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The D23 Snow White and her Prince have been fully deboxed, and then placed back on the included doll stand.
I make the surprising discovery that Snow White has the body of a 2012 Disney Store Classic Princes doll. That is, she has hard plastic legs, with hinged knee joints and ball jointed ankles. She is also wearing golden tan flat shoes (or slippers), rather than the polished golden high heels that I was expecting. Also notice that the underskirt isn't a petticoat, but rather a slip. The slip was sewn to the outer golden skirt in two places, but it would be easy to snip those threads off. The Prince's cape was deep red velvet over a deep red satin lining, with gold piping. The feel of the cape is very nice, but not as luxurious as the 17'' LE Snow White's cape.
Not only does she have the 2012 Classic Princess play doll body, but she is missing the usual manufacturer's marks, including the part number and her edition size and serial number. She is also missing the twist waist joint of the previous Designer Princess and Designer Villain dolls. After closing up her dress, she is now fully deboxed. Her braided ponytail is attached to the collar of her dress, but I choose to leave it alone, as I do not want to risk damaging her hair or her dress.
Her outfit is a gold variant of the dress on the normal Designer Fairytale Snow White doll. Her bodice and skirt are separate pieces. The bodice is golden tan satin with gold piping and elaborate gold embroidery, and decorated with a bow made of metallic gold thread. She has puffy sleeves with separate bands of the same golden tan satin. The sleeves have lace cuffs decorated with gold hearts, and the oversized collar is white lace decorated with gold thread. Her skirt is golden silver satin with golden embroidering incorporating fleur-de-lis, flowers and hearts. It has a thin pale tan satin lining. There are golden rhinestones scattered throughout the bodice and skirt of her dress. Under her dress is a floor length white satin slip with the lacey pattern at the hem showing below her skirt. It is sewn to her skirt at two places, which I chose to leave alone for now. A truly remarkable outfit fit for royalty.
Her face mold appears to be the same as the 2013 Classic Snow White, but with a considerably different face paint. She has large dark brown eyes that are glancing to her left, with four short thick lashes over each eye and four very short and thin lashes under each eye. Over her eyes is gold eyeshadow, and thin black eyebrows gently following the curve of her eyes. She also had short rooted eyelashes that are just barely curving upwards, and are even in length. She has a small button nose, a small mouth with blood red lips forming a charming open mouth smile. She has light pink rouge over most of her cheeks, and a round face with small chin. She is a very beautiful and faithful representation of the sweet and charming movie character .
Her hair is a considerable departure from the traditional short flip hairdo. Her jet black hair is parted to the left of her head, and pulled tightly over her head into a medium length braided ponytail that tapers down to a point and is secured by black rubberband, and is sewn to her collar on her right side. There is a thin deep red satin ribbon around the top of her head that ends in a small bow at left side of her head.
The Prince's outfit is very well made and fitted to his body. It consists of a dark brown faux leather vest, a deep red velvet and satin cape permanently attached at the shoulders of the vest, a dark brown belt with a gold metal buckle and a short black faux leather scabbard attached, white satin shirt, black pants and black boots with a worn look on top. In the scabbard is a gold sword. He appears to have the standard Prince body, with articulation at the neck, shoulders, hinge jointed elbows, ball jointed hips, and internal knee joints with limited movement. His hands and feet are huge, but his head is disproportionately small compared to Snow White. His face has a neutral expression, with small, narrow deep blue eyes, wide mouth and a straight nose. His molded dark brown hair looks okay. His face doesn't look that movie accurate to me; I actually prefer the playline Classic Prince. As with all Disney Prince dolls, he is sturdily built, and can free stand fairly stably. But for safe keeping, it is best to put him up in the included doll stand, which has a wide C-clamp that goes around his waist very snuggly.
First look at the Ivory Snow White Doll Set (Snow White and the Prince), a Limited Edition of only 600 sets worldwide. Part of the Disney Fairytale Designer Collection. A 2013 D23 Expo Exclusive, produced by the Disney Store. My doll set is #114 of 600. Purchased August 9, 2013. Snow White is 11.5'' H, the Prince is 12'' H. They are in a display case with built in doll stands, clear acrylic cover, golden base and nameplate and richly decorated protective cardboard sleeve. The set comes with a gift bag decorated with artwork of all five Prince and Princess couples in the Disney Fairytale Designer Collection.
