVGraUVw
AJ'S blog:
"Anybody home?"
The small church of S. Antonio from Padova in a hot summer day. Aquileia (UD), Italy. © Michele Marcolin, 2021. K1ii + DFA 24-70.
The church is an example of Baroque art with the main facade marked by large semi-columns and an elaborate stone composition of the portal with a tympanum and five statues. In the upper part the octagon ends with a frescoed dome set on spherical pendentives depicting the four Evangelists (S. Giovanni with the eagle, S. Luca with the bull, S. Matteo with the angel, S. Marco with the lion) and crowned by a lantern. The frescoes on the dome depict Saint Anthony of Padua, the four Martyrs of Aquileia and two other saints. The higher internal surfaces are covered with frescoes, stucco with intertwined ribbons and plant motifs; the entablature is enriched with denticles, rosettes and ovoli. The presbytery is almost completely occupied by an altar, decorated with inlay with polychrome geometric motifs and split pediment, which encloses an altarpiece depicting Saint Anthony of Padua kneeling presenting the Child Jesus to Saint Andrew the Apostle.
There are two hypotheses on the date of construction, 1676 or 1697; during the 2000-2002 restoration of the paintings, the restorers discovered the faded date "1698" (June 5) in a segment of the dome, numbers that suggest the decoration and the altar were completed in that year. The façade and the decorations could instead have been completed in 1716 for the archdeacon visit of Monsignor Giuseppe Antonio Del Mestri. During the restoration of the decorations and internal marmorinos, many pencil inscriptions were found referring to the war of 1915-18 between Austria and Italy; in 1916 the bombing of Aquileia took place and one of the two bombs dropped fell near the church causing much damage.
Facebook Fan Page/ Prints/Blog/Website
Someone reminded me last semester that my camera is not just a tool to create art, but a medium to document my life and my feelings. Thank you for that.
Criticism is often difficult to take, epically when the recipient puts so much of themselves into the production of a piece of work. All too often it’s delivered poorly and without sufficient thought towards the recipient’s feelings, causing an unhelpful, if not offensive interchange. I have to say I see this happening all too often in our new social networking environment, as people remove themselves from the face to face conversation and become lazy in their virtual interchanges. This is truly a shame, as If criticism is delivered by somebody who is receptive and willing to work towards the genuine development of another person, (not just serve their own ends), then it can be a stimulating and rewarding personal development tool for improvement, ‘for both parties’.
Following on from what others have said, I wanted to explore those little voices in our heads, (or is that jus me!) Anyway, self criticism is ‘also’ vital part, if not a fundamental element of personal development, but one that can be allot more complex! In the outset, it offers any artist a way of making creative choices. It’s a method of analysis that can be used to evaluate subtle experimentations, to guide compositional choices and applied sensitively, constructively and effectively, an invaluable tool for the development of a creative person! But there is of course a problem here. The scales sometimes are very sensitive and can tip into either the positive or negative and both result in a distorted unhelpful creative direction! If too negative, the result can be terribly destructive, if too positive, the person remains deluded and slows down genuine development. Now I’m of course oversimplifying this, and I don’t pretend to fully understand everybody’s needs, but I do find myself listening and often arguing with those positive and negative voices in my head! A healthy critical personal debate may sound like a trip to an asylum is needed, but let me assure you that this conflict is a good thing, as long as it’s balanced!
So the next time your too harsh on yourself or even others, or the next time your offering insincere comments, just take a step back and take some time to think about what you’re saying and the impact on not only others but yourself...and you never know, your insightful comment may help to balance those internal voices!
Oh if you fancy listing to some of my internal voices, you’re more than welcome to join me on a Whitby workshop in February... You can find the links on my profile, cheers....
It started with one of my photos
while I listened to some favorite music
then I rearrange all the pixels
in Photoshop with filters and other
until I stop
© Ania Wagner 2014
________________________________________________
All rights reserved. No unauthorised use.
If you are interested in any authorisation you are welcome to contact me via e-mail.