From the box notes:
With lips as red as the rose and skin as white as snow, this Princess is certainly the fairest of them all. Whether singing in a cottage or dancing at the Royal Ball, Snow White proves true beauty always from within.
Tonight she is a vision to behold in a shimmering satin gown richly embroidered with gold. And upon love's first kiss from her Prince, all of her dreams come true!
Romantic side-swept hair and dramatic lace collar frame her face. Elaborately embroidered bodice. Layered gown is ornately decorated with golden gemstones and lace detail. Embroidered foliage design adds enchanting effect.
Luxurious cape and costuming befit our Prince handsomely. Puffed sleeves, belt buckle, boots and sword add the finishing touches.
deriustattoo, polka dot, eye, design, tattoo, flash tattoo, realistic trash, tattoo design, eye tattoo
My brother on his bike in 1976 wearing a "Welcome Back Kotter" T-shirt. (Can it get more locked-in dated then that?) Minolta SRT-102 w/400mm f6.3 "preset" telephoto lens using Kodachrome 64. Used for TREK Bicycles 40th Anniversary internal corporate video snapshot. See original photo in my bicycle Flickr set.
Been meaning to make one of these for a long time. Going to make two radius's on opposite ends. But this is a great start. Works like a charm.
One of the longest running Citroen products and replacement for the legendary DS, the Citroen CX was a worthy continuation of the groundbreaking developments that made its predecessor such a household name, and was able to mix a spacious interior with incredible comfort and all the panache and style you'd expect from a French family car.
The car was designed and styled by Robert Opron, and took on many external features from the previous DS, including a long sweeping body and smooth curved back. Internally the car updated the many endearing features of the original, with unique hydro-pneumatic integral self-leveling suspension, speed-adjustable DIRAVI power steering (first introduced on the Citroën SM), and a uniquely effective interior design that did away with steering column stalks, allowing the driver to reach all controls while both hands remained on the steering wheel.
The car was powered by a range of 2.0L to 2.5L Inline-4 Citroen engines, producing power outputs between 102hp and 141hp, whilst there was also a 180hp edition featuring SM Injection Electronique.
The car was rushed to launch in 1974, sadly resulting in many teething troubles such as a lack of power-steering, making the car very difficult to drive as 70% of its weight is carried over the front wheels. Originally, the CX was developed as a rotary-engined car, with several negative consequences. The CX engine bay is small because rotary engines are compact, but the Comotor three-rotor rotary engine was not economical and the entire rotary project was scrapped the year the CX was introduced. The firm went bankrupt in 1974, partly due a series of investments like Comotor that didn't result in profitable products.
Throughout its production life however, the company continued adding developments to the car, including a 128hp GTi edition in 1977, rustproofing and fully automatic transmission in 1981, and a new 2.5L Turbo-Diesel engine in 1984.
Although the car garnered a reputation for poor reliability at first, it was soon lauded as one of the best Citroens ever built, and a credible replacement for the legendary DS. By the late 1980's however the car's 15 year old design was now in deep water, and competition such as Audi's and Mercedes of the time were starting to damage the sales. As such, in May 1989, the replacement car, the Citroen XM, was launched, but suffered from poor reliability issues due to the electronic hydropneumatic suspension. As such, the CX Estate version remained in production until 1991 when both problems with the XM were rectified, and a later developed XM Break was released.
In total, 1.2 million of these cars were produced, and are widely considered to be the last great Citroen cars before Peugeot took control in 1976. However, many people forget this car as well as the XM that replaced it, most feeling a strong affection towards the original DS of the 1950's. The car did however make a comeback on Top Gear, as Jeremy Clarkson converted a CX into a gigantic block of flats that doubled as a Motorhome, only to be blown over in the wind and eventually be pushed off a cliff!
Sigma 17-50
portrait EXIF:
25mm
1/320th shutter
f/8
ISO 100
circuit board EXIF:
50mm
2" shutter
f/11
ISO 100
21mm extension tube
Nikon D800E Alana Blanchard, Laura Enever, and Bianca Buitendag Freesurfing at the Van's US Open Huntington Beach Pier! Gorgeous surf girl goddesses all! Alana Blanchard was in the Sports Illustrated Swimsuit Issue! Shot with the awesome Nikon D800E & the Sigma 150-500mm f/5-6.3 AF APO DG OS HSM Telephoto Zoom Lens for Nikon Digital SLR Cameras. They're all professional models too (Alana was a Sports Illustrated Swimsuit Model and Rip Curl Bikini Model!)!
And here're some epic video of pretty goddess Alanna Blanchard I shot at the same time with the Panasonic X900MK 3MOS 3D Full HD SD Camcorder with 32GB Internal Memory mounted on my Nikon D800E via the 45surfer configuration.
www.youtube.com/watch?v=9bX4gXnfLtc (alana running on beach, paddling out, surfing)
www.youtube.com/watch?v=-5LLePW95N0
www.youtube.com/watch?v=ANM70cBDNVo
www.youtube.com/watch?v=HIqA-0TOkjk
www.youtube.com/watch?v=GVEcj3bTdeQ
Last year I was shooting with a Nikon D4 with a 600mm F4 Prime monster Nikkor lens mounted on the tripod:
www.flickr.com/photos/herosjourneymythology45surf/8555104...
This year I wanted to be more nimble and work the whole area (shoot surfers warming up down the beach, coming and goring, running, hanging out/watching/etc.), so I opted to shoot with a Nikon D800E with the Sigma 150-500m lens mounted on a monopod. It can be tough to move tripod around with a 600mm F4 Prime monster Nikkor lens on a crowded beach, and it would be easy to upset folks each time you tried to set it up! There's a good chance they would say "enough" and throw you and all your equipment in the water! There's a common etiquette that one ought arrive early to claim a good spot, set up there, and keep it for the day. Latecomers are not welcome to set up on the main beach once it has filled up. But it's OK to walk around with a smaller setup as long as you stay out of everyone's way. Generally you can hug the water/shoreline with your feet and monopod in the water, as you're down low enough so that you don't block anyone's view from higher up on the beach, where all the tripods are mounted. The Sigma 150-500mm lens also allowed me to zoom out when surfers ran down the beach or got in and out of the water, and I also had a Nikon D800E with the 28-300 mm lens strapped around my neck. And both cameras had video cameras mounted to them in my famous 45surfer configuration! Needless to say, it can be a bit scary standing knee-deep in water with all that equipment, with large waves breaking. You wouldn't want to fall in!
Well, hope you enjoy the surf goddess photography!
All the best on your epic hero's journey from Johnny Ranger McCoy! :)
P.S. There's nothing like shooting the nikon D4 with the 600mm prime for quality, but I felt it was cool to give up a bit of quality for far more variety this year! Plus I do not want to become a pixel-peeper! :)
Ceiling lights reflected in a balloon. The smaller pale image above the lower concave surface and the larger brighter image below the upper convex surface. The discerning will account easily for the relative brightness and the relative sizes. Physics is everywhere.
Viewing help
To view in 3D cross your eyes so that you are seeing three blurred images in a line. Pay attention to the middle image and wait for your brain to refocus your eyes on the monitor. When that happens you will have locked on to the 3D image. Almost better than being there.
sooc
Playing with a new idea the other night, didn't realize my zoom so It was a little closer than I wanted, but I like it. Shot with custom white balance.
Hunslet 18in. 'Austerity' 0-6-0 saddle tank 'Amazon' (Vulcan Foundry works No.5297 built 1945) positioning internal user wagons from BSC Workington Steelworks under the loader at Harrington Coal Preparation Plant, Lowca, Cumbria, 22nd June 1972. The British Steel Corporation internal wagons were brought to Lowca via the steeply graded Lowca Light Railway from Workington Steelworks, usually by Yorkshire Engine Co. 0-4-0 diesel-electric locos working in tandem.
© Copyright Gordon Edgar - No unauthorised use.
F-104G preserved Technik Museum Speyer, skin removed to show internal for display purposes in very bad status
Sadly my ancient OMD EM5 is failing after nearly 7 years of service and abuse. The LCD is green. Only Manual and Program mode work on it now. I can still get some fantastic shots with it, but it often behaves like an old cranky person.
So I saved up my $$ and took advantage of a sale.
I purchased the OMD M1 Mark III.
Wow. What a camera.
This was just a test run of using the internal ND filter [ND 8].
The one on the left was taken at ISO 200, f.6, 1/15 second.