________________________________________________
Thank you very much for stopping by! ;-)
And when your fears subside
And shadows still remain
I know that you can love me
When there's no one left to blame
So never mind the darkness
We still can find a way
Because nothing lasts forever
Even cold November rain
______________________
Y cuando tus miedos amainan
y quedan todavía las sombras,
sé que puedes amarme.
Cuando no hay nadie más a quien culpar,
y no te preocupas de la oscuridad,
aún podemos encontrar un camino.
Porque nada dura para siempre,
ni siquiera la fría lluvia de noviembre.
Took a solo trip up the mountain road again. If there wasn't so much traffic, I would have stayed much longer and done crazier styled shoots. But, this shy girl is still breaking out of that shell when it comes to photography. Total seclusion in nature motivates me to get creative. A single person walking by, driving by, or even joining me can take that all away. As crazy as that sounds, I'm truly one to be all in my head. My excitement is internal a lot, but it always comes out in photo.
To 2017 and the many adventures to come!
Currently planning my England trip and considering Ireland! :)
Stokesay Castle in Shropshire is a classic example of doing a lot with a little. It's a small site but they made the most of it. It is also a rare survivor - a fortified manor house dating from the 13th century.
Living near the contested Welsh borders was dangerous in the Middle Ages and Stokesay reflects this concern. The land was granted to Roger of Lacy after the Norman Conquest, later it was tenanted by Theoderic De Say and 'South Stoke' became 'Stokesay'. In 1240 the site passed into the hands of John De Verdon and it is possible that he started building on the site before going on crusade in 1270.
The Verdon's tenant John De Grey sold the site to merchant Lawrence of Ludlow in 1281 for the price of a juvenile sparrow hawk. Lawrence was a wealthy wool merchant who even lent money to the king and many of the Marcher lords like the Earl of Arundel and the Mortimers. Lawrence is thus one of the earliest wealthy merchants to take his money and invest in land, setting himself up as a country gentleman.
It is assumed that Lawrence built most of what we see as the work is mostly of one date and he obtained the necessary 'licence to crenellate' from King Edward I at Hereford 10 years later in 1291. This licence allowed the addition of battlements to the walls and may indicate that building work had now reached battlement level. Lawrence headed a wool fleet to the Low Countries in 1294 and was drowned when his ship was wrecked off Aldeburgh. His body was buried in Ludlow.
On the death of his son in 1316 the manor was 200 acres, including two mills, a dovecote and a wood and generated income from rents. The Ludlow family retained Stokesay and the last heiress Anne Ludlow married Thomas Vernon who died at Stokesay in 1563. The new gatehouse (see photos) was probably built in the 1640s by tenant Charles Baldwin who'd taken the site as a retirement home.
It suffered a brief siege in the English Civil War but surrendered. Normally surrendered castles were 'slighted' but at Stokesay only the perimeter wall was demolished. It was later used as farm buildings before the site's architectural significance was realised.
As presented today Stokesay has a single bailey or courtyard surrounded by a substantial dry moat. The 17th century half-timbered gatehouse is colourful and opens into the courtyard where visitors see the three-storied South Tower of circa 1291 which functioned as a keep or final retreat in the event of attack. The South Tower had its own drawbridge (now removed) at first-floor level to cut it off from the rest of the building in the case of attack.
The North Tower has a handsome half-timbered apartment added to the top while between the two is the great hall and solar block. The hall is lofty amd the internal staircase inside leading to the North Tower is timber and original medieval woodwork. The cruck roof timbers are also orginal, dating to around 1300.
The solar block would originally have been the lord's private apartments and these were panelled in the 17th century to make them warmer and more comfortable. Some of the panelling is Flemish or Flemish-inspired and contains grotesque figures.
Stokesay is a stunning building and is now in the care of English Heritage. The grounds and lower floors have reasonably good disability access but wheelchair users have to bump over a wooden bar at the gatehouse to gain access to the courtyard.