The right shot was taken ISO 64, f5, 1.3 seconds, hand held with the ND filter activated.
Test shots.
Looked at 'large' you can see that I wiggled a bit and it isn't as sharp as it should be. I have since tried this again and had more success. But this was my first try.
I'll get better with practice.
Title and idea stem from a conversation with my husband. Explore April 7, 2013 (started at #99, highest rating spotted #10). See the thread below for a link to the original second layer of this picture, taken almost one and a half years ago. Edited in Photoshop. Thank you for all the views, comments and faves! (In a spell of wanting to regain privacy I lost all the faves, except those by contacts.)
The more I learn about myself, the more I fear myself. I’m told I should remain neutral. A Switzerland of the mind.
Located at the end of a sleepy little cul-de-sac in the leafy north east Melburnian suburb of Fairy Hills is a beautiful pebbledash Arts and Crafts style bungalow. Quiet and unassuming amid its well kept gardens, this bungalow is quite significant historically as it is the creation and home of nationally renowned husband and wife artists Christian and Napier Waller, and is known as the Waller House. Together they designed the house and much of its interior decoration and furnishings. Napier Waller lived in their purpose designed home for some fifty years. What is especially significant about the house is that both it and its contents are quite intact. Napier Waller's studios, examples of his art, that of his two wives and his niece, famous studio potter Klytie Pate, and items connected with his work remain exactly as he left them. Architecturally the house design is innovative in its internal use of space, specifically in the organisation of the studio cum living room and displays a high degree of artistic creativity in the interior decoration.
The Waller House in Fairy Hills is so named because it was the residence of Mervyn Napier Waller, the acclaimed artist who gained National fame from his water colours, stained glass, mosaic works and murals and his wife Christian, who was a distinguished artist and designer of stained glass in her own right. In particular Napier Waller's works adorn the Melbourne Town Hall, the Myer Emporium Mural Hall, the Victorian State Library and the Australian War Memorial. The Waller House is a split level house designed by Napier and his first wife Christian who intended the house to be both a home and a workplace. For this the design was conceived to accommodate the tall studies and pieces of the artist's work.
The Waller house was built by Phillip Millsom in 1922 and the architectural style of the house is a mixture of Interwar Arts and Crafts, Interwar Old English and Interwar California Bungalow. The house is constructed from reinforced concrete walls with a rough cast pebbledash finish. The roof is steeply pitched with a prominent half timbered gable over the front entrance and has Marseilles pattern terracotta tiles. There are small paned casement windows. There have been several additions to the original design over the years but these have all been sympathetic to the original design.
The house is entered from a two sided verandah into an entrance hall, panelled in Tasmanian wood. This has stairs leading to the different levels of the house interior. In one direction the hall leads to a main living hall which was Napier Waller's original studio and later used as the main living room in the house. This room has a high ceiling with casement windows, a musicians’ gallery and a broad brick fireplace flanked by fire-dogs and bellows made by the sculptress Ola Cohn (1892 – 1964). Like many of the other rooms in the house the studio is panelled and floored with Tasmanian hardwood and contains some of the studies for Napier Waller's murals: “The Five Lamps of Learning; the Wise and Foolish Virgins” a mosaic for the University of Western Australia and, “Peace After Victory” a study painting for the State Library of Victoria. Above the panelling the plaster walls are painted in muted colours in wood grain effect. The raftered plaster ceiling has been painted in marble effect with gold leaf. Book shelves, still containing the Wallers’ beautiful books, are built into the panelled walls. Furniture in the room includes a settee with a painted back panel featuring jousting knights, painted by Christian Waller, a leather suite and black bean sideboards and cupboards. This furniture was designed in the nineteen thirties by Napier Waller and by Percy Meldrum and a noted cabinet maker called Goulman. The studio cum hall also contains many ceramic works created by studio potter Klytie Pate who was Christian Waller’s niece and protégée. The entrance hall leads in the other direction to a guest room, known as the “Blue Room”. This was the idea of Napier's wife Christian and has simple built-in glass topped furniture and Napier's murals of the “Labours of Hercules” which include a self portrait of the artist. An alcove section of the room was constructed out of an extension to the verandah. Stairs lead from the entrance hall to the musicians’ gallery which has a window and overlooks the studio cum living room. The kitchen near the studio/hall is panelled and raftered with built-in cupboards conforming to the panelling. The ceiling is stencilled in a fleur-de-lys design by Napier. The dining room lies to the right of the studio cum hall and contains shoulder high panelling and raftered ceilings. It has an angled brick corner fireplace and the walls and ceiling have the same painted treatment as the studio cum living room. The oak dining furniture was designed by Napier. A small den with high window, furnished with leather chairs, opens off the dining room. Opening off the hall to the left is a long rectangular room known as the glass studio. This was added to the house by builder C. Trinck of Hampton in about 1931 and contains Napier Waller's kiln, paintbrushes and stained-glass tools on the benches, and stained glass designs and racks which are still stacked with radiant streaked glass from his work with stained glass windows. A bedroom and bathroom with attic pitched rafter ceiling and casement windows is situated on the upper level of the house. Another bedroom in ship's cabin style with flared wall light fittings and built in bunks opens off this first bedroom.
The house backs onto a courtyard enclosed by a long bluestone garden wall. The house is set in a three and a half acre site with cypress hedges and gravelled paths. The garden drops away to a hillside slope with manna gum trees. Set on the slope is a flat roofed studio built in 1937. It has an undercroft beneath a studio room and this contains a lithographic press and a printing press of 1849 for woodcuts and linocuts. This was used by Napier and his first wife Christian to produce prints in the 1930s. Napier was widowed and married his stained glass studio assistant Lorna Reyburn in 1958.
The Waller House has recently become famous for yet another reason. The exterior has been used as a backdrop in the ABC/ITV co-production television series, “The Doctor Blake Mysteries” (2013). The house serves as the residence of the program’s lead character, Doctor Lucien Blake (played by Australian actor Craig McLachlan), and the doctor’s 1930s tourer is often seen driving up to or away from the Waller House throughout the series. The Waller House is the only regular backdrop not filmed in the provincial Victorian gold rush city of Ballarat, in which the series is based.
The Waller House is still a private residence, even though it was bequeathed to the people of Victoria by Napier Waller under the proviso that it would not revert to state ownership until after the death of his second wife, Lorna. The current leasee of the Waller House is a well known Melbourne antique dealer, who was friends with Lorna Reyburn, and who acts as a loving informal caretaker. He was approached by the Napier Waller Committee of Management and keeps the house neat and tidy, and maintains the garden beautifully. I am very grateful to him for his willingness to open the Waller House, and for allowing me the opportunity to comprehensively photograph this rarely seen gem of Melbourne art, architecture and history.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Klytie Pate (1912 – 2010) was an Australian Studio Potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930‘s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller. Klytie’s father remarried when she was 13, so Klytie went to live with her aunt, Christian Waller. Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Fairy Hills, and thus her work reflected Art Deco, Art Nouveau, the Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy. Klytie made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking. Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor. Klytie became renowned for her high quality, geometric Art Deco designed pottery which is eagerly sought after today by museums, art galleries, collectors and auction houses.
Fairy Hills is a small north eastern suburb of Melbourne. Leafy, with streets lined with banks of agapanthus, it is an area well known for its exclusivity, affluence and artistic connections. It was designed along the lines of London’s garden suburbs, such as Hampstead and Highgate, where houses and gardens blended together to create an informal, village like feel. Many of Fairy Hills’ houses have been designed by well known architects of the early Twentieth Century such as Walter Burley Griffin (1876 – 1937) and have gardens landscaped by designers like Edna Walling (1895 – 1973). Fairy Hills is the result of a subdivision of an 1840s farm called “Fairy Hills” which was commenced in the years just before the First World War (1914 – 1918). “Lucerne Farm”, a late 1830s farm associated with Governor La Trobe, was also nearby.
As my senior year in high school is progressing the conflict in my mind has been growing about what I want to do with my life and what I want to make of myself. There's a constant battle going on in my head between me, myself, and I.
This is a set of photos I worked on with my photo teacher for my portfolio for college. Right now I am in the process of creating this type of image on wood using liquid light emulsion and negatives of the photos:) Its all trial and error so I'm still working towards the final outcome!
A boxcar rolling through the night, and a fiery glow from the rider inside.
On the Border of American Vision
gouache on Arches Watercolor Paper
Currently on display at Boom Gallery, Austin Tx.
This piece is available for purchase. Contact for more info.